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shimelo « A perfect microphone in his field »
Published on 10/11/14 at 08:05Cardioid dynamic microphone wide universal membrane but especially vocals, bass amp, guitar, brass trombone, tenor sax, bass clarinet, kick drums, congas, etc.
OVERALL OPINION
I can not remember how long I use it, since there are probably different in my recording studio or live recording. During the sessions, I sometimes change the type of mic on an instrument because it is perhaps not perfectly suited to the situation, even after tests positioning. I think I never got to replace the RE 20 because I think I know a few limitations with all these years! (No battery overhead, HH, cymbals, etc., and still is not sure, it depends on what you want her to)
The RE 20 is for me the perfect microphone in his field as the Neumann U87 or 4038 Coles in theirs.
Good points: Sturdy both electrically and physically. Very versatile and musical. At ease in recording digital. A real quality / price ratio (approx. 450 €)
Very little breath, output level - correct sensitivity.
Bad: To my taste, if he had, long ago they would have been found, in fact I no longer try ...
Some find that the failure is the weight of the machine (737 grams). This is not a Chinese proverb but I would say "All you need good mic, good foot" ... The U87 is too heavy and naturally he dedicates most of his beefy foot park lest he fall because Neumann does not laugh with the price of repairs. For the RE 20 is the same, even though it is tough, you have to think comfort to get the best and offer a REAL foot, certainly not easy today with stews they manufacture. Maybe a little advice: Insist on good feet ... (Curious, I heard that in the movie the visitors but for another reason ..)
Finally, although it remains worthy connected directly to a sound card, he will deliver all its identity loaded with a good preamp (Avalon, API, Neve, Universal Audio)
With a little experience, of course, I would do this choice because in fact there is not ...
OVERALL OPINION
I can not remember how long I use it, since there are probably different in my recording studio or live recording. During the sessions, I sometimes change the type of mic on an instrument because it is perhaps not perfectly suited to the situation, even after tests positioning. I think I never got to replace the RE 20 because I think I know a few limitations with all these years! (No battery overhead, HH, cymbals, etc., and still is not sure, it depends on what you want her to)
The RE 20 is for me the perfect microphone in his field as the Neumann U87 or 4038 Coles in theirs.
Good points: Sturdy both electrically and physically. Very versatile and musical. At ease in recording digital. A real quality / price ratio (approx. 450 €)
Very little breath, output level - correct sensitivity.
Bad: To my taste, if he had, long ago they would have been found, in fact I no longer try ...
Some find that the failure is the weight of the machine (737 grams). This is not a Chinese proverb but I would say "All you need good mic, good foot" ... The U87 is too heavy and naturally he dedicates most of his beefy foot park lest he fall because Neumann does not laugh with the price of repairs. For the RE 20 is the same, even though it is tough, you have to think comfort to get the best and offer a REAL foot, certainly not easy today with stews they manufacture. Maybe a little advice: Insist on good feet ... (Curious, I heard that in the movie the visitors but for another reason ..)
Finally, although it remains worthy connected directly to a sound card, he will deliver all its identity loaded with a good preamp (Avalon, API, Neve, Universal Audio)
With a little experience, of course, I would do this choice because in fact there is not ...