VO-BB - 20 YEARS OLD!

Dayo · Cinquecento Joined: 10 Jan 2008 Posts: 544 Location: UK

Thinking of adding a dynamic mic to the arsenal. Specifically to use in the control room where the acoustics are ok but not nearly as dead and controled as the booth. Thinking it could be handy for more energetic reads and perhaps the odd imaging session.

So what are your thoughts? RE20/27 or SM7B? Be great if it also played nice with Emma's voice for those close up and personal sexy reads.

Many thanks!

KaseyKruz · Club 300 Joined: 18 Apr 2008 Posts: 336 Location: Michigan

I've been using the new RE mic in the series; The RE 320. It has the same magnet as the RE-27, but the look and feel of the RE-20. It's finished in black to help set it apart from the RE-20. I like it because it has all the attributes as the RE-20 as far as off axis rejection and resistance to electronic hum, but has a brighter top end and a better midrange. At about 300 bucks, its a great mic to consider.
With the right set up though, the SM-7 or the RE-20 would be good choices in a less than perfect studio. After using both, I would prefer the RE-20 over the SM-7.
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Bill Campbell · DC Joined: 09 Mar 2007 Posts: 621

I agree with Kasey. For lack of a better term, the RE20 just sounds more expensive. It's smoother with a bit more sheen. Females sound good on it.
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Mike Sommer · Posted: Wed Jun 15, 2011 3:07 pm Post subject:

Of those, the RE27.
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whalewtchr · Posted: Wed Jun 15, 2011 5:42 pm Post subject:

I am a fan of Shure. RE20's though are like tanks which is why they are used most often in radio broadcast studios. 20's can be a little hissy if one is not careful.
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Dayo · Cinquecento Joined: 10 Jan 2008 Posts: 544 Location: UK

KaseyKruz · Club 300 Joined: 18 Apr 2008 Posts: 336 Location: Michigan

Mike Sommer · Posted: Thu Jun 16, 2011 10:49 am Post subject:

Let's be thorough about this. What is it that you are doing in the control room that you can't or don't want to do in the booth?

I kind of misspoke regarding the RE 27- Between the RE20 and the 27, I like the 27 better. Between the RE 27 and SM7B Probably the SM7B would be my choice. (The SM7B option, just didn't stick out in my mind at the moment- for some reason)

The Sennheiser Model MD 421 U5 is an excellent choice- but make sure it is the vintage U5 and not the new MD421 II (changes were made and is not the same microphone as the U5 version).

There is also the Sennheiser Model MD 441 -- LOVE this mic.

Now if you want a classic dynamic mic for VO the Electro Voice 668 microphone would be the mic to look for. But if you do find it, it may need new foam. The 668 was the main VO mic at Hanna/Barbera from about 1963 on into the 70's until the 421.

Between the MD 421 and the 668:
The MD421 is the more versatile, durable and "musical" of the two; but for recording dialogue, it's a toss-up - the 421 makes a lousy boom mic, and the EV668 has a much greater range of usable proximity and acoustical/environmental compatibility.

The EV has a built-in "optical soundtrack" coloration that's well-matched for film, but doesn't lend that impressive bigger-than-life character (that the 421 is famous for) to closeup Radio/Announcing VO work. I think I'd prefer the EV for cartoon character and straight narration voice work (with a factory-fresh foam "blimp"), but the Sennheiser for announcing or closeup character voice overs intended for broadcast on TV or Radio.

All in all, though, either is a very nice general utility Dynamic for limited-fidelity/professional-grade spoken word recording in less-than ideal acoustical environments.
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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.

georgethetech · Posted: Thu Jun 16, 2011 9:02 pm Post subject:

Heil PR30 or PR40 are nice...
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Diane Maggipinto · Posted: Fri Jun 17, 2011 6:18 am Post subject:

room issues aside, and with no disregard for those issues ... i have both mics you mention (RE20 and SM7B) and they're fine in my less-than-perfect room (which, yes, needs some perfecting ...).

i live in a quiet neighborhood, am in the basement, and have the computer in a closet (which i can still hear) and am not picking up ambient noise in my recordings. ymmv.
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Dayo · Cinquecento Joined: 10 Jan 2008 Posts: 544 Location: UK

Big thanks everyone.

More confused than ever, but very grateful!

Mike Sommer · Posted: Fri Jun 17, 2011 8:31 am Post subject:

Well, as I asked above: What is it that you are doing in the control room that you can't or don't want to do in the booth?

Our understanding for the problem will help us get to the solution.

If you need to work in a less than perfect room you're that room is going to become a part of the mix, even with a 416.
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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.

KaseyKruz · Club 300 Joined: 18 Apr 2008 Posts: 336 Location: Michigan

chuckweis · Contributor IV Joined: 27 Feb 2008 Posts: 136

Dayo--

Let me add this, which may or may not make a huge difference to you. I've recorded countless people on an SM7, kids, men, women, and I've never heard anybody sound bad on that mic. I can't say the same for the RE-20, (although I love the way it sounds on those who sound good on it.) There's just something about the SM7 that makes it one of the safest choices you can go with, playing well with a slew of Pre's and voices, and it takes EQ very well. (Oh, you can also vary the sonics of it by removing the foam windscreen, which is cool.)

georgethetech · Posted: Fri Jun 17, 2011 4:47 pm Post subject:

Agree, Chuck, SM7b surprises quite often. In a seven mic shootout at the DLF VO Lab from B1 to U87, people kept saying "Wow, I like the sound of that Shure on my voice".
Just make sure you have 60+ db of CLEAN GAIN (read GOOD preamp), like Sommer's fave GAP73.

George
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If it sounds good, it is good.
George Whittam
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