To clarify something you hinted at, Mike: The RE20 family (including this one), plus the Shure SM7b, are ubiquitous in radio broadcast studios because they are VERY FORGIVING of careless mic technique, which you get with most guests, and even some talent. A good compressor will smooth out the volume differences, and the EV's Variable-D keeps the EQ fairly consistent. The Shure lacks the variable-D, but the construction of the mic discourages users from getting too close, so it accomplishes something similar.
In that sense for guests I feel like the SM7b would be the best mic. I found that a lot of people find an RE20 or 27 awkward/scary to move around in its giant shockmount.
Nice review, as always. I like that you made comparisons between so many different levels and styles of microphones. Too many to comment on all of them, but when I heard the e100s next to the RE27, the e100s seemed to have a slight smiley face EQ. Not sure if it was the brightness of the RE27 or something about the CAD, but that's the way it sounded in this case, to my ear. If you have time, it would be interesting to hear these outside the booth. For those of us who have less than ideal environments, it would be helpful to hear how these same microphones deal with external noise, room echoes, etc. You mentioned this kind of application several times in your review, and it made me want to actually hear them. FWIW, I make how-to videos and do voice-over sometimes where I'm mostly focusing on clarity and being heard. I have resigned to using a shotgun, up close, because everything else sounds like I'm recording in a tunnel, with a pack of dogs, and some industrial machinery humming in the background. :) I imagine that I'd also like a dynamic mic like the ones you featured here. Yes, I need room treatment, but I have a lot of things on the list... Thank you, sir!
Just borrowed this mic from EV (Europe) to try out voice overs for my YT videos. Damn it is a great mic. Thanks for taking the time making these great videos! Cheers!
The RE27N/D is a newer design which makes it younger than the RE20. In the current family of RE27N/D, RE20, and RE320, it is not a step up or step down -- it is a step sideways. The RE320 uses the same type of capsule design used in the RE27N/D. I agree that the RE20, being a flatter response curve, will need to use different EQ to achieve similar mud reduction and presence clarity with male voices already inherent in the RE27N/D. I believe the price differences mostly reflect inherent production cost differences. I have all three and use them for my male voice in Zoom, Google Meets, Apple FaceTime, and Skype all with slightly different EQ settings in the dbx286s processor I use with them. If I had to choose to buy only one for my voice and my current use, it would be the RE27N/D although I find the differences not so large that I would not use either of the other two albeit, with some different EQ settings. Thanks for the demo and review. You run a great channel.
Great review. I have a 20 and it's not really a great mic, the 27 sounds way better and is much clearer. I know you've avoided saying 'better', but the 27 is better for overall frequency response and clarity, I can't imagine a voice that would benefit more from the 20 over the 27. Again, great review, thanks.
Special request: Can you please do a Booth Junkie on how to replace the rubber rings in the CAD E100S shock mount? By the way loving the TLM103 over everything else.
Mike, this mic sounds absolutely fantastic. Obviously not as warm sounding as some of your LDC's and your 416, but so clear and great to listen to. Thanks for the review.
TH-cam Channel I use a large diaphragm condenser, and agree that you don't generally use a dynamic mic for VO, but I personally like the way the RE27 sounds.
TH-cam Channel What I liked in Mike's 2 videos with the RE27 was the clarity. To me it sounds much clearer than the SM7b. I agree that for VO you can get an LDC that will work better at a cheaper price like the CAD E100S or the Rode NT1 (2013/2014) that I use, but I just like the clarity in his videos. I don't have experience with dynamics, so I don't know the ones you mentioned or how it would stack up against a Heil.
Very interesting video, thanks! The 27 sounded most similar to the SM7b I think out of those, but slightly clearer. There was a huge difference between the NT1a and the 27! The 27 sounds really nice on your voice. I'd kinda written it off as a choice after watching those RE Mic guy videos, but actually it might be something I should look at trying. Now that you've had a chance to listen to the samples fully yourself Mike, how do you think it compares to the other mics in your video?
I have had great results with the EV RE510. It is a forward-address condenser that behaves a lot like a ribbon. However one does need an isolated booth and be careful with gain.
My production partner and I recorded a trombone solo in an untreated NYC hallway with my RE27 N/D and the outside street noise of Manhattan's Lower East Side was non existent. I have also used the RE27 N/D on soprano sax and upright bass - in quieter environments- to great success.
4 ปีที่แล้ว
I had one. It's okay for radio since it's a dynamic and it blocks out ambient noise, but I found it doesn't have the brightness needed for commercial work, especially in the higher frequencies. I like the feature that it has that makes it a little more brilliant. Notice how it gets muddy and overmodulates on the louder higher frequencies.
Mike, as always .... Great comparison/review. thank you. Love my Apogee USB... but now with my zoom H5, I'm ready to grow into XLR mics and learn bit more technical & technique. I'm now at a standstill for to actually purchase. Does anyone have a preferred broadcast supply rental they work with? try before you buy?
Thanks for this . . .I just returned and EV-RE20 for the kinda muffled, lack of brilliance, in my raw recordings. I deal with environment noise, because I don't have a soundbooth yet. So I've been trying out dynamic mics for that reason. This one looks like a much better option. . The RE20 was very heavy, and with some of my older stands that I have, I couldn't find one that would actually hold it without eventually drooping. I really do like the Sennheiser on your vox for sure. I can see why you stick with that. Right now I'm back to my AKG Perception 400 and relying heavily on RX6 - I appreciate the review!
I got the Sennheiser 416 because I was impressed with Mike's use of it, love, love it, and don't have issues with environment noise, if I do, I use waves NS-1 plugin with adobe audition to take care of most issues.
Great choice!!! I personally have the RE320, baby brother to this one, and find it to be very nice. The transients and smoothness rival many condensers and the Continuously Variable-D design really eliminates boominess and non-linearity (muddiness) of most "proximity effect" (Single-D) mics. The Neodymium design really extends transient response, thus bringing out an "air" and rounded quality to the higher and top regions. I hope someday to be able to attain one of these for my own use. I really think a cloudlifter or FETHEAD would be helpful because these dynamics do not have the internal amplification that a condenser has to bring the signal up to higher output preferred in most preamps. Your videos really do rock because they are not only informative and great discussion starters but you are very entertaining to listen to and watch. Keep up the spare time sharing and go record something AMAZING! (Sorry, I stole that from someone I heard on the interweb.)
lovely microphone, reminds me of my re320. The RE series are in my opinion by far the best dynamic microphones that a normal person can buy, unless you need very aggressive sound rejection (this is the only time I like the sm7b more)
I have several RE20s in new production booths, and the waveforms on my Audition timelines/sequence are barely registering. Is that indicative of the RE20? Wishing I had purchased RE27
Hi Mike, long time viewer. I really liked the way the re27 sounds on your voice. I am going to be getting one next week, if I like it I give you my thanks.
I tried and didn't like the 320, which put me off trying the 20 and 27. Maybe I had a bad one, but it had more self noise than I was expecting and didn't sound good.
Mike, please, explain the reason of having those switches. they remove some sounds in a given range but I can do the same in my reaper, don't I? Is this feature only for live streams or radio broadcasting or what? Thanks a lot for an answer :)
The 27 isn´t meant for voice recordings only, it´s actually used for all kinds of recordings. For example the whole brass section of the Buddy Rich Big Band used RE 20s and 27s. So, let´s say you set this mic in front of a piccolo flute you may use the treble filter as the piccolo may be a little too sharp on this mic. Or if you put it in front of a timpani you don´t want too deep bass frequencies to be picked up. So you use the bass filter. Let´s say those filters are the fine tuning of the mic.
@@anonymusum Yes, thanks, you're right. The only thing I don't get is what's the difference between butting the same in a DAW. I mean if I haven't recorded that treble I don't have it on the recording whatever I do but if I do have it why cannot I just remove it later?
@@golosbezdoka Let´s take that example with the piccolo flute. If it sounds harsh on the recording it will take you much more effort to smoothen it in your DAW. Same goes for too big bass frequencies etc. It´s always better to fix sounds in the source than repairing it in the DAW. Additionally you may get problems with volume peaks if certain frequencies are overemphasized.
This sounds terrific for Mike. I was all set to buy this--despite the price--but I watched Bandrew's review at Podcastage. My voice is (unfortunately) closer to Bandew's than Mike's, so I don't think I'll be spending 500 bucks.
Funny. Our college radio station has a number of RE 27 NDs, and I generally don't prefer the brighter tones of the mic. Instead, I prefer the warmer tone of my AT2035 condenser that I use at home.
If you watch the EV guy, it appears he leans in closer when he talks into the RE20. Is there proximity effect at play here? It would have been nice if the EV Guy conducted a more controlled comparison, backing off the mics at a distance similar to those used here by the Booth Junkie and recording samples that have similar output levels. Love these comparisons, thanks!
The re20 has what is called variable-d so the proximity effect doesn't affect the tone of your voice (as much). The ev mic guy explains it best in his "re16" video.
I have only used an RE20 once and that was over 10 years ago. I am not familiar with 'variable-d,' but your comment intrigued me. I just found this on the EV website: "Variable-D mics use frequency selective rear ports to achieve a cardioid pattern. This results in considerably less proximity effect in comparison to single-D designs." This is great information, many thanks!
Good to see this review. Good work, but the term NEODYMIUM is pronounced slightly differently: NEE - OH - DIM - E - UM. Even though it has that confusing Y in there the middle syllable is "DIM" just like in "There was a dim light outside". This is a critical material presently mostly provided from China and it is essential in modern electronic devices since it makes modern magnets far more powerful for their size (and most magnets in devices are small).
Great video. I have a big bassy voice and after much consideration bought a SM7b (and a Cloud Lifter) I tried to make a Yeti Pro work in my studio, which is treated but not near a whisper rooms level of quiet, and it picked up way too much. The 7b works perfectly in this space. Was considering the RE27 but am glad I chose the 7b. Besides, the RE 27 looks like a huge robot phalus and I don't think I could ever get used to that. Cheers.
Another excellent informative review and comparisson video! It would be great to see one review for the Audio Technica AT4033 ASM. Or Shure KSM32CG. Keep the reel rolling! Rec on
I agree the RE20 sounds great, but I find it to be too "broadcasty" and fatiguing to the ear. This is leading me towards the 27 but I can't find one locally or online ... :(
Not to the same extent as mics without Variable-D. It's the loudness curves of your ears that "trick" you into thinking there's more bass. There's a little more, true, but not much.
Ok. With the 'proximity effect' you're always going to get more bass, no matter the mic, because you're moving closer to it. I just noticed it, that's all..
I have an RE20, and it sounds like the RE27 would cut through music better. Still, the RE20 sounds great, and I hear many people use EQ if an RE20 is used for singing
RE27 and the 416 are so close. the bass response are almost the same. I now see VO artists using the RE27 because it sounds close. RE27 Frequency Range 45 Hz to 20 kHz. The 416 Frequency Response 40 to 20,000 Hz. Closer than you think. The RE27 is half the price and don't need a VO booth.
I have a Pyle pdmik1 but I do have a good recording space and audio interface so I need a good condenser mic for under dollars. Can you please help me!!!
Awesome demo. No comparison, RE27 is sweet! More character, depth, not as boxy. What is your preamp, please? Great job with these! Any thoughts on NTK, or tube mics? And thoughts on GAP mk3.
The ElectroVoice RE-320 microphone is a better less costly microphone than the ElectroVoice RE-20. The RE-20 has a audio transformer that the audio signal must pass through. Audio transformers limits audio bandwidth. The ElectroVoice RE-20 microphone has a narrower frequency response and lower audio signal output than the ElectroVoice RE-320 microphone. I own 16 ElectroVoice RE-27 N/D microphones the best microphones for digital recordings. Condenser microphones such as the Neumann u87 microphone are best for analog recordings such as open reel to reel analog tape recorders at 7.5, 15, and 30 (IPS's) inches per a second on quarter inch audio tape noise reduction needed. The preferred microphones for digital recordings are Dynamic or Ribbon microphones. Preferred Dynamic microphone is ElectroVoice RE-27 N/D and the preferred Ribbon microphone is AEA R44CX. These newest generation of Dynamic or Ribbon microphones that have Neodymium Iron Boron magnets that gives higher output, can withstand higher sound pressure levels, and broader frequency response, with no internal noise. The ElectroVoice RE-27 N/D microphone is the most forgiving microphone on the market. You do not need the best room acoustics just a lot of space for the Blues, Jazz, Reggae, Rhythm and Blues bands.
On the dynamic side of things, we use re20, re27, sennheiser md421. I do not like the 27 in comparison to either of them, and here, I absolutely don't like it compared to the sm7b. That said, you could speak through a soup can and sound good! Thanks for another informative and awesome vid.
Hi Teago, it looks like Mike is using Sennheiser HD280 Pro Headphones. I leave a pair in my car all the time for Voice Over Sessions at various Recording Studios around Brisbane and Gold Coast. They are now less than $200 AUD. Great headphones and the version 2 is on sale now.
It looked like there was a comment before yours, but when I clicked to view it, it went away. Did someone post the name of the headphones? They look like a pair of Sonys I used to have but I can't tell for sure.
@@chickenmuffin yes they aren't the same thing... but I like the cheaper one BETTER, understand? better sound in my year. BETTER .. cheaper - Better ... imagine that :O
I own a CloudLifter, but I'm not that thrilled with it. Oh, it WORKS just fine, but if you have a dynamic that needs lots of clean gain, a better investment is a channel strip with a good preamp that can provide all that clean gain. A CloudLifter is $150...say $100 used. You can get a dbx 286s for $150 used, and with it you get a good preamp, good compression, good noise gate/expander, good de-essing, and good EQ controls. I say "good" when I really mean "very good" to defend against the golden-eared audiophiles who will say all dbx stuff sucks. But consider that REAL radio stations use dbx 286 units all over the place. It's a fine unit, and for $150 it's a bargain. Disclaimer: I'm a live radio guy, so there's no time for "post processing"; I need all my mic processing to happen in real-time. That perspective colors my opinion.
I wonder what the RE27 would have sounded like without the resonator in the mouthpiece. Remember that the RE27 was supposed to be the successor to the RE20 but there was a revolt amongst devotees of the RE20 because of the '20's more neutral presence.
Cannot compare dynamic to condenser Mics. Dynamic is used to isolate surrounding noise. Condenser pickup to much surrounding noise. Hence the Condenser is only usually used in very well treated studios where noise bleed is not an issue. I have ordered to test out the RE27 against the BP40. Again for me, Dynamic is the only thing that can properly isolate from surrounding noise.
103 the best sounding, ballanced all the way Sm7b second, The rest of the mics sound too essssssy. If I had one thousand $, I would get myself the TLM 103.
Thanks so much for the review!!! I've been dying to know how a broadcast mic stands up. Regarding bass response and proximity effect I'd say it has plenty. Check it here: soundcloud.com/user-912707843/optimus-prime-demo-on-ev-re27-nd-plenty-of-bass-if-youve-got-it-to-give
Randall Kline - you certainly got it to give, however I don't hear an increased bass response over the increased mid-range with proximity. Sounds pancaked.
Yea, that part is flattened out probably partially due to bad EQ in post. I did it years ago, and I've hopefully gotten a little better. :-) Was really just a test to see if the RE27 could pick up those lower frequencies.
Randall Kline - Gotcha. I have an SM7b arriving today for my "car booth", but I'm really curious how the 7b's presence boost might measure up to the 27nd.. do you have any experience between the two?
I like to learn about microphones, don't plan on doing any voice acting, but really just tune in to listen to him talk...
Same!
The problem starts when you start buying microphones you never needed...
@Ty Brown Nice! Audio would would be super clean with the Fethead. Now you need to avoid upgrading to a mixpre 3 heh
Instablaster.
How you don't have more views I do not know. Always so in depth and well thought out! Keep up the good work
To clarify something you hinted at, Mike: The RE20 family (including this one), plus the Shure SM7b, are ubiquitous in radio broadcast studios because they are VERY FORGIVING of careless mic technique, which you get with most guests, and even some talent.
A good compressor will smooth out the volume differences, and the EV's Variable-D keeps the EQ fairly consistent. The Shure lacks the variable-D, but the construction of the mic discourages users from getting too close, so it accomplishes something similar.
In that sense for guests I feel like the SM7b would be the best mic.
I found that a lot of people find an RE20 or 27 awkward/scary to move around in its giant shockmount.
@@annekedebruyn7797 then... dont use the shockmount? pretty sure they have internal vibration damping
@@lucasc5622 Barely enough for a rough environment like in broadcasting.
The RE27 sounds great on your voice. The benefit is you don't really need a VO booth
This is the best mic test I have ever seen/heard! Thanks MIKE Excellent test!
Thanks for this. Helped me choose a few months back. I really like the Re27. One of the best purchases I have made.
I like this mic best with the high cutoff switch engaged.
Nice review, as always. I like that you made comparisons between so many different levels and styles of microphones. Too many to comment on all of them, but when I heard the e100s next to the RE27, the e100s seemed to have a slight smiley face EQ. Not sure if it was the brightness of the RE27 or something about the CAD, but that's the way it sounded in this case, to my ear.
If you have time, it would be interesting to hear these outside the booth. For those of us who have less than ideal environments, it would be helpful to hear how these same microphones deal with external noise, room echoes, etc. You mentioned this kind of application several times in your review, and it made me want to actually hear them.
FWIW, I make how-to videos and do voice-over sometimes where I'm mostly focusing on clarity and being heard. I have resigned to using a shotgun, up close, because everything else sounds like I'm recording in a tunnel, with a pack of dogs, and some industrial machinery humming in the background. :) I imagine that I'd also like a dynamic mic like the ones you featured here. Yes, I need room treatment, but I have a lot of things on the list...
Thank you, sir!
You're the best mix reviewer. You deserve more!
Thank you Mike! This video helped in my decision to get the Re-27N/D. Love your videos brother!
Just borrowed this mic from EV (Europe) to try out voice overs for my YT videos. Damn it is a great mic. Thanks for taking the time making these great videos! Cheers!
The RE27N/D is a newer design which makes it younger than the RE20. In the current family of RE27N/D, RE20, and RE320, it is not a step up or step down -- it is a step sideways. The RE320 uses the same type of capsule design used in the RE27N/D. I agree that the RE20, being a flatter response curve, will need to use different EQ to achieve similar mud reduction and presence clarity with male voices already inherent in the RE27N/D. I believe the price differences mostly reflect inherent production cost differences. I have all three and use them for my male voice in Zoom, Google Meets, Apple FaceTime, and Skype all with slightly different EQ settings in the dbx286s processor I use with them. If I had to choose to buy only one for my voice and my current use, it would be the RE27N/D although I find the differences not so large that I would not use either of the other two albeit, with some different EQ settings. Thanks for the demo and review. You run a great channel.
Great review. I have a 20 and it's not really a great mic, the 27 sounds way better and is much clearer. I know you've avoided saying 'better', but the 27 is better for overall frequency response and clarity, I can't imagine a voice that would benefit more from the 20 over the 27. Again, great review, thanks.
The Re27 is awesome... The NT1 needs a pop filter but sounds just as good, for half the price.
Excellent review! I was wondering about the other EV microphones and this is what I needed to hear. Cheers 🍻
There's something really fascinating about mic shootouts
Special request: Can you please do a Booth Junkie on how to replace the rubber rings in the CAD E100S shock mount? By the way loving the TLM103 over everything else.
You’re one of the only microphone reviewers on TH-cam who has a decent voice.
Right everyone else sounds like a clown, makes it hard to compare.
at 0:05, I'm like "....uh, Mike? You coming back?"
Mike, this mic sounds absolutely fantastic. Obviously not as warm sounding as some of your LDC's and your 416, but so clear and great to listen to. Thanks for the review.
TH-cam Channel I use a large diaphragm condenser, and agree that you don't generally use a dynamic mic for VO, but I personally like the way the RE27 sounds.
TH-cam Channel What I liked in Mike's 2 videos with the RE27 was the clarity. To me it sounds much clearer than the SM7b. I agree that for VO you can get an LDC that will work better at a cheaper price like the CAD E100S or the Rode NT1 (2013/2014) that I use, but I just like the clarity in his videos. I don't have experience with dynamics, so I don't know the ones you mentioned or how it would stack up against a Heil.
Very interesting video, thanks! The 27 sounded most similar to the SM7b I think out of those, but slightly clearer. There was a huge difference between the NT1a and the 27! The 27 sounds really nice on your voice. I'd kinda written it off as a choice after watching those RE Mic guy videos, but actually it might be something I should look at trying.
Now that you've had a chance to listen to the samples fully yourself Mike, how do you think it compares to the other mics in your video?
I realize this is off, however I'm wondering what type of acoustic treatment you have. Could you explain please? Thank you.
I have had great results with the EV RE510. It is a forward-address condenser that behaves a lot like a ribbon. However one does need an isolated booth and be careful with gain.
My production partner and I recorded a trombone solo in an untreated NYC hallway with my RE27 N/D and the outside street noise of Manhattan's Lower East Side was non existent. I have also used the RE27 N/D on soprano sax and upright bass - in quieter environments- to great success.
I had one. It's okay for radio since it's a dynamic and it blocks out ambient noise, but I found it doesn't have the brightness needed for commercial work, especially in the higher frequencies. I like the feature that it has that makes it a little more brilliant. Notice how it gets muddy and overmodulates on the louder higher frequencies.
just bought a Re27. but still love re20!Thank you for your vedio!
The RE27 definitely for me.
I have two RE27's and two SM7b's. The 27's. Have a clarity that just rings through. Less processing post.
Mike, as always .... Great comparison/review. thank you. Love my Apogee USB... but now with my zoom H5, I'm ready to grow into XLR mics and learn bit more technical & technique. I'm now at a standstill for to actually purchase. Does anyone have a preferred broadcast supply rental they work with? try before you buy?
Thanks for this . . .I just returned and EV-RE20 for the kinda muffled, lack of brilliance, in my raw recordings. I deal with environment noise, because I don't have a soundbooth yet. So I've been trying out dynamic mics for that reason. This one looks like a much better option. . The RE20 was very heavy, and with some of my older stands that I have, I couldn't find one that would actually hold it without eventually drooping. I really do like the Sennheiser on your vox for sure. I can see why you stick with that. Right now I'm back to my AKG Perception 400 and relying heavily on RX6 - I appreciate the review!
I got the Sennheiser 416 because I was impressed with Mike's use of it, love, love it, and don't have issues with environment noise, if I do, I use waves NS-1 plugin with adobe audition to take care of most issues.
I didn't think it was possible for a dynamic to be too bright but the RE27 managed it. I would never use this without the presence cut enabled.
Great choice!!! I personally have the RE320, baby brother to this one, and find it to be very nice. The transients and smoothness rival many condensers and the Continuously Variable-D design really eliminates boominess and non-linearity (muddiness) of most "proximity effect" (Single-D) mics. The Neodymium design really extends transient response, thus bringing out an "air" and rounded quality to the higher and top regions. I hope someday to be able to attain one of these for my own use. I really think a cloudlifter or FETHEAD would be helpful because these dynamics do not have the internal amplification that a condenser has to bring the signal up to higher output preferred in most preamps. Your videos really do rock because they are not only informative and great discussion starters but you are very entertaining to listen to and watch. Keep up the spare time sharing and go record something AMAZING! (Sorry, I stole that from someone I heard on the interweb.)
Gosh, your CAD really came through best this time.
lovely microphone, reminds me of my re320. The RE series are in my opinion by far the best dynamic microphones that a normal person can buy, unless you need very aggressive sound rejection (this is the only time I like the sm7b more)
What preamp to you recommend for the RE27?
I have several RE20s in new production booths, and the waveforms on my Audition timelines/sequence are barely registering. Is that indicative of the RE20? Wishing I had purchased RE27
We have both. For me, re20 every time. If you have tried the 27 out by now, I'd love to know your impressions.
Hi Mike, long time viewer. I really liked the way the re27 sounds on your voice. I am going to be getting one next week, if I like it I give you my thanks.
Great video. I have the Re 320 and I find it to be good for the male voice really brings out the lows but not as clear as the Re 27.
I tried and didn't like the 320, which put me off trying the 20 and 27. Maybe I had a bad one, but it had more self noise than I was expecting and didn't sound good.
I also have the RE320 and i love it, sounds amazing to me.
Maybe mine was defective then. I returned it anyway. I must admit the 27 in Mikes video sounds extremely nice!
I agree I also just picked up a aston origin and dam good sound with little eq better then the AT 4040.
Aging Jedi love your video's to bro been a sub from the start.
Mike, please, explain the reason of having those switches. they remove some sounds in a given range but I can do the same in my reaper, don't I? Is this feature only for live streams or radio broadcasting or what?
Thanks a lot for an answer :)
The 27 isn´t meant for voice recordings only, it´s actually used for all kinds of recordings. For example the whole brass section of the Buddy Rich Big Band used RE 20s and 27s. So, let´s say you set this mic in front of a piccolo flute you may use the treble filter as the piccolo may be a little too sharp on this mic. Or if you put it in front of a timpani you don´t want too deep bass frequencies to be picked up. So you use the bass filter. Let´s say those filters are the fine tuning of the mic.
@@anonymusum Yes, thanks, you're right. The only thing I don't get is what's the difference between butting the same in a DAW. I mean if I haven't recorded that treble I don't have it on the recording whatever I do but if I do have it why cannot I just remove it later?
@@golosbezdoka
Let´s take that example with the piccolo flute. If it sounds harsh on the recording it will take you much more effort to smoothen it in your DAW. Same goes for too big bass frequencies etc. It´s always better to fix sounds in the source than repairing it in the DAW. Additionally you may get problems with volume peaks if certain frequencies are overemphasized.
That RE27 has the best of both worlds with the 3 switches.
! Excellent review! Thank you so much.
I have a fairly low bassy male voice and i feel that the RE 27N/D is more warm, more alive... The SM7B seems to be more muddy...
This sounds terrific for Mike. I was all set to buy this--despite the price--but I watched Bandrew's review at Podcastage. My voice is (unfortunately) closer to Bandew's than Mike's, so I don't think I'll be spending 500 bucks.
Funny. Our college radio station has a number of RE 27 NDs, and I generally don't prefer the brighter tones of the mic. Instead, I prefer the warmer tone of my AT2035 condenser that I use at home.
What about re320? Re320, 20, 27 Which is optimal to buy just for speaking purposes?
If you watch the EV guy, it appears he leans in closer when he talks into the RE20. Is there proximity effect at play here? It would have been nice if the EV Guy conducted a more controlled comparison, backing off the mics at a distance similar to those used here by the Booth Junkie and recording samples that have similar output levels. Love these comparisons, thanks!
The re20 has what is called variable-d so the proximity effect doesn't affect the tone of your voice (as much). The ev mic guy explains it best in his "re16" video.
I have only used an RE20 once and that was over 10 years ago. I am not familiar with 'variable-d,' but your comment intrigued me. I just found this on the EV website: "Variable-D mics use frequency selective rear ports to achieve a cardioid pattern. This results in considerably less proximity effect in comparison to single-D designs." This is great information, many thanks!
Good to see this review. Good work, but the term NEODYMIUM is pronounced slightly differently: NEE - OH - DIM - E - UM. Even though it has that confusing Y in there the middle syllable is "DIM" just like in "There was a dim light outside". This is a critical material presently mostly provided from China and it is essential in modern electronic devices since it makes modern magnets far more powerful for their size (and most magnets in devices are small).
Great video. I have a big bassy voice and after much consideration bought a SM7b (and a Cloud Lifter) I tried to make a Yeti Pro work in my studio, which is treated but not near a whisper rooms level of quiet, and it picked up way too much. The 7b works perfectly in this space. Was considering the RE27 but am glad I chose the 7b. Besides, the RE 27 looks like a huge robot phalus and I don't think I could ever get used to that. Cheers.
Personally I enjoy bringing my mouth up close to a huge robot phallus. Cheers.
That middle switch felt like you were talking into a crappy gamer headset mic or a phone mic or something.
Definitely one of those mics that you need to let your ears get used to help you to really appreciate its quality.
Which headphones are they BJ?
Midpass or bandpass
the RoXdon DC1 Large diaphragm Super Cardioid Dynamic looks good, is it? any chance of a review ?
Another excellent informative review and comparisson video! It would be great to see one review for the Audio Technica AT4033 ASM. Or Shure KSM32CG. Keep the reel rolling! Rec on
WHat headphones do you use?
Hold on! What preamp do you have with +60 dB of total gain? It can't be the Zoom H5, since it only has up to +52 dB.
Probably an audient id22, that's one of his most commonly used but he has others in the audient family
The mid cutoff is cool lo-fi setting if you do sound design or want to add a vintage sounding overdub :) just saying.
I agree the RE20 sounds great, but I find it to be too "broadcasty" and fatiguing to the ear. This is leading me towards the 27 but I can't find one locally or online ... :(
I can actually hear the bass being brought forward in your voice when you got closer to the mic. Sounds GREAT though.
Not to the same extent as mics without Variable-D. It's the loudness curves of your ears that "trick" you into thinking there's more bass. There's a little more, true, but not much.
Ok. With the 'proximity effect' you're always going to get more bass, no matter the mic, because you're moving closer to it. I just noticed it, that's all..
@@jthall5259 When something gets louder, your ears will hear the bass and treble more. Loudness curves. Human hearing.
I agree. I do voice overs as well as music. The proximity effect is a great technique to use without having to increase gain.
Thank you so much! Very useful video.👍
I have an RE20, and it sounds like the RE27 would cut through music better. Still, the RE20 sounds great, and I hear many people use EQ if an RE20 is used for singing
I have a sm7b and a re27. I love singing on the re27. The clarity on the re27 is amazing
super good review ! thanks!
Perfect video... Congratulation 🇧🇷🇧🇷👽👽
Great comparison video. Thank you.
Can you review the RE320 and the sennhiser MK4
RE27 and the 416 are so close. the bass response are almost the same. I now see VO artists using the RE27 because it sounds close. RE27 Frequency Range 45 Hz to 20 kHz. The 416 Frequency Response 40 to 20,000 Hz. Closer than you think. The RE27 is half the price and don't need a VO booth.
the inside cartridge of the 27 looks similar to 320, which displeases me, but I like the brightness
Not the same at all!!! See the EV Guy's you tube on the RE20, 27, and 320
great video mate! well done!!!
I have a Pyle pdmik1 but I do have a good recording space and audio interface so I need a good condenser mic for under dollars. Can you please help me!!!
I am having trouble finding the sennheiser mk4 4i6
Awesome demo. No comparison, RE27 is sweet! More character, depth, not as boxy. What is your preamp, please? Great job with these! Any thoughts on NTK, or tube mics? And thoughts on GAP mk3.
It's all about preference. I prefer the 20's muffled sound.
I prefer a sound in between. So i'd get the RE27n/d and EQ out just a bit of the higher frequencies
The ElectroVoice RE-320 microphone is a better less costly microphone than the ElectroVoice RE-20. The RE-20 has a audio transformer that the audio signal must pass through. Audio transformers limits audio bandwidth. The ElectroVoice RE-20 microphone has a narrower frequency response and lower audio signal output than the ElectroVoice RE-320 microphone. I own 16 ElectroVoice RE-27 N/D microphones the best microphones for digital recordings. Condenser microphones such as the Neumann u87 microphone are best for analog recordings such as open reel to reel analog tape recorders at 7.5, 15, and 30 (IPS's) inches per a second on quarter inch audio tape noise reduction needed. The preferred microphones for digital recordings are Dynamic or Ribbon microphones. Preferred Dynamic microphone is ElectroVoice RE-27 N/D and the preferred Ribbon microphone is AEA R44CX. These newest generation of Dynamic or Ribbon microphones that have Neodymium Iron Boron magnets that gives higher output, can withstand higher sound pressure levels, and broader frequency response, with no internal noise. The ElectroVoice RE-27 N/D microphone is the most forgiving microphone on the market. You do not need the best room acoustics just a lot of space for the Blues, Jazz, Reggae, Rhythm and Blues bands.
There's a reason why they use the RE-27 on The Herd.
On the dynamic side of things, we use re20, re27, sennheiser md421. I do not like the 27 in comparison to either of them, and here, I absolutely don't like it compared to the sm7b. That said, you could speak through a soup can and sound good! Thanks for another informative and awesome vid.
Excellent review!! Very helpful! Thank You Booth Junkie!!!
Isnt that the same one Kyle from Secular Talk uses?
Nice video. Thanks.
and what kind of headphones are you using?
Hi Teago, it looks like Mike is using Sennheiser HD280 Pro Headphones. I leave a pair in my car all the time for Voice Over Sessions at various Recording Studios around Brisbane and Gold Coast. They are now less than $200 AUD. Great headphones and the version 2 is on sale now.
What are those comfy headphones? I can never find any that don't either kill my head or my ears. :(
I think he's got Sennheiser HD380s there.
Indeed they are
It looked like there was a comment before yours, but when I clicked to view it, it went away. Did someone post the name of the headphones? They look like a pair of Sonys I used to have but I can't tell for sure.
Sennheiser HD380Pros
Thanks!
I love these videos :D
Listening further, the 103 sounds similar to a Ribbon Mic on the low end. Very similar!...hmmm.\
I really like this microphone ;(
More specifically, Electro Voice RE320
That's not really "more specific" it's a completely different mic...
@@chickenmuffin there are pretty much the same thing but 320 is cheaper and I like how it sounds
@@ElindorBG not the same thing at all... hence why one is twice as much as explained in the video.
@@chickenmuffin yes they aren't the same thing... but I like the cheaper one BETTER, understand? better sound in my year. BETTER .. cheaper - Better ... imagine that :O
Would you recommend using a Cloudlifter (or comparables) with a dynamic microphone in general?
I own a CloudLifter, but I'm not that thrilled with it. Oh, it WORKS just fine, but if you have a dynamic that needs lots of clean gain, a better investment is a channel strip with a good preamp that can provide all that clean gain. A CloudLifter is $150...say $100 used. You can get a dbx 286s for $150 used, and with it you get a good preamp, good compression, good noise gate/expander, good de-essing, and good EQ controls.
I say "good" when I really mean "very good" to defend against the golden-eared audiophiles who will say all dbx stuff sucks. But consider that REAL radio stations use dbx 286 units all over the place. It's a fine unit, and for $150 it's a bargain.
Disclaimer: I'm a live radio guy, so there's no time for "post processing"; I need all my mic processing to happen in real-time. That perspective colors my opinion.
The test ended up being, in effect, a commercial for TLM103. Fame well-deserved, it seems.
A mic you can eat!
I just got my booth junkie doze
more comprehensive than the title suggests.
4:25 But it really does have a proximity effect :P
Yeah you get the additional bass
Quality vid
I wonder what the RE27 would have sounded like without the resonator in the mouthpiece. Remember that the RE27 was supposed to be the successor to the RE20 but there was a revolt amongst devotees of the RE20 because of the '20's more neutral presence.
Cannot compare dynamic to condenser Mics. Dynamic is used to isolate surrounding noise. Condenser pickup to much surrounding noise. Hence the Condenser is only usually used in very well treated studios where noise bleed is not an issue. I have ordered to test out the RE27 against the BP40. Again for me, Dynamic is the only thing that can properly isolate from surrounding noise.
God the Shure sounds absolutely horrible after listening to the 27 for so many minutes.
103 the best sounding, ballanced all the way
Sm7b second,
The rest of the mics sound too essssssy.
If I had one thousand $, I would get myself the TLM 103.
Hay, can anyone become a voice acting actor?
Get yourself some training and study.
Thanks so much for the review!!! I've been dying to know how a broadcast mic stands up. Regarding bass response and proximity effect I'd say it has plenty. Check it here: soundcloud.com/user-912707843/optimus-prime-demo-on-ev-re27-nd-plenty-of-bass-if-youve-got-it-to-give
Randall Kline - you certainly got it to give, however I don't hear an increased bass response over the increased mid-range with proximity. Sounds pancaked.
Yea, that part is flattened out probably partially due to bad EQ in post. I did it years ago, and I've hopefully gotten a little better. :-) Was really just a test to see if the RE27 could pick up those lower frequencies.
Randall Kline - Gotcha. I have an SM7b arriving today for my "car booth", but I'm really curious how the 7b's presence boost might measure up to the 27nd.. do you have any experience between the two?
I do not, sorry. I only have two mics in the bin right now so I can't do much A/B.
None that would help. I used the SM7b in a booth once for like five minutes. All I know is like the the 27nd and my precious Lewitt LCT550.
your reviews can tend to get lengthy, and I feel like you would get more views if they were shorter, but other than that great videos
you think he is really doing it for the views.....???? be happy someone is taking the time.
To be honest, the length was part of the reason I clicked the video in the first place. It showed that it would be in-depth
The sound of the sibilants is so bad - artificial in an unpleasant way. In every record I ever heard of this mic.
26 minutes of mansplaining.
Re20