I have both the SM7B and the RE20. I use an apogee symphony desktop as my interface. The RE20 wins in a landslide easily. It naturally sounds better out of the box.
jeez, this is a phenomenally well-made video (and one that made me feel much better about using an RE20 when it feels like everyone else onthe planet prefers the SM7B, lol). thanks for this!
@@brodiebrazil did my first video with it today.. i think my interface is the weak link now, and I need to do a little more EQ tweaking, but very happy with it! Much better tone than the Stellar X3 that it replaced.
Sound engineer here. I like both and I haven't been using them on voice! The RE20 is brilliant on big brass. I love them on trombone. The SM7B I've used with surprising succes on big drums where you can use the higher proximity as a kind of EQ just by varying the distance to the source.
I've been using the RE20 for 27 years in radio. Paired with a DBX 286s or a Symetrix 528e, your voice will never sound better. Just got RIF'd from iHeart recently and I'll be using this baby in my new journey down the voiceover road. Fantastic video Brodie!
@@baronvonscratch I may have to try that. I'm noticing a hissy floor on the DBX 286s at the levels I have to run it at. Thinking a pre-amp may be the way to go. I'll check out the Durham Mk II.
Very good review! I'm someone who uses and likes the SM7b - but your truths about it's performance are spot on and are a big reason I have been considering adding an RE20 to my mic locker in the near'ish future (trying to get access to one to do some voice tests pre-purchase)
to follow up - I ended up getting an RE27N/D - and I managed to get it for less than an RE20 as there happened to be a floor model from Sweetwater available for less than the price of an RE20 yet still in mint condition. I love it - the extra brightness of the 27N/D seems to fit especially well in the land of youtube/podcast 'modern tone' and for sibilant voices the ability to tame the~+6Db boost to high frequencies (as compared to the RE20) down to a +3Db boost works well and that boost still adds in some air/brightness that the RE20 and SM7b can lack. The overall signal is also ~+5Db hotter than the RE20 itself and so is even less gain hungry (if I understood the overall specs of the mic correctly) which just layers in some additional 'easy to work with' goodness. I'm not tossing my SM7b out the window anytime soon, but the RE27 has easily eclipsed it as an everyday mic in my locker.
I was just talking about this the other day with a friend - how RE20 is clearly the better mic compared to sm7b (and I've watched dozens and dozens of comparison videos), yet it's such a rare sight. 100% agree with you on that one. Got my RE20 couple weeks ago, very happy with it.
Great video about the RE20 and I completely agree it should be used more often, it's such a great mic. I love your last comment about it's color. I also bought mine after the black came out and I also opted for the battleship gray. Something that actually looks a little different and has some character.
Thanks for the great review! It looks like I have finally decided on the choice of microphone for my small home studio) Moreover, I am a big fan of Steve Albini’s work as a recording engineer. This is one of the most commonly used microphones in various situations.
i've been using my Re20 for over 25 years in my production or in radio stations i've worked and it is wonderful. I came over to México to live and the time has taken a toll on my shock mount rubbers, i have gotten creative since it is an expensive mount, at least for me at 20 times the price (dollar parity) if i could i would upload an image jajaja been looking for the regular stand mount it came with but it has been over 15 years since i got it, so don't know where it is!! Ohh heck i will still use my wonderful mic until i can afford to buy a new black one
It's tough. I feel like if you're going for solo use, for $450 you're better off spending $200ish on room treatment/acoustic blankets and buying a Rode NT1 than you are an RE-20 (or any dynamic). There is one video from Dan Lenard which is when after sifting through many dynamic mics and always feeling let down, I made the move to condensers: "If you have a background noise problem, deal with it physically. Don’t try and hide it with a mic that won’t represent you as you exist." That was the best advice I ran into personally on RU-vid. If you're going to have multiple people around in your podcast, then sure, a mic like the RE-20 makes sense since you'll need a few of them and a condenser can potentially become more difficult (especially if you don't have the audio know-how). With that in mind, there are many broadcast style condensers these days that I would still go in another direction. I'd rather purchase a few Earthwork Icon Pros or Lauten Audio LS-208. Great vid! Keep em coming!!!
well stated! i think the dynamic approach to multiple mics in a small space is the best one. also for longer form narration you might want the sound of a dynamic versus a condenser. but i also agree that most should be spending a certain percentage on *treatment* to compliment the mic.
Rode NT1 is a super-clean, super-low-noise mic. I love them, however... The EV RE20 will naturally give voice, trumpet, sax, trombone, etc., a clear yet silky-smooth, forgiving and rich color. Makes you say, "mmmm!" The Rode NT1 seems more for absolute reference. It does not color the sound. It's brutally honest. Yeah, you should have an RE20 in your arsenal. I record trumpet tracks on it all the time. Suh-weeeeet!
We've used an RE20 for a couple of years for our cartoon voice acting, especially when there's some external sounds. Next week, we're about to try a Sennheiser 416 instead. Be interesting to see which rejects noise the best?
I'm known for going against the mainstream and proudly use the RE20 in both my live streams and recordings. Frankly, the matte black version is super sexy on screen. Don't need or want all the flashy colors on the mic in my talking head shots. My face is up here, pal. ;)
The color is called "Fawn beige" and is classic, rather that boring, typical black. I love to record trumpet tracks with this mic. Perfect. You can blow the walls down from right on the mic. No distortion at all. You can play 3 feet away, whatever. This mic is perfect.
I first used the RE-20 in radio studios in the late 1970s. I also used a Shure SM7 (long before the B model came along), an AKG D200E, and a Sennheiser MD-421-U. The RE-20 won my respect then, and I bought one in 1980 that I still have. Everything Brodie says here is true. You do need the shock mount. It has relatively high gain and very low self noise, for a dynamic. Variable D is very helpful. It lost the popularity contest for podcasting and video blogging due to its looks and higher price. It should be used more often*. The high end is fine, if you tweak the knobs a little. The roll-off switch is handy for recording kick drums. It seems to have better pop filtration than the SM-7B. It does not need a FET Head or a Cloud Lifter in most situations. It can handle high sound pressure levels. It is a fairly neutral-sounding mic, suitable for a wide range of applications. It is also tough as nails. *ALL THAT SAID, most podcasters and RU-vidrs and video bloggers could have much cleaner, less cluttered video sets if they used quality lapel mics! The SM-7B and the RE-20 and similar mics were made for RADIO studios and RECORDING studios. They were never designed to be in front of cameras. But we live in a bizarre world where the size of your podcast microphone seems to matter... I just think they're distracting. And since most folks are listening on smartphone speakers or cheap headphones, the marginal utility of a $300 to $500 mic is of questionable justification.
Thank you for sharing Brodie. I agree. The EV RE20 is a clear winner for me. I love my EV RE20. I use it in conjunction with an A.R.T. TPS II Tube Amp then into my ham radio gear on HF SSB. I receive many unsolicited positive remarks and questions of how I am achieving such awesome audio on the air. I wish I would have waited a little longer for the new black version. Hey, if it's good enough for Rush Limbaugh it's good enough for me :-) Cheers,
I've just bought one for fairly constrained audio work (SSB 4kHz) and am really looking forward to getting it paired with the ART Voicechannel with digital audio into my transmitter.
Just found your videos by accident while researching to get a dynamic microphone. I think your content is awesome. I'm definitely leaning to get an RE20, but I've heard about issues regarding buzzing/noise coming from the mic.
thanks for the kind words! depends exactly what you intend to create, and how loudly you project into the mic, but - i haven't had any problems with the re20 and highly recommend it.
I have not been able to create any buzzing or noise while using my EV RE20. Seems totally solid in all respects. My EV RE20 has very, very low self-noise - absolutely negligible. Great response and clarity with a silky-smooth richness. I love it.
I see RE-20s everywhere. The SM7Bs are everywhere too, but I definitely listen to more creators specifically that use the RE-20s. I just bought an RE-20, so that's where I stand on the issue.
@@brodiebrazil Oh, I've had it for one week now. I definitely feel like I'm flexing on co-workers calling into zoom meetings with it. And I have no post processing for it since its a work computer. Just a cloudlifter and a Scarlet audio interface. But obviously it beats anyone using a headset or a Webcam mic. And my RE-20 is just out of frame so no one even knows what I'm speaking into exactly.
I know this is an older video, however I do own both RE20 & SM7B. I do use the SM7B for gaming, but the RE20 for podcasting. I would say the RE20 is my personal fav out of the 2 of them for my voice as it is low with a lot of low end to it & not much clarity to my voice. Which is why i prefer the RE20.
To me it seems that SM7b somehow appeared on the podcaster's scene later than Rode mics, and kicked them out of the sight. Rode mics used to be ubiquitous, and so is SM7b now.
I agree. The OG color is the best color. Sucks that it's incredibly expensive in EU compared to other import mics. The Shure SM7b is around the same price as you would pay in the US. The RE20 is nearly 150 euros more expensive. To me, still worth it. But sucks.
every shure sm7b owner: mj used it for thriller. okay... but there's still eq-ing, effects, and more put into vocals that sound engineers do. i understand some don't know about that though, so it's okay. i find the ev re20 is more clear and natural sounding than the shure sm7b, IMO. sm7b sounds dark and mellow, not sure if that makes sense, but someone will understand. great video btw. i agree on the shock mount, they need to have a sale for that thing.
haha. well said about the Michael Jackson references. I believe that was not even the 7B, but it's predecessor the SM7. which might have had totally different sound characteristics I dont know. but like I said too - that mic is fine for singing... just not the best for talking or narrating, in my opinion.
Good point. Secondly, Michael Jackson used the original SM7, which is not the SM7B, because the first one is brighter and has a bit different sound profile. They clearly don't know what they are talking about, and I'm speaking as an SM7B's owner.
Came across this video. So I do want to buy this mic. I do have an extensive mic locker and the infamous sm7b which is a great mic. Here is my thing. I am a singer been using all the condensers for years until I bought a cloudlifter and that changed the whole game. Now I am grabbing older dynamic mics using the cloudlifter and they sound like condensers so I have been having a good old time. Klark Teknik makes the mic booster cm-2 for half the price of a cloudlifter and does the same thing. Loving it. So I want the re-20 for 2 reasons. Close up singing without much proximity effect and the frequency response. There is a dip in the 2k and this is great since I have a lot of midrange in my vocals. It would be easier for me to eq after the fact. One other mic that I want is a Akg c-414 xls which has almost the same frequency response as the ev re-20. Same dip in the 2k. The only benefit to the akg over the re-20 is its versatility when it comes to polar patterns. You can get almost complete rejection from the back and sides which would eliminate a lot of background noise for being a condenser mic. Another thing I do with all my mics is add a little gating to cut out background noise so even though I have a really treated studio a little bit goes a long way. Thanks for your video. Great advice and the re-20 is by far more popular than the sm7b. The only reason the sm7b is popular is because michael jackson made it popular which he used a lot for cutting vocals on his records. The re-20 has been used in just about every radio stations across the world for years.
Hi, I use an RE-20. I use it for podcasting. I have problem with my laptop's fan noise. I am not using any windscreen, pop filter, or Kayotica eyeballs. What is your suggestion for tackling that? Thanks.
Thx for sharing! It definitely won in my book. Great match with you as well! I have it paired with the symphony desktop… It’s more in line with the earthworks IMO even though it’s not as expensive. But darn sure close with the whole shock mount package. Thx again… enjoyed !
I use the Electro-Voice RE 27 N/D microphones and Koss PRO4AAT headphones. The Shure SM-7B and Electro-Voice RE-20B are great microphones but I choose the Electro-Voice RE027N/D microphone does not have the proximity effect and low output that the Shure SM-7B has. The Electro-Voice RE027N/D microphone uses a neodymium iron boron magnet it has a higher output and wider frequency response than both Electro-Voice RE-20Bb and Shure SM-7B. No Cloud lifter needed. The purpose and intent of a microphone preamplifier is to get as much gain with the least amount of noise. Going from microphone level to line level audio allows longer microphone cables without picking up noise and interference. Recommended XLR microphone cables are star quad double braided copper shielded microphone cables such as Belden 8424 Cable. Use Belden 8424-star quad cable between the microphones and the microphone preamplifiers not greater than 7 feet or 2 meters for the least amount of noise. XLR Cables on the output of the microphone preamplifiers do not have to be very high quality because audio signals are at line level greater than +4 decibels as opposed to microphone level at -51 decibels for the Electro-Voice RE-27 N/D microphone. Long microphone cable lengths at microphone signal levels will pick up lot of noise and in some cases AM radio stations. Long microphone cable lines behave more like antennas than microphone lines. After the microphone preamplifiers your audio signal are at line level and very much greater than the noise that you will pick up on long microphone lines. Digital Audio Today’s digital audio recording equipment we are going from 24-bit digital to 32-bit digital audio this is beyond crazy. It will also mean that condenser microphones are on its way out and dynamic and ribbon microphones are on the way in. Condenser microphones such as Neumann U87 are too noisy for 32-bit digital audio. The useful signal to noise ratio of a high-quality condenser microphones is 85 decibels whereas dynamic and ribbon microphones with Neodymium Iron Boron magnets are passive devices with much higher output levels and no internal noise compared to condenser microphones that need preamplifiers, DC blocking capacitors, audio transformers, and phantom powering this creates more noise than can be tolerated in 32-bit digital audio systems. My custom made XLR Microphone DC Coupled Differential Microphone Preamplifier The key to getting the lowest possible noise with the greatest amount of gain is only using the lowest noise components such as Texas Instruments ultra-low noise operational amplifier LM4562 4 are needed for an 8 channel microphone DC coupled differential microphone preamplifier, metal film resistors, ceramic capacitors, tantalum capacitors for power supply filtering 4 10 pack Nickle Metal Hydride rechargeable AA batteries 7918, and 7818 linear voltage regulators, DC coupling no DC blocking capacitors no audio transformers. Of course, it only works with dynamic and ribbon microphones. My custom-made microphone preamplifier has a 60-decibel gain with a 100Khz low pass filter. Ribbon microphones must use audio transformers but there are ways of improving the performance of audio transformers. Wire directly from the ribbon microphone capsule is very low impedance, lower voltage, and higher current. The audio transformer turns ratio converts from low impedance to higher impedance lower current to higher voltage. The output impedance on a ribbon microphone is 6 Kilo Ohms compared to dynamic microphones 600 Ohms. Most audio transformers have poor low frequency response at 30 to 40 hertz at the low end. Quadrupling the windings on a typical audio transformer will allow lower frequency response below 10 hertz. Using ferrite core toroidal transformers greatly reduces external hum and noise pickup, and far less audio distortion with wider audio bandwidth. Dr. Thomas G. Stockham, Jr. who founded SoundStream digital audio got it right the first time. en.wikipedia.org/wiki/Soundstream Dr. Thomas G. Stockham, Jr. his first 16-bit analog to digital and digital to analog converters at 50Khz sampling rate digital audio interface was the first audiophile digital audio system. He used a DC coupled differential preamplifier for his 4-channel digital audio interface using a Honeywell data recorder with a Reed Solomon error correction system. Every digital audio system should use XLR DC coupled differential preamplifier before the analog to digital converter. It guarantees the lowest possible noise and the greatest frequency response. Sound Stream Digital Audio The first commercial audiophile digital audio system was SoundStream digital audio processor 16-bit 50Khz sampling rate the first audiophile digital audio recording was Diahann Carroll with the Duke Ellington Orchestra Under the Direction of Mercer Ellington - A Tribute to Ethel Waters (popular music on the Orinda label) in January 1978. I have this CD and its sounds great. In 1978 dollars it cost Dr. Thomas G. Stockham, Jr $150,000.00 each to make his digital audio recording system and only 18 were made. I got the SoundBlaster K3+ USB Powered 2 Channel Digital Mixer for $129.99 for webcasting. The SoundBlaster K3+ 24-bit digital audio at 48Khz sampling rate digital audio interface and a SoundBlaster X-Fi HD external soundcard that has 24bit digital audio at 96khz sampling rate. With a gaming laptop is dirt cheap and much better sound quality than the Sound-Stream digital audio interface and a Honeywell data recorder. That’s technology!
I wish the RE20 was popular but unfortunately roughly 70% of people are split consuming their content with cellphones and TV's and the % of them owning a "high quality" audio setup/headphones is hilariously low. Not all consumers are gonna have End Game Boss Audio Systems, so its most likely they are using Airpods, tv speakers, horrible sound bars, monitor speakers, or some other basic listening device where you literally can't tell which is which between the RE20 and a SM7B. Personally I've tried with regular headphones and you truly can't tell, but with my Sennheisers yes I can hear the difference and the RE20 is the clear winner. Personally Microphones below $500 are worth, it's nice that I can tell the difference with my Yamahas but in reality that's like 5% of people you're investing into that own hifi speakers or headphones to be able to discern any REAL difference. Careful with your investments future Podcasters.
I have both, mainly use the RE20. The SM7B has better off axis rejection, but needs more post to make it sound good. People with more Hiss sounds in their voice are better off with the SM7B. The RE20 sounds more rich and crisp on the Low and Mid (thats why I love it on my voice). And finally the price (as of 6th of August 2023 here in Germany at Thomann): SM7B: 389 Euro, RE20: 609 Euro. So I see some relevant points to go for the SM7B, with one exception: If you are a nastolgic Frasier Fan, then you have no choice. ;)
Good video. I think it definitely would’ve been in serious contention with the SM7B had the black version been out sooner, in addition to a more low profile shock mount. Great mic
@@brodiebrazil not crazy enough to choose on color, it matters a lot. Even everyone has a color preferenc on cloths they put on, now days video is everything rather than just music, Even PODCASTs are in VIDEO formats. Thats why color and ugly shockmounts matters. RE20 and its shockmount is bigger than a normal person which blocks the person in video.
I think the popularity of Rogan massively impacted the popularity of the SM7B. However, once my budget allows it, I’ll be upgrading from my Rode Podcaster to the RE20
I think a lot of folks just played "copycat" bought what they saw others using in the early 2010s... it snowballed. 7b is a fine mic. still own mine. just have found what I prefer for my own use. sometimes a 7b on a guest who doesn't know how to stay "on the mic" is a disaster!
When I started my podcast that was out of my financial reach so I bought its little brother the re320 and I think that one sounds better than the sm7b. I think people buy the sm7b because it looks cool. When you pay $400 for a microphone and have to spend another $150 on the cloud lifter not to mention another 20 bucks on two more XLR cables (that is unless you buy cheap cables which I don't) you're looking at a ridiculous investment just to have a status symbol
Status is everything, don't you think so? We live in a society and it matters a lot whether you like it or not. Talking about SM7b and RE20 is not that far on gain. and other than that people love the BASS and they call it RADIO VOICE EFFECT. I don't care which mic but you can make it sound best with your interface/console or your mixing skill. Nowadays you can find a good interface under $600. Spend on interface rather than cloudlifter or boosters. Then you are golden. Buy a good interface don't blame the microphone. SSL2 or +, MOTU M2-M4 or even better ultralite mk5, antelope zen series. Just get those and you are set.
@@santulama6937 for the money I think the re320 is a better deal. You do need a cloudlifter for the sm7b and that factors into the overall cost. Cloud lifters aren't cheap LOL
So agree @The crosseyed Texan ! I didn't know about ev mics until i chanced upon a "shootout" video when researching on another mic - my ignorance. The sound of the re320 was love at first "listen", it literally made my head turn! I dislike boomy sounds (yes talking about you sm7b). The re320 sounded much more natural and smooth to my ears, also I like how it looks. So I bought the mic recently, now waiting for my new fet head (a clean cheaper alternative to cloud lifter) to use with my SSL2+. Sadly, I can't afford the shock mount... so i shall be gentle with my desk and the mic stand. ☺️
HOLY SHIT! you have the best sounding intro i've ever heard on youtube.. wow that spatial imaging was fantastic... blown away lol First vid from you.. Sub'd
I love my RE20 in black. Auray makes a slightly cheaper ($84) shock mount that is identical in functionality to the official EV shockmount. It's probably made in the same factory.
Hi Brodie thanks, very cool video. Can you advise more about the desktop mount? I found the shock mount, but not the OnStage stand that has the U shaped holder. Thanks
I love mine - but for my current workflow - found I needed a Triton Audio FetHead to get the levels where I really wanted them. So for me, at least, that wasn't a selling point over the SM7b. The sound signature, however, absolutely was. Love it.
Hey Brodie! I’ve been chewing up all these production based videos. I noticed in some vids you still have the Soundcraft 12 MTK on your desk in addition to the Apollo twin. What purpose does the Soundcraft serve in this case? Some mixing purposes? EQ? Etc…
My experience was completely the reverseI returned the RE27 for the RE20. Didn't like the sound coming from it at all. The RE27 compares more towards the HEIL PR40 with that aggressive (near painful) clarity boost, than the RE20 and RE320. Piercing. Bright. I guess great for radio if you want to cut through. Not so much the things I use it for. But I am glad that the mic fits you. I was kind of bummed when it just didn't work for me. :(
. I recently bought RE 20, which was made in Burnville, Minnesota. Than I watched some reviews and found out that on the most of the microphone it is written Variable-D and dynamic cardioid and on my microphone there is nothing. I would like to know if there is any difference between the microphones with the writing and without. Is my microphone old or new made? I am not sure if there are going to be any difference with the sound quality of the microphone. Thank you very much for your time.
I know many like this Mic and I know I’m probably in the minority, but I’m not a fan of this mic. Borderline hate it. Over 25 years of working in broadcast and I’ve avoided it whenever possible. Good job on your video. Good job on getting this mic to not sound nasally and good on your voice.
@@brodiebrazil TLM 102. Dynamic SM7B. And no, not because it’s now the popular choice. I bought one 15-20 years ago purposely to avoid the RE. It’s the mic MJ used on the Thriller album!
@@brodiebrazil Also, I don’t own the SM7B anymore, as I haven’t need it in a good while. Own many mics from handheld, to shotgun to confesor. RE20 will never be one of them unless a steady client asks for one or someone else pays for it. 😎
Or ... OR ... you could get a Shure SM57 with the large windsock and use the $420 saved for other things. I'm not sure your aware of this, but Al Gore invented EQing, and thanks to Al you can EQ the SM57 to sound amazingly similar to the SM7B or the RE20
You know I think a lot of the Shure sm7b popularity comes down to looks. Sm7b is an objectively better looking microphone, meanwhile the re20 looks like some phallic, 90s beige plastic you’d find at a garage sale. Black color is better but still not the best looking mic haha
Why do you talk about proximity effect like it’s a bad thing? As a singer, it’s one of the greatest tools we have to change our tone and add intimacy etc to a performance!
good point. i mention it on my videos because in voiceover... there's usually some existing EQ & processing that are specifically tuned for voice WITHOUT prox effect. so when it's added... colors the sound differently than intended. versus singing, likely, without that EQ... allows you to make the changes as a performer in real time.
It's also 65% more expensive (checked Thomann prices in black, because the original color is not attractive at all, on the contrary it looks like the smell of stinking cigarettes 😳). And it's just not as easy to use. The SM7B fits nicely on a microphone arm, try putting 4 RE20's in a regular sized guest studio and you have to find a bigger room. The sound is all about taste. For me it's just impractical. Also I have never seen one in a radio studio in the EU. I have seen many SM7's and Sennheiser MD421/441's here.
