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AudioArtist « If you can find one, BUY IT »
Published on 12/04/12 at 13:41It is a dynamic cardioid mic and it is equally useful live or in the studio.
It's rated at 150ohms and includes a lowcut switch, quite uncommon for a dynamic cardioid mic.
OVERALL OPINION
Ahhh, the old EV RE16! The thing to like most about the EV RE16 is that it is absurdly versatile and very sturdily built. The one that I own is at least 30 years old and perhaps older. I'm unaware when it went out of production or if there is a newer cousin still available. I really can't think of anything to dislike about the RE16. It has proven itself to be a solid performer on any instrument or voice that I've thrown at it.
As to value vs. price, if you can find a vintage RE16 just buy it! I've not done any research into current going prices for a vintage one so all I can say is that you want one or two in your arsenal.
The sound quality of the RE16 is amazing! In many ways this humble old school dynamic can hang in there with with some of the more modest condenser mics that I've used. I've used the RE16 with great success on bass cabs, kick drums, toms, flute, violin, vocals, guitar (both acc and elec), even steel drums. In the case of the steel drum, I tried every mic in my collection, starting with my condensers, and the RE16 was the immediate winner as soon as I hooked it up. It does have a relatively low output, nothing that a good board won't be able to compensate for, but if you have a nice clean mic pre that you really like use it. One other thing to make note of is this; the odd looking grille that runs down the shaft of the mic is actually a "sound tunnel" , for lack of a better term, many confuse it to be a ribbon element. I can't really explain how it works simply but what it does is accept sound coming from the rear of the mic and channels that in such a way that it throws sound from the rear out of phase with what is in front of the mic. Essentially this alters the percieved pick-up pattern of the output, and allows this mic to have a really small amount of apparent "bleed" from other instruments in the room.
Of course if you are an engineer, whether novice or pro, you'll be trying out nearly any mic you come across and the old RE16 still stands proud even after all these years.
Again, if you know a friend who has one try it out! If you find one for sale buy it! It's a solid investment no matter how you slice it!
It's rated at 150ohms and includes a lowcut switch, quite uncommon for a dynamic cardioid mic.
OVERALL OPINION
Ahhh, the old EV RE16! The thing to like most about the EV RE16 is that it is absurdly versatile and very sturdily built. The one that I own is at least 30 years old and perhaps older. I'm unaware when it went out of production or if there is a newer cousin still available. I really can't think of anything to dislike about the RE16. It has proven itself to be a solid performer on any instrument or voice that I've thrown at it.
As to value vs. price, if you can find a vintage RE16 just buy it! I've not done any research into current going prices for a vintage one so all I can say is that you want one or two in your arsenal.
The sound quality of the RE16 is amazing! In many ways this humble old school dynamic can hang in there with with some of the more modest condenser mics that I've used. I've used the RE16 with great success on bass cabs, kick drums, toms, flute, violin, vocals, guitar (both acc and elec), even steel drums. In the case of the steel drum, I tried every mic in my collection, starting with my condensers, and the RE16 was the immediate winner as soon as I hooked it up. It does have a relatively low output, nothing that a good board won't be able to compensate for, but if you have a nice clean mic pre that you really like use it. One other thing to make note of is this; the odd looking grille that runs down the shaft of the mic is actually a "sound tunnel" , for lack of a better term, many confuse it to be a ribbon element. I can't really explain how it works simply but what it does is accept sound coming from the rear of the mic and channels that in such a way that it throws sound from the rear out of phase with what is in front of the mic. Essentially this alters the percieved pick-up pattern of the output, and allows this mic to have a really small amount of apparent "bleed" from other instruments in the room.
Of course if you are an engineer, whether novice or pro, you'll be trying out nearly any mic you come across and the old RE16 still stands proud even after all these years.
Again, if you know a friend who has one try it out! If you find one for sale buy it! It's a solid investment no matter how you slice it!