[Roy W. Rising[_2_]]

The Electro-Voice RE20 stands as Lou Burroughs' crowning achievement.

"Single-D(TM)" was accomplished in the EV 666 by side ports and a ducted
rear port near the connector. These significantly reduced proximity
effect. It's successor, the RE15 Supercardioid, introduced a unique rear
port along the "backbone" of the mic giving us "Variable-D(TM)". Proximity
effect is virtually gone and frequency response is the same from all
directions but lower from the sides and in the rear quadrant, reaching
-24dB at 150 degrees from the front axis.

The cardioid RE20 shares these qualities. It is not "very directional", it
is a cardioid with 180 degree off-axis response exceeding -15dB and uniform
("flat", not "muffled") response from all directions.

The Bass Tilt (rolloff) is electrical, not mechanical. The RE20 Data Sheet
mistakenly shows the switch as engaging the "Hum Bucking" coil instead of
the passive rolloff network (high-pass, not low-pass).

Lou Burroughs said the RE20 could have been the same size as the RE15 but
"Marketing" thought it should be the size of a Neumann U-67. It appears
they were correct.

--
~
~ Roy
"If you notice the sound, it's wrong!"

[AndyP[_2_]]

Roy W. Rising wrote:

The Electro-Voice RE20 stands as Lou Burroughs' crowning achievement.

"Single-D(TM)" was accomplished in the EV 666 by side ports and a ducted
rear port near the connector. These significantly reduced proximity
effect. It's successor, the RE15 Supercardioid, introduced a unique rear
port along the "backbone" of the mic giving us "Variable-D(TM)".
Proximity
effect is virtually gone and frequency response is the same from all
directions but lower from the sides and in the rear quadrant, reaching
-24dB at 150 degrees from the front axis.

The cardioid RE20 shares these qualities. It is not "very directional",
it
is a cardioid with 180 degree off-axis response exceeding -15dB and
uniform
("flat", not "muffled") response from all directions.

The Bass Tilt (rolloff) is electrical, not mechanical. The RE20 Data
Sheet
mistakenly shows the switch as engaging the "Hum Bucking" coil instead of
the passive rolloff network (high-pass, not low-pass).

Lou Burroughs said the RE20 could have been the same size as the RE15 but
"Marketing" thought it should be the size of a Neumann U-67. It appears
they were correct.

This is interesting. I wonder how the RE15 sounds in comparison to the RE20.

Andy

[Roy W. Rising[_2_]]

"AndyP" wrote:
Roy W. Rising wrote:

The Electro-Voice RE20 stands as Lou Burroughs' crowning achievement.

"Single-D(TM)" was accomplished in the EV 666 by side ports and a
ducted rear port near the connector. These significantly reduced
proximity effect. It's successor, the RE15 Supercardioid, introduced a
unique rear port along the "backbone" of the mic giving us
"Variable-D(TM)". Proximity effect is virtually gone and frequency
response is the same from all directions but lower from the sides and
in the rear quadrant, reaching -24dB at 150 degrees from the front
axis.

The cardioid RE20 shares these qualities. It is not "very
directional", it is a cardioid with 180 degree off-axis response
exceeding -15dB and uniform ("flat", not "muffled") response from all
directions.

The Bass Tilt (rolloff) is electrical, not mechanical. The RE20 Data
Sheet mistakenly shows the switch as engaging the "Hum Bucking" coil
instead of the passive rolloff network (high-pass, not low-pass).

Lou Burroughs said the RE20 could have been the same size as the RE15
but "Marketing" thought it should be the size of a Neumann U-67. It
appears they were correct.

This is interesting. I wonder how the RE15 sounds in comparison to the
RE20.

Andy


The RE15 is as good or better, given the lack of a "cage" and its inherent
acoustical influence. I mic'd many TV orchestras with *all* RE15s. "If
I'm mixing leakage, best it be *good* leakage."

Orchestra leader Mitchell Ayers (Perry Como, Hollywood Palace, etc.) always
insisted on Neumann U-67s for his string sections. He visited my control
room the first time "This Is Tom Jones" taped in Hollywood. After
listening to some rehearsals and pre-records, he said "Nice string sound"
and departed to visit his friends in the orch. The string mics were RE15s.
Why EV discontinued it while retaining the somewhat lesser RE16 is a
mystery. They continue to appear on eBay. A fine tool for about $100.00.

--
~
~ Roy
"If you notice the sound, it's wrong!"

[Paul Stamler]

"AndyP" wrote in message ...

Lou Burroughs said the RE20 could have been the same size as the RE15
but
"Marketing" thought it should be the size of a Neumann U-67. It appears
they were correct.

This is interesting. I wonder how the RE15 sounds in comparison to the
RE20.

Flatter response; the RE20 has a peak in the treble, the RE15 -- when new --
doesn't. Very flat off-axis. High frequencies usually take a dive around
13kHz.

It's worth noting that RE15s do change as they age. Some develop a small
peak up top and sound surprisingly like RE20s.

I asked the EV guys at AES why they'd kept the RE16 and dumped the RE15;
they said it had been close to a flip-the-coin decision, but they'd gone
with the RE16 because of its vocal pop screen. Argghhh. They dropped a mic
with dozens of uses in favor of one with a single use. The RE16 is brighter
than the RE15 and less flat off-axis. Still a decent mic, but not nearly as
versatile as the RE15.

Peace,
Paul