FINALLY! I CAN REVIEW MY OWN MIC!! Pssst also if this vid helped you decide, these affiliate links help me out big time :) Amazon: RE20 BLACK - amzn.to/3iIPuf6 RE20 CLASSIC - amzn.to/2UFdyaM Sweetwater: RE20 BLACK - imp.i114863.net/rn1obG RE20 CLASSIC - imp.i114863.net/ORL3oA
@@Podcastage Awesome!! And on so many more too, from the early days til now. Everyone seems to always want the next “Cool” mic that comes along, but the re20 has staying power that’s proven. Sonny T
I just have to say I love your "energy" in these videos. You seem pragmatic and thoughtful. Definitely not just a fanboy searching for "likes". Makes me trust you more than other streamers.
I came up on your channel today by accident. I watched the video on large diaphragm vs small diaphragm condenser mics. You mentioned another video on the EV RE 20 mic. I thought you might be interested in a little history. I started in pro audio as an engineer in radio in the summer of 1966. The station I worked for was of marginal profit, hence they gave me a job. EV started to redesign their mic line about that time. They brought out the RE 635 as a "stick" mic. It had a response of 90 Hz to 13kHz. TV needed a hand mic that could be used by reporters. The old 635 needed a desk stand. The first new mic was the RE 15. It was a hand mic that had a cardioid pattern. I believe it had a response of 80 Hz to 15 kHz. It was followed by the RE 16, which was the same mic, but with a blast filter built on the mic. Up to this time, the RCA 77 dx was king in radio studios for announce work. It's output was probably 10 dB lower than an SM 7B. All the old radio and TV audio consoles had gain on the mic inputs for ribbon mics. If you connected an RE 15 to one of these inputs, the preamp could clip if you spoke too loud. This was vacuum tube circuitry. The ein of these tube preamps was around -118 dB. ABC replaced the RCA mics in Hollywood with RE 15 mics on the Lawrence Welk Show around 1967. They were way more rugged than the RCA ribbon mics. They used them on saxes, trombones, and trumpets. I don't recall what they were using on piano, rhythm, and strings. They were successful, and TV started using them everywhere. Remember, the RE 15 cut off around 80 Hz. EV had requests to design a single D cardiod mic that had a flat low end. They introduced the RE 20 around 1968. It quickly was used on tenor and baritone saxophones as well as trombones that benefitted from extended low end. The RE 20 did not see much announce use until the late 1970's and early 1980's. The RE 20 sold for about $225 when it came out. I bought a new Neumann U87 get mic for the radio station in 1969 for $360.00. The RE 20 was good, but no match for the Neumann. I find it interesting the RE 20 is about $650 now and the Neumann is over $3000.00. The Neumann has seen a couple of design changes over the years. Shure brought out a competing mic for the RE 20 for announce work in the early 1980's called the SM 5 "fat Albert". It came with a built in shock mount and was encased in a foam cover. Announcers liked them. Shure replaced the SM 5 with the SM 7B about six years later. It had a much lower output than the RE 20 and SM 5. By that time audio consoles were solid state and the mic preamps had 15 dB to 20 dB less gain than the tube consoles. Another change was the input impedance of the mic preamps. The RCA mics required a matching input impedance of 150 or 250 ohms for a flat frequency response. The RE series mics were 150 ohms output impedance, but could run into a mic preamps with a bridging input impedance of 1200 ohms or greater without a response change. This bridging input impedance allowed use of the full voltage output of the mic without the -6 dB drop of a matching load. These early transistor console mic preamps had an improved ein of around -124 dB. Between the improved ein and the additional output from not matching the mic output impedance, the signal to noise improved 10 dB to 12 dB. Mic preamp gain was reduced accordingly. I finished Engineering School in college and worked as a designer for an audio consoles company. Eventually, showbiz called and I returned to broadcasting, this time in TV at the network level. I retired in 2015 after 49 years. I worked in design and maintenance, but would be moved to operations to mix if music was involved because I played clarinet and tenor sax and could read a score. I had a lot of fun. Hope you enjoy your career too.
A lot of these reviews are from podcasters, who are finding these mics now. I've used this in the studio on bass, kick, vocals and its always done the job. For live sound it is industry table on stage. I've seen many SM7s in radio stations but seldom in the studio. Its not the SM7 won't do the job, its just that many more inexpensive mics do it as well or better. For every time an SM7 has been used on a guitar cab the SM57 has been on a thousand. And its $100. Also, 75% of every radio stations I've been in has had the RE20 as standard. Podcasters etc, may have different needs, I understand, but the fact is for very close to the same money the RE20 is far more versatile. One more thing is they didn't think of looks in those days but built a Mic for broadcasters and studios , not thinking it would find its way to you guys!! You can find cool looking mics but this one looks pro to me and delivers pro. Great review!!
I really enjoyed the NT1 & RE20 comparison here! I got an RE20 for podcasting, I'm not a fan of the sound of the SM7B, and a big reason was the improved noise rejection, which as you've noted is a bit of a disappointment. I've got 2-3 loud people recording in a room across a desk and the bleed can be a problem. Thoughts on the RE20 vs NT1: The RE20 holds up pretty well on your voice, doesn't sound as pinched or muffled as most dynamics. The biggest difference is actually there's still a decent amount of breath & plosive sounds on the RE20 which surprises me, given the adjustment of having the mic off axes. I might try a BSW Repop if I'm going to have a guest use the mic. Thanks for the review!
Glad you enjoyed man! Yeah I was actually surprised listening back to the recordings how much I thought the RE20 sounded condenser-like. Obviously not the same at the NT1, but you could tell it was quite clear and condenser like. And happy podcasting too!
The reason why the SM7B has less proximity effect than the SM57 is because its capsule is deeply recessed in the head basket, such that you can't get very close to it. Pattern tightness and proximity effect are intimately related. In order to provide directionality a mic must sense pressure gradients instead of pressure magnitude, and gradient-sensing is exactly what creates the proximity effect. The fact that the RE20 has a wider cardioid pattern than the Shures gives it inherently less proximity effect even before variable-D comes into play. On a related note, technologies like Variable-D and Shure's DualDyne (from the KSM8) make further compromises in the polar pattern to reduce proximity effect. If you look at the polar plots for the RE20 its pattern has increasing rear response at
I got this mic a few months ago. The funny thing is, I kinda like the SM7B a little more on my voice lol. Especially when I switch on the SM7B high pass. I’ve been loving my Rode Broadcaster too.
I've actually used the SM7B on upright bass a couple times and found it pretty nice when used together with a condenser/ribbon mic to capture the low-end! I've also used it on a guitar amp but I think the SM57 or E906 make for a better choice. That being said the RE20 does have that charisma and it makes you look that much cooler haha. Absolutely love using it on kick-in due to how it captures the attack without feeling like it's punching you in the ears. As always, great video my man! Appreciate the hard work!
I found one for $250 and just couldn’t pass it up. I bought it on eBay as open box, but it doesn’t even have a scuff and has that new mic smell. So far very pleased with it on my goxlr!
Besides some slight variations in frequency response, I think they're pretty similar? If I recall the RE320 is made overseas and the RE20 is made in the US. Don't quote me though
We use the Rode Procasters on the Social Media Ruins Everything podcast, but we’ve agreed that “once we make it” we’ll be upgrading to the RE20, black ones. Mostly because Thom used the RE20 in the Basement recordings. But also because they sound amazing.
yo I gotta admit at first I was aiming for a SM7B but because of you Im actually considering buying an SM57... I currently Have an AT2035 connected to a Scarlet Solo 3rd gen... I wanna move from a condenser to a dynamic mic for a few reasons but the biggest reason is that Acoustic treatment isnt an option for me rn (student) So I think im better off with a mic that pics up less background/room noise... I just have a few questions: do I need a cloudlifter for the SM57? is the sound of it clean (no white noise?) or should I just upgrade my mic to something like an NT1?
If you have a scarlett or any other reasonable interface you won't need a cloudlifter! The only interface I've used that couldn't power the 57 all the way on voiceover is the Audiobox USB, but thats an old interface anyways. The 57 will do awesome, the NT1 will still pick up plenty of background noice, arguably more than your AT2035. The 57 is super clean in my experience, if you have a scarlett, motu m2, or uphoria interface (most people I find have those), you'll only need like 70% of preamp gain and it will be plenty quiet :) hope that helps!
@@AudioHaze cool! now I want even more the 57, but like, not having the hiss sound is really important to me tho, because I do music ya know? mostly just vocals and acoustic guitar the rest is mostly midi... Tbh I think Im gonna end up just keeping my At2035 for now and upgrade my room acoustics
@@purpleheart69420 in your set up I would use a 57 for vocals, get the nice rejection, and the acoustic use the at2035, really good singer songwriter set up :)
Well… the Sound is fine. Not as Shure-ish oversmoothed, not as RØDE-ish ultraclean. I can see why it’s called the SM7B‘s arch enemy. I love this flat sound signature. But the microphone is just too big for my needs.
Have you experimented with the mic by taping over the vents along the, uh, shaft? I can sorta see how essentially keeping the diaphragm suspended in free air might be able to prevent an excess of low-end boom from proximity effect, but would be fun regardless.
It sounds awesome unprocessed, at least my $2 earbuds tell the difference. I'm going to check it later with my headphone monitors. I agree with the rejection issue, my RE11 rejects better than the Shure mics, maybe it's because the capsule diaphragm's diameter??? What happens when you speak totally close to the side vents?
Hey it's Sadie *again* ✋ What services do you offer? As in, I need a filter curve for my specific voice to sound more normal, less sultry. I narrate audiobooks and mainly book erotica. I love it....but i wanna be the next David Attenborough so... Thanks! Lol you're like "get rid of this pain in the @$$ chick already" 😆🤦 P.S.- my Rode is coming in less than 2 weeks. Im way too excited about this!
You may get some of it, but I think with a 57 it won't be too terribly strong. I've done it before and it sounded pretty decent! You do get weird looks in the parking lot though
I think it doesn't sound as warm as the Shure SM7B. Worse, the RE20 needs a shockmount. In addition, there is a rotting sponge structure inside. A built-in pop filter. Years can pass with a dusty and rotten filter. The end user does not know about it. In addition, the Shure SM7B is not affected by the electromagnetic environment. I always prefer the Shure SM7B with a warmer-sounding and easy-to-maintain internal shockmount over a dusty and stuffy RE20.
the re20 killed the sm7b 20 years before the sm7b was born BUT everyone is different you might sound good but someone else might sound bad this mic has been used in every radio station in the US and around the world since the 70s
I Love this mic, the comparison booth junkie once did really made me realize how much better it sounds, especially on his voice (edit: compared to the sm7b I mean^^)
Basically every Merican guy compares the SM7B with RE20 because they cost same in US, and everybody recommends the RE20, but bro in EU, the RE20 costs above fqin 600$ that´s messed up. I wanted the black RE20 over my SM7B, but the pricing? F OFF
@@AudioHaze I’m curious how he got a gold one. Does EV have a custom shop like Fender, etc. does? Did he get one then had it taken apart to plate it? When you get your permanent studio and a shock mount for the mic, it would be so funny to dress like Rush and do a episode.
You should stay about 6 inches from it and not talk directly into it like you are doing. It really does not sound that good the way you are using it. I have one and I like it very much.
FINALLY! I CAN REVIEW MY OWN MIC!! Pssst also if this vid helped you decide, these affiliate links help me out big time :)
Amazon:
RE20 BLACK - amzn.to/3iIPuf6
RE20 CLASSIC - amzn.to/2UFdyaM
Sweetwater:
RE20 BLACK - imp.i114863.net/rn1obG
RE20 CLASSIC - imp.i114863.net/ORL3oA
Very good throw.
PS: Fun fact, the EV PL20 (rebranded re20) was used by Albini on In Utero for Cobain's voice iirc.
Thank you I studied your work 👌🏻 also that’s awesome I had no idea!!
@@Podcastage Awesome!! And on so many more too, from the early days til now. Everyone seems to always want the next “Cool” mic that comes along, but the re20 has staying power that’s proven. Sonny T
I just have to say I love your "energy" in these videos. You seem pragmatic and thoughtful. Definitely not just a fanboy searching for "likes". Makes me trust you more than other streamers.
Thank you so much! I try my best to be objective while providing more than just spec info :)
I came up on your channel today by accident. I watched the video on large diaphragm vs small diaphragm condenser mics. You mentioned another video on the EV RE 20 mic. I thought you might be interested in a little history. I started in pro audio as an engineer in radio in the summer of 1966. The station I worked for was of marginal profit, hence they gave me a job. EV started to redesign their mic line about that time. They brought out the RE 635 as a "stick" mic. It had a response of 90 Hz to 13kHz. TV needed a hand mic that could be used by reporters. The old 635 needed a desk stand. The first new mic was the RE 15. It was a hand mic that had a cardioid pattern. I believe it had a response of 80 Hz to 15 kHz. It was followed by the RE 16, which was the same mic, but with a blast filter built on the mic. Up to this time, the RCA 77 dx was king in radio studios for announce work. It's output was probably 10 dB lower than an SM 7B. All the old radio and TV audio consoles had gain on the mic inputs for ribbon mics. If you connected an RE 15 to one of these inputs, the preamp could clip if you spoke too loud. This was vacuum tube circuitry. The ein of these tube preamps was around -118 dB. ABC replaced the RCA mics in Hollywood with RE 15 mics on the Lawrence Welk Show around 1967. They were way more rugged than the RCA ribbon mics. They used them on saxes, trombones, and trumpets. I don't recall what they were using on piano, rhythm, and strings. They were successful, and TV started using them everywhere. Remember, the RE 15 cut off around 80 Hz. EV had requests to design a single D cardiod mic that had a flat low end. They introduced the RE 20 around 1968. It quickly was used on tenor and baritone saxophones as well as trombones that benefitted from extended low end. The RE 20 did not see much announce use until the late 1970's and early 1980's.
The RE 20 sold for about $225 when it came out. I bought a new Neumann U87 get mic for the radio station in 1969 for $360.00. The RE 20 was good, but no match for the Neumann. I find it interesting the RE 20 is about $650 now and the Neumann is over $3000.00. The Neumann has seen a couple of design changes over the years.
Shure brought out a competing mic for the RE 20 for announce work in the early 1980's called the SM 5 "fat Albert". It came with a built in shock mount and was encased in a foam cover. Announcers liked them. Shure replaced the SM 5 with the SM 7B about six years later. It had a much lower output than the RE 20 and SM 5. By that time audio consoles were solid state and the mic preamps had 15 dB to 20 dB less gain than the tube consoles. Another change was the input impedance of the mic preamps. The RCA mics required a matching input impedance of 150 or 250 ohms for a flat frequency response. The RE series mics were 150 ohms output impedance, but could run into a mic preamps with a bridging input impedance of 1200 ohms or greater without a response change. This bridging input impedance allowed use of the full voltage output of the mic without the -6 dB drop of a matching load. These early transistor console mic preamps had an improved ein of around -124 dB. Between the improved ein and the additional output from not matching the mic output impedance, the signal to noise improved 10 dB to 12 dB. Mic preamp gain was reduced accordingly. I finished Engineering School in college and worked as a designer for an audio consoles company. Eventually, showbiz called and I returned to broadcasting, this time in TV at the network level. I retired in 2015 after 49 years. I worked in design and maintenance, but would be moved to operations to mix if music was involved because I played clarinet and tenor sax and could read a score. I had a lot of fun. Hope you enjoy your career too.
A lot of these reviews are from podcasters, who are finding these mics now. I've used this in the studio on bass, kick, vocals and its always done the job. For live sound it is industry table on stage. I've seen many SM7s in radio stations but seldom in the studio. Its not the SM7 won't do the job, its just that many more inexpensive mics do it as well or better. For every time an SM7 has been used on a guitar cab the SM57 has been on a thousand. And its $100. Also, 75% of every radio stations I've been in has had the RE20 as standard. Podcasters etc, may have different needs, I understand, but the fact is for very close to the same money the RE20 is far more versatile. One more thing is they didn't think of looks in those days but built a Mic for broadcasters and studios , not thinking it would find its way to you guys!! You can find cool looking mics but this one looks pro to me and delivers pro. Great review!!
Absolutely 100% agree with these points! The SM7 vs SM57 for guitar cabs really hit hard for me lol
RE20 is definitely a staple and icon in radio broadcasting all around the world! Great review :)
Thanks so much!!
Your turning into my favourite TH-camr, I’m really looking forward to seeing you test out the Shure mv7 and comparing it with the other mics :)
Ah thanks dude!! As soon as I can get my hands on one I definitely will :)
I really enjoyed the NT1 & RE20 comparison here! I got an RE20 for podcasting, I'm not a fan of the sound of the SM7B, and a big reason was the improved noise rejection, which as you've noted is a bit of a disappointment. I've got 2-3 loud people recording in a room across a desk and the bleed can be a problem.
Thoughts on the RE20 vs NT1: The RE20 holds up pretty well on your voice, doesn't sound as pinched or muffled as most dynamics. The biggest difference is actually there's still a decent amount of breath & plosive sounds on the RE20 which surprises me, given the adjustment of having the mic off axes.
I might try a BSW Repop if I'm going to have a guest use the mic.
Thanks for the review!
Glad you enjoyed man! Yeah I was actually surprised listening back to the recordings how much I thought the RE20 sounded condenser-like. Obviously not the same at the NT1, but you could tell it was quite clear and condenser like. And happy podcasting too!
The reason why the SM7B has less proximity effect than the SM57 is because its capsule is deeply recessed in the head basket, such that you can't get very close to it.
Pattern tightness and proximity effect are intimately related. In order to provide directionality a mic must sense pressure gradients instead of pressure magnitude, and gradient-sensing is exactly what creates the proximity effect. The fact that the RE20 has a wider cardioid pattern than the Shures gives it inherently less proximity effect even before variable-D comes into play.
On a related note, technologies like Variable-D and Shure's DualDyne (from the KSM8) make further compromises in the polar pattern to reduce proximity effect. If you look at the polar plots for the RE20 its pattern has increasing rear response at
Danke!
Thank you so much you're entirely too generous my friend!
I got this mic a few months ago. The funny thing is, I kinda like the SM7B a little more on my voice lol. Especially when I switch on the SM7B high pass. I’ve been loving my Rode Broadcaster too.
Dang that sucks though!! I've been loving it, just as long as its not running through those dang audiobox preamps haha
@@AudioHaze haha facts! It’s still a great mic. And I still use the RE20 quite often! Especially on stream (RadJ1191)
I've actually used the SM7B on upright bass a couple times and found it pretty nice when used together with a condenser/ribbon mic to capture the low-end! I've also used it on a guitar amp but I think the SM57 or E906 make for a better choice.
That being said the RE20 does have that charisma and it makes you look that much cooler haha. Absolutely love using it on kick-in due to how it captures the attack without feeling like it's punching you in the ears.
As always, great video my man! Appreciate the hard work!
yesss the sm7b ribbon combo really seems like it would do great for that low end BEEF.
And thanks as always my friend :)
I feel like the RE20 and the NT1 would have sounded a lot more similar had you gotten up close to the NT1
Ohhhh yesss! Love the vid! THATS MYYY ROOMM!!! How did you get in my room, audiohaze!!?!?
^the man whose room I hijacked haha
Yaaaaaaaayyyyyyyyy,
When I see your video I leave everything and plays your video.feels great.
I can always rely on you for the sweetest comments 😭
@@AudioHaze That's because you might have no idea that how much effort you outs into your video.and how good it really looks.
I found one for $250 and just couldn’t pass it up. I bought it on eBay as open box, but it doesn’t even have a scuff and has that new mic smell. So far very pleased with it on my goxlr!
Being a bassist, I’ve always been more interested in the RE20 more than the SM7b… but what’s the difference between the RE20 and the RE320?
Besides some slight variations in frequency response, I think they're pretty similar? If I recall the RE320 is made overseas and the RE20 is made in the US. Don't quote me though
Watch this comparison of the 20 and 320. It was made by the man who created the 320. th-cam.com/video/5ruNTeSaNKU/w-d-xo.html
We use the Rode Procasters on the Social Media Ruins Everything podcast, but we’ve agreed that “once we make it” we’ll be upgrading to the RE20, black ones. Mostly because Thom used the RE20 in the Basement recordings. But also because they sound amazing.
Yessss, happy to hear Thom did it for other people too haha
Everyone has an SM7B, that’s why I choose the Electro Voice RE20. Just placed an order yesterday
Enjoy it my friend!!
yo I gotta admit at first I was aiming for a SM7B but because of you Im actually considering buying an SM57... I currently Have an AT2035 connected to a Scarlet Solo 3rd gen... I wanna move from a condenser to a dynamic mic for a few reasons but the biggest reason is that Acoustic treatment isnt an option for me rn (student) So I think im better off with a mic that pics up less background/room noise... I just have a few questions: do I need a cloudlifter for the SM57? is the sound of it clean (no white noise?) or should I just upgrade my mic to something like an NT1?
If you have a scarlett or any other reasonable interface you won't need a cloudlifter! The only interface I've used that couldn't power the 57 all the way on voiceover is the Audiobox USB, but thats an old interface anyways. The 57 will do awesome, the NT1 will still pick up plenty of background noice, arguably more than your AT2035. The 57 is super clean in my experience, if you have a scarlett, motu m2, or uphoria interface (most people I find have those), you'll only need like 70% of preamp gain and it will be plenty quiet :) hope that helps!
@@AudioHaze cool! now I want even more the 57, but like, not having the hiss sound is really important to me tho, because I do music ya know? mostly just vocals and acoustic guitar the rest is mostly midi... Tbh I think Im gonna end up just keeping my At2035 for now and upgrade my room acoustics
@@purpleheart69420 in your set up I would use a 57 for vocals, get the nice rejection, and the acoustic use the at2035, really good singer songwriter set up :)
Well… the Sound is fine. Not as Shure-ish oversmoothed, not as RØDE-ish ultraclean. I can see why it’s called the SM7B‘s arch enemy. I love this flat sound signature. But the microphone is just too big for my needs.
Haha it is quite a cumbersome mic I will admit
Have you experimented with the mic by taping over the vents along the, uh, shaft? I can sorta see how essentially keeping the diaphragm suspended in free air might be able to prevent an excess of low-end boom from proximity effect, but would be fun regardless.
It sounds awesome unprocessed, at least my $2 earbuds tell the difference. I'm going to check it later with my headphone monitors. I agree with the rejection issue, my RE11 rejects better than the Shure mics, maybe it's because the capsule diaphragm's diameter???
What happens when you speak totally close to the side vents?
haha the closest I've gotten to the grills, it mostly just sounds like an uncolored quieter audio signal, nothing special :)
@@AudioHaze that's weird, my RE11 captures low end from the side vent. Maybe the mics are really different after all 🤔
You got the weirder one…..You Win!!! SCORE!! 🤘😎❤️❤️❤️
YES EXACTLY!
For VOICE? Every day and twice on Sundays, it's the RE-20. For guitar cabinets? Tougher choice, but I think the RE-20 still takes the win by a little.
Could you tell us what processing you done in the processed section? Thanks.
Good comparison to the NT1.
Hey it's Sadie *again* ✋ What services do you offer? As in, I need a filter curve for my specific voice to sound more normal, less sultry. I narrate audiobooks and mainly book erotica. I love it....but i wanna be the next David Attenborough so...
Thanks! Lol you're like "get rid of this pain in the @$$ chick already" 😆🤦
P.S.- my Rode is coming in less than 2 weeks. Im way too excited about this!
SM57 with motu m2 is a good combo ? or better combo for the same price ?
It is indeed a brilliant combo, highly recommend
@@AudioHaze is it good for nasal voice ?
Are you familiar with the Neumann BCM 705?
Only vaguely!
Can you record decent quality vocals in a car with an sm 57 or will comb filtering and modal ringing cause the voice to sound thin boxy n dead?
You may get some of it, but I think with a 57 it won't be too terribly strong. I've done it before and it sounded pretty decent! You do get weird looks in the parking lot though
@@AudioHaze glad that you’ve tried it with the windows up and had no issues. My cars tinted now, most people only briefly look.
Are there any other mics that have a similar design that doesn't break the bank?
There’s the RE320! Looks exactly the same
Oh this isn't breaking the bank.
Look pro….feel pro….SOUND pro….BE pro. 😳🤯😎👍❤️❤️❤️
i really liked the video very nice quality sound but can you make a video compering this to podmic or pocaster mic (:?
I would love to but I would need to be able to get my hands on one! I'm not big enough to get them sent to me haha
I bought because of Thom Yorke too 😍 lmao.
Yes good, if I could I'd just buy any gear he uses haha
*"I am so excited. And homeless."* Relate.
I’m glad I’m not alone
It’s nice but I still prefer the SM7b.
To each their own! Its a great mic :)
I think it doesn't sound as warm as the Shure SM7B. Worse, the RE20 needs a shockmount. In addition, there is a rotting sponge structure inside. A built-in pop filter. Years can pass with a dusty and rotten filter. The end user does not know about it. In addition, the Shure SM7B is not affected by the electromagnetic environment. I always prefer the Shure SM7B with a warmer-sounding and easy-to-maintain internal shockmount over a dusty and stuffy RE20.
the re20 killed the sm7b 20 years before the sm7b was born BUT everyone is different you might sound good but someone else might sound bad this mic has been used in every radio station in the US and around the world since the 70s
I would say the sm7b is bigger today just because of content creation and podcasting, its a trendy mic at this time ya know
@@AudioHaze totally agree.... joe rogan
I Love this mic, the comparison booth junkie once did really made me realize how much better it sounds, especially on his voice (edit: compared to the sm7b I mean^^)
True! I love that review as well :)
Basically every Merican guy compares the SM7B with RE20 because they cost same in US, and everybody recommends the RE20, but bro in EU, the RE20 costs above fqin 600$ that´s messed up. I wanted the black RE20 over my SM7B, but the pricing? F OFF
Dang sorry to hear :/ well the sm7b may be the way to go then, but there are also a ton of other cheaper options like the SM57
my RE-20 clip accepts a flathead on each side. Dunno where this Philips head nonsense came from.
Didn’t you get one of these because you’re idol, Rush Limbaugh had one? How do you get one gilded in gold color like Rush had?
Haha I mean my idol is definitely not Rudy Limbaugh 😂
@@AudioHaze I’m curious how he got a gold one. Does EV have a custom shop like Fender, etc. does? Did he get one then had it taken apart to plate it? When you get your permanent studio and a shock mount for the mic, it would be so funny to dress like Rush and do a episode.
I had an SM7b, and an RE20. The RE20 seemed very dull to me-on my voice anyway.
help..... where the f are you now kenneth!?!?!?
KENNETH WE NEED YOU
R e's Rock sm-7 schlock
haha thats my new catchphrase
Help
Thank god you’re here we were worried
You should stay about 6 inches from it and not talk directly into it like you are doing. It really does not sound that good the way you are using it. I have one and I like it very much.
But I love proximity effect!
Me too but only when I can control and regulate it!
@@AudioHaze that’s true. In the wrong hands it can be painful to deal with.
Throw away that ugly SM7 and beg or borrow an RE20.
hahahaha
First
Two times in a row, impressive :)
@@AudioHaze 🙂
Can't sing on a sm7b, M. JACKSON ... 😅😅😅
I think you are trying to copy podcastage guy. To be honest I think you are in the wrong direction.
@@ChrisIzaaaks i have no idea what you talking about. Anyway after watching your previous videos I found them very informative.