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#1
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RE11
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 |
#2
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RE11
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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#3
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RE11
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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