the best sax mic? EV-RE20 review
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- เผยแพร่เมื่อ 3 ต.ค. 2024
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Dan Forshaw is one of the most charismatic musicians on the British Jazz scene. A superb communicator with an infectious passion for music, Dan’s ability to captivate audiences with his performances has led him to perform all over the world with ensembles ranging from jazz quartet’s to classical cathedral choirs. Forshaw is one of the UK’s leading experts on the legendary saxophonist, John Coltrane and has had a number of articles published on John Coltrane’s music & theology. Tim Price, Professor of saxophone in New York and a former teacher of Dan said, ‘Dan has reached a strong level of musicality, depth and technique that very few players have….he is a breath of fresh air, ‘hear him!’
Dan was taught by Ray Wilkes, a legend on the Northern Jazz scene and a former member of Cedar Walton’s band in New York. Dan started picking up gigs aged 14 and by 16 Dan was on the road with the ‘Amazing Blues Brothers Soul Revue Tour.’
After meeting Branford Marsalis at the RNCM in April 2003, Branford invited Dan to study with him in the USA, which Dan did in March / April 2005. Whilst in New York, Dan was inspired by the many amazing musicians he heard & upon returning to England, he moved to London in the summer of 2005. Dan’s target was to return to New York, but life led him to Ireland where he was an active player on the small but lively Irish Jazz Scene.
Dan is now based in Cambridge, England where he teaches saxophone for Cambridge University and through his award-winning website, Cambridge Saxophone.com. One of life’s natural teachers, Dan has students from all seven continents, (including Antartica!) and enjoys nothing more than engaging students from all ages with his passion for jazz improvisation. Dan still maintains an active performance schedule with his band performing on the London Jazz Scene (like at Pizza Express Soho), regular tours, and his ‘Jazz Vespers‘ project, that has seen Dan on Prime Time National TV, (BBC One,) leading jazz events at St. Paul’s Cathedral, Ely Cathedral and the at new home for Jazz Vespers in London, Methodist Central Hall, Westminster.
Dan is an active ‘Vlogger’, with thousands of viewers watching his videos every week. Outside of music Dan enjoys photography, sport and most of all spending time with his children Aimée and Charlie. - เพลง
The saxophone deserves a broadcast quality microphone like this one. I currently play through a Sennheiser 421-II.
Another great video Dan, thank you! I love the content you create on here, it's useful and entertaining! Really helpful mic review, especially showing it off using the 3 horns, which a lot of people don't do. I think it sounded great and will be even better with a bit of EQing. It's a balancing act to get one great mic for a range of instruments, especially in a home studio setup. Looking forward to the next vlog! 😊
I own the RE-20, it works great on my Alto and Tenor, Ive had great results on my flute, clarinet, and vocals.
sounds beautiful mate, loved that rendition of Footprints too
You struggle with the same thing I do. You're a great player and worked your butt off, trust that people will enjoy. much love brotha .
Great video Dan! Thank you for sharing your experience with the RE20. I'm currently using a Shure SM81, not the most common mic for saxophones but I found it has a "surgical" performance when it comes to frequency response and that's was what I'm looking for. The only SM81 disadvantage is how it picks the ambient reverberations, the room needs to have some kind of acoustic treatment. The RE20 performs far better in this area, it has a better off axis rejection. I'd love to get one of these.
Would be interesting to hear a comparison between the RE20 and the RE320. Especially given the £200 price difference.
I have a crappy room. Best luck with an RE-20 and a mic isolator which puts a foam surround around the mic to prevent any reflective pick up.
Another option might be a Rode NT1, its pretty flat sounding and has a very low self noise and it isn't expensive. I had one and used it with a Tascam DR-701D audio recorder it sounded fine for me and might be good for recording saxophones as I have seen some people use it for that and the flatter response wouldn't colour the sound at all. I ended up selling mine as at the time I mostly needed a good voice over mic and it sounded a bit too flat and muffled on my voice but I am looking at getting a good mic for recording my saxophones (alto and soprano) but I haven't decided yet if I want to get another NT1 or another mic. The EV-RE20 did sound good, especially on your tenor recording.
I hear so much of a difference when your microphone placement in relationship to your sax is changed, which is understandable, so maintaining the proximity is a bid factor, but the mic sound good
Hey dan! Love the video man. Do you think you could review the D’addario reserve tenor mouthpiece?
Thanks for this video. Just thought I'd share my limited experience with this mic. My friend just let me borrow his re20 so I'm testing now. My u87 has never worked for my tenor. Alto though yes in omni. For my tenor it's my c414, c12, 47 or AEA r84 or even my $100 Apex AR5 Ribbon. For dynamics, SM7b, SM57, 421, and some AT he series... the re20 has never worked for me personally on tenor, and I've tried 3 times on sessions decades apart. On some occasions the EV nd468 when some punch is needed. I'd also like to try a Beyerdynamic. So.... the re20, for me there's a bit too reed buzz for my tenor, on the whispy side, too much, a bit unnatural, and not enough definition, as in a bit hazy for lack of better terms, like it's really boxy pillowy or woofy sounding, but not the mid range clarity. Also not enough lows like 100-250hz. This is regardless of setup (though I mainly play link style pieces). For me anyways, on tenor.... I guess tomorrow I'll try alto. I did test it on my voice and it really does sound great -probably the reason why it's the standard for broadcast. Oh also on my kick drum, there is a vibe. Let me know how it's working for you now. Sure with EQ I was able to make it work, but in my opinion, best to choose a mic you don't have to EQ. Though many sax recordings have been done with this mic which is a testament to how well this mic can take processing. So I will test more. Please give me any tips on how to make this mic work better, as I have the opportunity to buy a vintage version. Thanks!
Sounds good to me Dan ! seems to cut out all the ambient sound. Nice
Hi Dan, very interesting with the mics. Can you possibly borrow the Neumann and the Earthworks mics for a comparison to the EV-RE20? Thank you for all the fine work you do!
Probably shouldn't have the reflector on when doing a mic test 😂
Do you still have the RE20? 😊
Yeah, looking forward to getting it out on the road next week!
@@DanForshaw Nice! And great to hear you'll be back playing live 😊
I have this theory that perfectionism is something like a symptom of uncertainty, insecurity, lack of experience, or imposter syndrome, which is fine and part of being a human being. But here's the question. What could be more perfect: to never release anything because it's not perfect, or to release imperfect things often, get feedback, learn from mistakes, improve, and move forward. I'd say the latter one will be, and especially make you, more perfect in the long run. I mean, what's the probability of your earlier work to be more perfect than a latter work that builds upon the experiences of the earlier one? I think it's pretty obvious. So... start publishing your stuff, let others enjoy it - not everyone will, learn from it, and ultimately get more perfect faster. It's also not very perfect to not get any job done, so that's why it's better to publish something, even incomplete ideas, faster.