Electro-Voice RE20

Dynamic Cardioid Broadcast Microphone
Electro-Voice RE20 image 1
Electro-Voice RE20 image 1
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Electro-Voice RE20
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The broadcast standard for decades

The RE20 is the broadcast studio voice-over mic used by pros for years. The RE20 is smooth across a wide spectrum of frequencies, and because it's a Continuously Variable-D mic, it's virtually free of bass-boosting "proximity effect" when used close. An easy "bass tilt down" switch corrects spectrum balance for use in longreach situations or other bass attenuation applications, making it great for acoustic and electric bass and kick drum. The Electro-Voice RE20 is a studio and broadcast standard!

Electro-Voice RE20 at a Glance:
  • Cardioid Mic
  • Large-diaphragm Dynamic
  • Immune to Proximity Effect

Cardioid Mic
A true cardioid microphone, the RE20 offers greatest rejection at 180 degree off-axis - directly to the rear of the microphone. Pattern control is so consistent that the frequency response is nearly independent of angular location of the sound source, creating virtually no off-axis coloration, yet providing the greatest possible rejection of unwanted sounds. An integral blast and wind filter covers each acoustic opening on the RE20. In recording sessions or on stage, singers can "close talk" the microphone, singing with their lips almost touching the grille screen with no worry of "P-pops" or excessive sibilance. Part of the filter also shock mounts the internal microphone element, reducing the transfer of vibrations from external sources.

Large-diaphragm Dynamic
The exceptional performance of the RE20 is achieved by using a large Acoustalloy diaphragm in combination with an exceptionally low-mass aluminum voice coil. Using this diaphragm assembly, the RE20 is capable of reproducing extremely high sound pressure levels with no fear of the overload and distortion often experienced with phantom-powered condensers. The RE20 will also continue to function flawlessly in high humidity and elevated temperatures that would seriously degrade competitive condenser microphones. A massive steel housing and effective hum-bucking coil assure the RE20's resistance to magnetically induced hum and noise. This means the RE20 can be used successfully in situations where other microphones would experience unacceptable levels of hum and buzz. By exploiting the strength of its steel housing and employing a mechanical nesting concept, EV designers have created an exceptionally rugged microphone with superior handling noise rejection ideally suited for professional uses.

Immune to Proximity Effect
The bass-boosting proximity effect common to most directional microphones when used close to the sound source, is eliminated in the RE20. This is accomplished via the application of the EV-exclusive Variable-D technology. By controlling the effect of microphone proximity, the RE20 can be located very close to sound sources without a loss in clarity or definition making the RE20 ideal for tight vocals and challenging instruments. It can be used inside bass drums, on acoustic guitars, and is found in voice booths and broadcasting studios everywhere.

Electro-Voice RE20 Features:
  • Generating Element: Dynamic
  • Frequency Response: 45Hz-18kHz
  • Polar Pattern: Cardioid
  • Virtually free of proximity effect
  • Impedance: 150 ohms balanced
  • Sensitivity, Open Circuit
  • Polarity: Pin 2 will be positive referenced to Pin
  • 3 with positive pressure on diaphragm
  • Case Material: Steel
  • Accessories Furnished: 81715 stand clamp
Electro-Voice RE20 - A broadcast standard and a great studio mic, too!

Additional Media

Studio Microphone Buying Guide

Tech Specs

Microphone Type Dynamic
Polar Pattern Cardioid
Frequency Response 45Hz-18kHz
Output Impedance 150 ohms
Color Silver
Connector XLR
Weight 1.62 lbs.
Included Accessories Stand Mount, Carry Case
Manufacturer Part Number F.01U.117.389

Customer Reviews

Based on 29 reviews
Write your review

Perfect Vocal Mic for Male VOX

I love this microphone so much, it is perfect for male vocals. I bought this because I was looking for a big warm broadcast sound while recording singing. The microphone delivered in a big way. When I track live, this is my go to. I added the Cloudlifter to the mix for extra signal. The cloudlifter adds the dynamic that makes this sound like a vintage condenser with less background noise. I love it and will always use it!
Music background: Engineer/ Songwriter

RE20 Classic

I feel like I still have so much to explore with this mic, because it is so well-suited to recording any kind of sound. I purchased it for my vocals after being disappointed with the tone of my voice through many condensers, and I was instantly satisfied with this microphone. This is that sound I have been looking for. It also sounds great on acoustic guitar, and any other kinds of sounds. The lack of proximity effect is amazing too, you get the sweet spot instantly.Honestly, even if you end up not liking it for vocals, you will eventually use it on something. Like many people have said, every studio should have one. Excellent mic.(Oh, and they're not exaggerating about the build quality -- if you buy this mic, you will still be using it 20 years from now. Completely solid construction)
Music background: Recording Engineer, Producer

The standard "must have" double bass microphone.

Being a professional double bassist and recording engineer, I am constantly crafting my tone, from both sides of the microphone. After years of consultation and experimentation, the RE20 has proven to be the ideal recording/live sound microphone for the double bass. Placed near the upper f-hole and combined with a signal from a pickup (Realist, Underwood, Fullcircle), one can capture a true acoustic bass timbre that is very accurate and consistent. The pickup just adds a little clarity and growl incase one is going for that Ron Carter/Eddie Gomez sound. I recently recorded the great bassist John Clayton for The Knoxville jazz Orchestra's latest album. The album was a combination of a live performance and a studio session. Sure enough, Mr. Clayton shows up from LA with his OWN RE20, NO pickup and says that's all he needs. I also know that Edgar Meyer carries an his RE20 when on tour. The proof is in the pudding. I also use an AMT S25B. With this config., I move the RE20 to the lower f-hole. Depending on the instrument and live PA, consider using the low-cut on the RE20 to reduce excessive bottom end boom. The mic of course sounds great on vocals, reeds and brass. The RE20 is definitely one of my "Desert Island" picks.
Music background: Pro Musician, Recording/Live Sound Engineer

An incredible sounding microphone

I recently started using this microphone at one of my jobs and have found that it sounds incredible for use with any full range miking situation, especially with it's warm and smooth low end. It sounds great on kick drum, low toms, bass amp, and broadcasting vocals. My only problem is that it is somewhat awkward and unbalanced as it sits in it's clip so I have to tighten everything up a lot more than for something like a 57. It sounds incredible though and I am very pleased with it.
Music background: Recording Engineer, Live Sound Engineer, Video, Lighting, Student

Astounding Clarity & Presence

We just put this mic up (through 1073>Pultec>LA-3) next to an original 251 (through 1073>LA-2A) for a low male vocalist, and there was NO comparison. The presence and power of the RE20 made the vocal sound bigger than life (especially in the intimately quite parts); my new favorite vocal chain!
Music background: Producer/Engineer

Sweetwater Advice

Greg Baum

I bought my first RE20 in 1982 to use on my demos for Motown. In all these years it has never failed me. Believe it or not, my partner used to like to record vocals with it. For me, it is still my choice for a kick drum.
See also: Dynamic Mics, Electro-Voice, Electro-Voice Dynamic Microphones, Electro-Voice Dynamic Microphones