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Les Cargill[_4_] Les Cargill[_4_] is offline
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In the spirit of Nate Najar's RE15 tests....

I got a deal on a very gently used RE11.

Nice mic. A like it on electric and acoustic guitar so far. I
*really* like it on acoustic. I bet it'd be good on mandolin and
fiddle - it seems to resist "screechy" but still has a little grit.

It might be my go-to for acoustic. No EQ needed with the roll-off
switch set to "flat".

Initial tests on vox are a little weird.

I'll have to try it on snare some time.

--
Les Cargill
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Nate Najar Nate Najar is offline
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They can be really spectacular on strummed steel string acoustic. I've never used it on vocals, but I can't see why, with a singer who actually sounds good in person, it wouldn't be excellent. It's a very "what you hear is what you get" microphone, but it has directionality.
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PStamler PStamler is offline
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On Saturday, October 18, 2014 11:56:39 PM UTC-6, Nate Najar wrote:
They can be really spectacular on strummed steel string acoustic. I've never used it on vocals, but I can't see why, with a singer who actually sounds good in person, it wouldn't be excellent. It's a very "what you hear is what you get" microphone, but it has directionality.


Whether the RE11 (or RE16) sounds good depends a great deal on the particular vocalist. If the singer moves around a lot and doesn't hold position in front of the mic, the hypercardioid pattern will cause the vocal to sound uneven. If the person has a nasal resonance, the RE11 or RE16 may exaggerate it. But a singer without such a resonance, with good mic technique, can sound excellent.

Peace,
Paul
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