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KaseyKruz
Club 300
Joined: 18 Apr 2008
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Location: Michigan
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 Posted: Wed Feb 09, 2011 3:25 pm Post subject: |
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Well said Glen...Funny that the topic is stated for RE 20 fans but the bashers come marching in full force...
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glenspot
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| Posted: Wed Feb 09, 2011 3:40 pm Post subject: |
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| KaseyKruz wrote: | | Funny that the topic is stated for RE 20 fans but the bashers come marching in full force... |
Excellent point.
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Mike Sommer
A Hundred Dozen
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| Posted: Wed Feb 09, 2011 3:58 pm Post subject: |
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Not bashing just pointing out the flaws. FUZZ and all.
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KaseyKruz
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| Posted: Wed Feb 09, 2011 4:10 pm Post subject: |
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| Mike Sommer wrote: | | Not bashing just pointing out the flaws. FUZZ and all. |
I've never had a complaint of "fuzz" in my recordings...funny...no one ever said anyhthing about "fuzz" in Stevie Wonders recordings...funny...
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glenspot
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| Posted: Wed Feb 09, 2011 4:14 pm Post subject: |
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Fuzzy Mic?
Fuzzy Mic!
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Mike Sommer
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| Posted: Wed Feb 09, 2011 4:41 pm Post subject: |
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.......
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Acoustics are counter-intuitive. If one thing is certain about acoustics, it is that if anything seems obvious it is probably wrong.
Last edited by Mike Sommer on Wed Feb 09, 2011 5:20 pm; edited 1 time in total |
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Mike Sommer
A Hundred Dozen
Joined: 05 May 2008
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| Posted: Wed Feb 09, 2011 4:43 pm Post subject: |
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[It's the dull fuzzy sound of the RE20 that always tips me off to it. In that sam vain it's the brittle fuzzy sound of the TLM 103 that that tips me off to it.
You may not be getting any complaints only because they don't know any better, or the system they are listening on and the room the are in may not be the best.
If you wanted to work on a dynamic mic, you would be much better off with an RE 15 or 10, a Sennheiser 421 U5 or U4, or a Sennheiser 441. The 441 would be the best of all.
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Acoustics are counter-intuitive. If one thing is certain about acoustics, it is that if anything seems obvious it is probably wrong.
Last edited by Mike Sommer on Wed Feb 09, 2011 5:19 pm; edited 1 time in total |
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glenspot
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| Posted: Wed Feb 09, 2011 4:49 pm Post subject: |
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| Mike Sommer wrote: | | a Sennheiser 421 U5 or U4, or a Sennheiser 441. The 441 would be the best of all. |
Ok... now them's fighting werds! Ha..
I use a Sennheiser 421 as our second mic, and to me....I can noticably hear the fuzziness on the sibilant consonants on the 421.
Both the RE20 and the 421 use dbx286a mic pre's and go into the same board....
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Mike Sommer
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| Posted: Wed Feb 09, 2011 5:16 pm Post subject: |
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Ar you using a 421 U5 or a 421 II?
And are you set in S or M?
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todd ellis
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| Posted: Wed Feb 09, 2011 5:30 pm Post subject: |
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i got out of both S and M recently.
i bruise easily.
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Deirdre
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| Posted: Wed Feb 09, 2011 6:56 pm Post subject: |
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Remember gents— there will be NO BASHING HERE.
Them's the rules.
Play nice.
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captain54
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Joined: 30 Jan 2006
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Location: chicago
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| Posted: Wed Feb 09, 2011 11:00 pm Post subject: |
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Hey Kruz...Stevie Wonder's ears are more tuned to subtley and nuance than mine, yours, and the great majority of humans on the planet in the last 50 yrs. so what else is new?
Relax boys, no one is bashing your weapon of choice. The RE-20 is just another tool and it does some things pretty well, as well as doing some things not so well.
My original point was that, for the same money, there are quite a few better choices out there that will give you a lot more versatility in terms of an everyday tool that
you can call upon for any number of different types of projects that come your way on a daily basis. Case in point, a Studio Projects C1, which may even be 1/2 the cost of an RE-20. |
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glenspot
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Location: Milwaukee, Wisconsin
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| Posted: Thu Feb 10, 2011 5:20 am Post subject: |
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| captain54 wrote: | | a Studio Projects C1, which may even be 1/2 the cost of an RE-20. |
Yeah, I've considered one of those, and Harlan Hogans VO mic, too. My thought is... since the RE20 fills my needs at this point...and I would need to spend a couple grand treating a new room for optimal acoustics... why not wait until I do it RIGHT and get a U87.
In the mean time -- for my application, the RE20 is the best mic for me.
| Quote: | Ar you using a 421 U5 or a 421 II?
And are you set in S or M? |
Mic #2 is the 421 II, with the roll-off switch at the M minus 1 position. (Or one click away from M)
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Mike Sommer
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Joined: 05 May 2008
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| Posted: Thu Feb 10, 2011 10:18 am Post subject: |
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| glenspot wrote: |
Mic #2 is the 421 II, with the roll-off switch at the M minus 1 position. (Or one click away from M) |
Then that's why yours is buzzy, and is why I was specific in saying 421-U4 or U5 (or basically the original CLASIC "U" version of the mic). The 421-II recived a newly designed capsule, thusly changing the voicing of the mic.
I'll just point out that the 421 -U5 was used for TV animation up until about the time the TLM103 came upon the scene.
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The Blog:
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Acoustics are counter-intuitive. If one thing is certain about acoustics, it is that if anything seems obvious it is probably wrong.
Last edited by Mike Sommer on Thu Feb 10, 2011 11:55 am; edited 1 time in total |
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Monk
King's Row
Joined: 16 Dec 2008
Posts: 1152
Location: Nestled in the Taconic Hills
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| Posted: Thu Feb 10, 2011 11:37 am Post subject: |
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WOO I love a good gunfight!
I'll throw in my .o2 since ya asked.
My RE-20 earns me money. I also use it on the road and love the sound of my voice. Just sayin'
HOWEVER, my present room is less than ideal, and I know it is the right mic for the space. I've had it recently worked by EV to bring it up to spec and I think it sounds just fine for commercial work. Which is my primary thing as of late.
Yet I want better. I'm moving the studio out of the library and down into a spare room. It will get a booth, and my Rode NT1a is in the hands of Michael Joly for some work. Then I can move out of the RE-20 sweet spot and dance.
The RE-20 will continue to come with me on the road, that, a PreSonus USB input and my laptop and I hopefully won't miss a gig.
It has it's uses and does them fine. (the client wants me to send her an .mp3 of the read?!?)
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