[Paul Stamler]

"Earl Kiosterud" wrote in message
news:B2n5j.3376$gi7.1673@trnddc04...

I failed to mention that the RE-18 is identical to the RE-16, except for
the noise
isolation. That's why I mentioned it in this thread.

Except it isn't, really; the RE18's off-axis response is less flat than the
RE16's, which in turn is less flat than the RE15s.

Peace,
Paul

[Michael Rempel]

Take the om5 for female vocals, but you will need to cut a bit on the
top end for male vocals or speech due to sibilance. I have 5 of em, used
them extensively for going on 10 years. I have parametric eq on my
mixer, and I always set it up for a bit of high end cut just in case. 6
to 8k, 3 db usually does it. If you need the SM58 style
cut-through-the-mix sound you can boost 1.5k and not cut highs. But I
prefer to make room in those frequencies by taking a little out of the
instruments when I need vocal articulation.

OM6 is nicer for most male vocals. Some people like a bit looser bottom,
in which case go for the Om3b. The 0m7 is for people who really need
proximity boost. It is hypercardioid. The 5 and 6 are pretty much
supercardioid but they don't seem to have a rear pickup area. They
reject feedback almost 6db more than an sm57/8 so they are very good on
loud stages.

The S1 sound quality is a bit better than these, but the price is about
double if my memory serves right. I don't know how they are for feedback
since the only times I have used it is with in-ears where feedback was
not an issue.

Michael

I have a lot of OM5s and 6s. As close-in vocal mics they are surprisingly
lifelike.

[Michael Rempel]

The RE-16 uses a an acoustical delay line to give you a bass cut up close
that counteracts the proximity effect. It's a trick, but it's a damn good
one, and nobody other than EV uses it.

Isnt that just 3ms with an allpass filter? Which is going to be easy to
reproduce on just about any digital console with 2 tracks, some strong
eq and a delay. It does not counteract the proximity effect, it
compensates slightly by allowing the bass to follow after the highs, but
it still booms just as much as any other cardioid.

The delay needs to be about 6-12ms imho to be as good as possible. Some
people go 18, but I can hear that. Run at 100hz with 18db/oct
conventional or 24db linkwitz. Put the delay on the bass half of course.

Any digital crossover will give you that option for the whole system.

Michael

[Scott Dorsey]

In article qDH5j.708$iU.561@pd7urf2no,
Michael Rempel wrote:
The RE-16 uses a an acoustical delay line to give you a bass cut up close
that counteracts the proximity effect. It's a trick, but it's a damn good
one, and nobody other than EV uses it.

Isnt that just 3ms with an allpass filter? Which is going to be easy to
reproduce on just about any digital console with 2 tracks, some strong
eq and a delay.

No, you cannot.

What is going on is there are two entrances to the microphone. One goes
to the front of the capsule, the other goes through an acoustical low-pass
filter, a delay, and into the rear vents of the capsule.

You COULD simulate this with just about any digital console by mounting
a second omni microphone a few inches away from the cardioid capsule
of a PA microphone, then doing some dsp. But you don't have to if you
buy the RE-16.

It does not counteract the proximity effect, it
compensates slightly by allowing the bass to follow after the highs, but
it still booms just as much as any other cardioid.

No, it does counteract the proximity effect. Look at the original patent
for the 666 and 664.

It does not boom as much as any other cardioid, although it CAN still boom
if you talk into the side vents or if you block the side vents up.

The delay needs to be about 6-12ms imho to be as good as possible. Some
people go 18, but I can hear that. Run at 100hz with 18db/oct
conventional or 24db linkwitz. Put the delay on the bass half of course.

Any digital crossover will give you that option for the whole system.

I think you are mistaking what the Variable-D system really does. It is
ingenious as hell.
--scott
--
"C'est un Nagra. C'est suisse, et tres, tres precis."

[Geoff]

Michael Rempel wrote:
The S1 sound quality is a bit better than these, but the price is
about double if my memory serves right. I don't know how they are for
feedback since the only times I have used it is with in-ears where
feedback was not an issue.

Feedback rejection is excellent, and proximity effect very subtle. Best
pppop filtering I've ever heard inside a grille.

geoff

[hank alrich]

Michael Rempel wrote:

The RE-16 uses a an acoustical delay line to give you a bass cut up close
that counteracts the proximity effect. It's a trick, but it's a damn good
one, and nobody other than EV uses it.

Isnt that just 3ms with an allpass filter? Which is going to be easy to
reproduce on just about any digital console with 2 tracks, some strong
eq and a delay. It does not counteract the proximity effect, it
compensates slightly by allowing the bass to follow after the highs, but
it still booms just as much as any other cardioid.

have you ever used these mics? Any of the EV Variable D mics? IME they
perform exactly as represented by EV.

The delay needs to be about 6-12ms imho to be as good as possible. Some
people go 18, but I can hear that. Run at 100hz with 18db/oct
conventional or 24db linkwitz. Put the delay on the bass half of course.

Any digital crossover will give you that option for the whole system.

I don't think so.

--
ha
Iraq is Arabic for Vietnam

[Federico]

I remember Tina Turner performing with an EV PL80....
F.

[Geoff]

Federico wrote:
I remember Tina Turner performing with an EV PL80....
F.


..... and Mark Knopfler on "Money for Nothing" video.

I've got one, but not because of that. Can't remember how it sounds - must
dig it out....

geoff