The RE20 is my favorite vocal and sax mic. Had to have a fresh one. Warm, flat response. Best dynamic mic ever for live or studio.

Awesome mic
Sounds great!

This was among one of my first purchases from Sweetwater during COVID. I also have the RE27 n/d. For voice over and broadcasting its the RE20. There is a reason why this is the 'gold standard' for radio broadcast and voice work. Right now I am using it to produce a weekly one hour radio program for a local FM radio station. Its a pleasure to use and is very good at rejecting HVAC and other noises in my small studio. It really smooths out my worn out voice from captaining ice hockey teams and yelling at sporting events. Being able to use it stock without a wind screen is a plus. Almost as smooth as a ribbon without the issues.

The Electro-Voice RE20 is an outstanding dynamic microphone that delivers exceptional sound quality. Its Variable-D design minimizes proximity effect, ensuring consistent and clear audio, even when moving around. The build is rugged and durable, perfect for both studio and broadcast environments. With excellent noise rejection and a natural, balanced tone, it's a top choice for anyone looking for a professional-grade microphone. Highly recommended for podcasters, broadcasters, and voiceover artists! Five stars!

I love this mic. Looks cool to me. Great for recording almost anything. I've been impressed with how good an acoustic guitar sounds through it.

The RE20 is probably the best studio dynamic you can buy, at least in my opinion.
It has a fair neutral response, without the boosted bass of most other dynamics.

The variable-d is a bit of gimmick, it will boost bass if you get closer but instead of getting boomy it gets a tad muddy. But for broadcast that's much more manageable and if you want to boost the low end of you voice you can easily use an EQ.

For most I've tried it's preferable over the sm7b, which tends to be very dark and mask/destroy the consonants in a way the RE20 does not.

Barely sounds any better than a SM58, save your money and get an Audio-Technica BP40. 2 stars for the fact that you could sing with the mic in your throat and it still would not be too bassy and makes for a good improvised weapon in a pinch due to the solid construction.

I have a tiny little niche audio interview podcast. It was time for an upgrade from my Blue Yeti Condenser mic. I blindly fell victim to the myriad of so called experts on YouTube and got lost in the microphone hype garbage that pulls you into deep and cavernous rabbit holes. About the time I had mentioned something to my brother about my need to upgrade during a casual conversation, he quickly advised me to STOP the mad search and heed is professional advice. He had just finished up a very successful run at a podcast series and simply said,..."You have the same deep voice that I do, you NEED to EMBRACE it and let it shine! There is NO choice,...it's the RE20 mic by Electrovoice. It will cost you BUT its a one time expense because you will NEVER need another mic thereafter."

Naturally I was intrigued and located the RE20 and took the plunge! I set it up with my little Solo interface and a Cloud lifter and NOTHING more. The sound coming out of that thing was TRULY DYNAMIC in every sense of the word!! WOW! Just the right amount of clarity in the mids to highs and that DEEEEEP RICH BASS that just brings it all together! It is so balanced and hard to explain it but you know it when you hear it!

Since this was the first mic that I purchased for the upgrade, I of course HAD to convince myself that there was nothing better out there since the YouTubers kept pushing the "latest and greatest" hitting the current market and all of the "flavor of the months". After a few other mics had come and gone,....I realized that I truly already had the best and that all mics are indeed NOT ALIKE! Those other mics were promptly returned and the RE20 remains here.

Honestly,...it is such a forgiving mic too in that it keeps outside disturbances at bay with seemingly apparent ease. I have no idea how anyone can have noise issues with this thing. My studio is far from sound proofed and yes,..I take some of the basic precautions with moving blankets here and there and a carpeted floor with a popcorn ceiling above, but its just basic stuff. The mic is even next to my giant desktop PC workstation. It honestly doesn't care and just seems to be focused on my deep voice when I speak.

Just a lovely mic! I understand now why it has stuck around for as long as it has! Sure,..I wish it wasn't that odd looking Putty color and had a cool looking foam screen....but quite frankly,...who gives a flip?!?! I wouldn't trade it for any mic out there! NONE!!!

The newer models do come in black now...but again....I'm learning to love the classic putty color.

Maybe I will purchase a black version one day as a second mic but for now....I'm good; really good!

I run a (Legal) part time broadcast station and do some Skype and palchat work on my system. I purchased a "real" RE20 original and then I bought the (BEST) mic cords money could buy. These people talking about noise and cell towers and being inside cages and all that garb...obviously they need to look into better mic cords and check their studios for proper wiring and inhouse leaks and learn some good electronic engineering skills. Hell, I run mine in my 2012 Home that has it's own office, which is my studio. I have over 8,000 miles of wiring in my home (yes 8,000 miles of wires) and have never had an issue using this mic. I been into radio since 1969.

I will caution folks about Alto mixers --(in my opinion), there is nothing professional about Alto. The RE20's DO NOT mix well with them. There is a low level very annoying sound which I could never resolved and seems you're forever replacing a "cap" in them to help kill that sound. So I bought a new mixer from Sweetwater, an Allen & Heath and never had another issue with the mic quality. I have about $5k in my home-studio and I do not have sound proof walls or anything like that, no cages behind the walls and a cell tower less than a mile right out the windo facing the mic.

This is "THE BEST mic you could or will ever own. Make sure you purchase an (Original) RE20 and not a wannabe or one made after the buyout. YOU WILL NOT be sorry because the RE20 has its very own distinctive sound and quality that will blow away all other mics. --Producer Robert Margouleff specified the RE20 for Stevie Wonder's vocals through two album projects: Talking Book in 1972 and Innervisions in 1973. Margouleff said that the RE20 helped achieve a "close, intimate sound for the famous singer. The re20 has a LONG history in music recording studios.

I run from my mic (Providing you have the mic settings set properly and your mixer is set up right)... through an LexiconMX200 then through the a dbx215S and finally through the Allen Health mixer to smooth it out and send it all out. Everyone continues to talk about my station and the quality I run out here. I'm a self-taught audio man learned everything on my own and following great people like-- Mel Street, 700WLW engineers and chatting with the boys over at Dark Horse Recording.

It's up to you, if you want the best clean sounding professional quality on the market, the RE20 is your mic to own and certainly cherish as I do. At the time… it was the best $997.00 I have ever spent for voice audio. (Did you know), if you run these mics every day, 24/7 for 50 years they will still sound as great as day one. Long about 60 years of 24/7 use they considered a good point to overhaul one. You tell me what mic on the market is that great?!? Electrovoice re20, it's a "true professional studio mic" hands down!!!!

The RE20 is a classic design from the late 1960's that has stood the test of time. Very little has changed in regards to its design since its inception (there are a few parts at the bottom of the mic that holds the assembly together that have changed... and thats about it). The mics variable distance (variable d) technology allow this mic to be put in front of less disciplined individuals and still get a great result. The video linked goes into the history of the RE20, its construction and some practical use cases. Though vintage units do suffer from foam rot, theres almost no reason to fork over more money for a vintage unit, as the main element and external body haven't changed. If anything, you're better off getting a new one, since you wont have to deal with the foam rot, and there is no exception to this. No matter how well kept the mic is, the chemical in the foam breaks down and causes the vents to become clogged and can get all over the diaphragm cap. Its a mess... just get a new one, they sound no different.

I was having issues with the tone of my bass when I recorded it. Way too much midrange that I could not effectively EQ out of the mix. I was having trouble getting that deep bass sound that really fills the bottom of a recording. I typically record one channel as a DI and one channel with a mic and then blend the two channels when I mix. Ben Robinson suggested that I try the RE20 and that I position it a few feet away from the speaker to enhance the bottom end. Once again, Ben hit the target. This is a great mic for bass and reasonably priced at that. Thank you Ben Robinson and thank you Sweetwater!

I've owned and have been using variants of this mic since the late 70's (I owned a pair of PL20 in the 80's. same as the RE20 but different color paint job). It's the mic used by William Shatner for voice-overs. It's the mic choice that recorded Brad Delp for the first and second Boston albums. There are so many instances of this microphone recording world class vocals. It'a fantastic for a wide variety of instrument choices do to the smooth frequency response from the "Variable D Vents" that form the exterior of this unique beast.

No proximity boost. Extended, flat frequency response both ON and OFF axis.

The RE20 destroys an SM-7 in side by side comparison analysis. The RE20 sounds like a pro-condenser model compared to a cheap SM-57 when you pit them side by side. You can make an SM-7 sound good but the RE20 always sounds elite, royal and fantastic. Also hotter level than an SM-7 without and inline booster amp.

Don't be fooled or settle for an RE320, that is just a cheap Chinese copy to fleece you down. The RE20 is the real deal. The new ones from Minnesota USA sound like they did in the early 80's, crisp and natural. Put that through any 1176 comp and you've got a killer lead vocal.

Good Music To You!!!

What can you say about the RE20 that hasn't already been said? This iconic microphone's warm, rich and silky sonic character, coupled with an almost complete lack of proximity effect, is the legendary "Voice of Radio." Old-school recording engineers know that the RE20 is a "secret weapon" mic for kick drum, bass cabs and Leslies, and that it also works quite well for micing brass instruments.

In my opinion, it definitely sounds better than the Shure SM7B for broadcasting/podcasting purposes, and also requires less EQ. I've recorded about 120 radio monologues with this mic over the past 2 1/2 years, and I'm still as pleased as the first time I used it.

The RE20's only real caveat is that like the SM7B and most mics patterned after them, it has very low output. If you don't have an interface with LOTS of extremely low noise gain, you'll need something like a Cloudlifter or Fethead for a noise-free signal boost.

The quality of EV is on another level. Iconic microphone

I could write a long review, this guy pretty much sums it up in this video. He goes a little off into the weird zone around 6:10, but everything before that is solid truth. IMO, the Shure SM7b sounds like a muddy pos. I would not ever use one for voice. The RE-20 sounds amazing and is very clean. But good luck getting it to work in any environment that has electrical wiring. Returned Exchanged first one with Sweetwater with no hassle (excellent customer service), replacement seemed good for first day, the EMI problem came back could have been blind luck). Third one came right from Bosch after explaining problem. Same issue with third one. I'm not going to ask Sweetwater for my money back, not their fault. I'm trying to get Bosch to take the third mic back and pay me back. Don't buy this mic. Bosch purchased Electro Voice and decided to cheapen this mic up.

This is THE microphone of Gary at Nerdrotic. His audio is superior to all other guests. This is why. Hail Friday Night Tights.

Other mics have well-earned reputations for doing certain individual things well - expressing rich lower registers of the voice, silky open top-end performance, natural rejection of plosives and off-axis sound, rock-solid mid-range, and good sonic character even when fed by lower-end mic pres. But in my experience, only the RE20 does ALL of those things beautifully at the same time. Best of all, in my opinion, no two people sound the same speaking into an RE20 - it doesn't have its own signature sonic character, it simply reflects the natural dynamics of whoever's talking into it. Put more simply: when you talk into one of these, you sound like yourself - but just a little bit sweeter somehow. Add in the fact that they're durable and built to last, and you can see why it's an all-timer. My only beef is that the included stand mount is poorly designed - it loosens easily and makes keeping the mic in position unreliable. Which basically means that if you're going to spring for the RE20, you should strongly consider the extra expense of the 309A shockmount. But this mic sounds so good, it's worth the hassle!

The EV RE20 is great for broadcast and podcasting. It it also nice for acoustic bass, kick drum and floor toms. It has lower output than condensers, which is helpful when recording loud sources. The RE20 rejects background noise well, making it easy to keep your mixes clean. You may need to boost the gain when recording quiet sources. It really doesn't sound bad on anything. I heard a recording of a concert band recorded with a pair of EV RE20s, and was pleasantly surprised. Every studio should have one or two.

We use this on every session. Great mic for Kick (Studio or Live) and on horns. Equally useful on vocals and acoustic guitar. There is a reason this thing is in so many studios and radio stations. Nice clear punch on kick drum. Accurate and clean on vocals. I'd recommend highly.

I marched in Drum and Bugle Corps going back into the mid-1960's. Back then, Ken Kobald recorded all the national contests. In the early 70's, I had a series of long conversations with Ken about equipment and the tips of getting great recordings. He used RE-20 microphones, so I bought my first pair of RE-20's in 1974, paying about $ 800 each for them. After over 30 years of use, amplifying an organ and vocals during dance gigs, and recording band and choir concerts, I had left them in my hot garage one summer for a couple of months, and the foam rubber from the inside of the metal cases melted into the screens. About 2001, I sent them to the factory for refurbishment, paying $ 400 each. They came back like new, and I still use 2 of them along with 2 RE-320's to record bands and choirs, and now as a vocal microphone for an interface. They sound great and a tough as all get out if you are using them for mobile use outside the studio. The RE-320's do a bit better at picking up the high ends, but nothing can compare with the low end clean sound picked up by the RE-20's unless you go to very expensive and fragile microphones. They are worth every penny you pay for them. The only down side is that the newer RE-20's don't come in a steel case. Many use a shock mount, but I have had no problem when I mount them on an adaptor I made to fit them on a solid light stand so as to get them up in the air about 15 feet above bands and choirs.

I bought this mic for my podcast, Hope Renewed. I love the quality and how easily it produces great sound. I don't even need a pop filter. It works perfectly with my Rodecaster Pro.

What can be said about the undisputed industry standard for dynamic mics. All other mics are just attempting to be as good as this one. Now, I know that not one single mic can work for all applications, but this mic might be the closest to a Swiss army knife that has ever been. Home run for male vocals, drums, wind instruments, and due to it's flat response, I've even used it for acoustic guitar. I adore the RE20.

Oh also, you could likely build a large house with it. It's more solid than some hammers I've used. ((And yes, this is a pro, not a con))

If you're a rock, metal, or hardcore singer that screams as well as sings, you can't get a better mic than an RE20. The sound is absolutely perfect, and you can scream full volume into this thing and it'll take it. There's no need to use a pop filter, and there's virtually no proximity effect. This is definitely one of the nicest sounding mics I have. A bit pricey yes, but it is really worth it.

Sometimes the best things in life are because of what they DON'T do... this mic doesn't add colorization, proximity effect, "p" pops or sibilance. But if you've read the specs and other reviews, you already know that. Using the mic day to day, you will really appreciate these qualities. If you get something different from what you got last time, what did YOU do different? I saw one review that said this mic is nothing special. Maybe they were looking for an experience that would blow their mind by adding all kinds of quality and colorization to their voice. If that's the mic you've looking for, look elsewhere. This is just an awesome mic, that's all. It's not going to turn you into a rock star. With classic sound like this, you really don't need a bunch of post-processing. Do the basics - proper gain structure and use compression and EQ in moderation. The mic doesn't need "help" to sound good.

Thanks Sweetwater and Mike Picotte for taking great care of this Demo unit while it was in your store, as well as shipping it like a new unit. The description said there were light scuffs, which I was willing to live with - but I don't see any wear or scuff marks whatsoever. Looks and functions brand new. It also included the mic clip and the CASE, which is a really big deal! Thanks, guys! You're the best!!!

I have owned this Electro-Voice RE20 for some 6 months. It's been employed on a low power FM station and listening to the signal it sounds warm and clear. Also, I employed the RE20 for an audio book recording, making different voices. One of the voices was done with a scratchy and angry sounding voice purposely up close to the mic, with a pop filter (the RE20 has a built-in pop filter-so it has two, one built-in and clamped on) between my lips and the mic. And listening to that recording each word could be heard clearly, because of the RE20 ability to be immune from the "oh-no!" garbled proximity effect. It is a dynamic mic and I have another dynamic mic that sounds good but has severe proximity effect. So... a thousand kudos to the people at Electro Voice!!

Incredible microphone and even better service. Clint called me personally to make sure my address was correct and if there was anything else I needed. He also upgraded my shipping for free to make sure I got it on time. I've never heard of Sweetwater till I Googled for this mic and I'll always come back for any purchases. Great company.

This microphone speaks for itself, but I can speak for the fantastic customer service Sweetwater and sales associate Ryan Clapper provide. As a Canadian customer, after duties/taxes and exchange it sometimes costs me a bit more, but it is well worth it to not have to shop with Long & Mcquade here in Canada. Thank you for the speedy shipping, great customer service and excellent products.

The Broadcast standard Reputation is well deserved, and unlike some of the reviews I have seen on line I did not need 30 DB of gain to use it, I run it thru a Focusrite ISA One and no EQ needed and it sounds amazing.

Love it. The lack of proximity effect is useful. Clean, consistent sound and versatile.

I own two RE20s and use them to amplify and record saxophone. They are rugged and they deliver a nice natural sound, without all the extra high end or boomy bass you get from many other microphones. Over 10 years and counting...

I bought this mic for male vocals, and for that, it delivers. However, I've discovered that is also a great bluegrass banjo and double bass mic as well. When recording banjo, I place the RE 20 in the back of my banjo under my armpit with a small condense mic up front. The Re 20 track rejects all the harsh overtones typical with a banjo recording and delivers and nice smooth low end, more palpable banjo tone. For my bright student model double bass, I place the RE 20 in front of the f holes and blend that track in with the pickup track. This mic takes out my bass's highs and beautifully picks up the lows. I HIGHLY recommend this mic for male vocals, banjo, and double bass.

This mic sounds good on everything, especially vocals. I'd prefer it over the sm7b any day.

I dislike sounding like I plagiarized some of the other Reviews here on Sweetwater .... but this Electro-Voice RE20 broadcast microphone is amazing. I have been upgrading my internet and FM radio station. The ART single-channel microphone preamp and the RE20 mic have been married. Together they have enhanced the vocal sounds of the station. What a difference from my older Apex cardioid mic. Being that the RE20 IS a premier radio broadcast microphone it immediately out shined the Apex. I have a habit of talking close to the mic. The sound from the Apex rumbled when my lips were close. (the Proximity Effect tore my speech into rags!), but not the RE20; it has a velvety, natural, and warm sound. Smooth. It's an auditory sensation. I don't do drums. I talk. I wanted to sound like myself. This 1-pound baby does what the advertisements, the great reviews and evaluations state. It's incredible, amazing, and more, like, hey dude, it's breathtaking!

I am not a musician, however I have been a very active ham radio operator for 61 years. I have not found a mic in the ham radio field to compare to my new RE20. I get compliments every day from other hams on the air about my audio. Since adding this mic to my station, the difference was noticed and remarked about immediately! Over the years I have used many mics and nothing compares to this RE20. I have used Electro Voice mics in years gone by, but the clarity of the RE20 is unmatched. Also the Variable D is very useful when 2 or 3 guys are around a table on the air with others in a group session. Great addition !

I Have a Voiceover Studio and after trying every mic imaginable we finally settled with this trusty mic.
Thanks Ted and Sweetwater for your continuous support.

This is an extremely well made broadcast quality microphone that delivers clear vocal sound without any additional coloration or warmth. I have a deep voice, so the fact that it operates without any additional proximity effect allows me to have much higher quality voiceovers and vocal samples. It"s a very heavy microphone, so be sure to use this with a strong microphone stand or boom arm. I utilize it without a pop filter, and merely add a wind foam head on it. This is a professional microphone for anyone interested in a high-quality product.

I"ve gone through about 5 different microphones, trying to find one that best fits my raspy voice. With a diaphragm mic, no matter how much eq"ing I would do, I always had that "harshness" to my lead vocal.

This mic is unbelievable for taming that. My voice sounds so smooth and professional with this mic - very minimal post processing to do. And having no proximity effect is icing on the cake. I wish I found this mic about 9 songs ago. I really am considering redoing all of the vocals on my songs with this mic.

Love it! If I could give it 6 stars I would!

It"s everything and more in a VO or broadcast microphone- exceeds my expectations

I've been an RE20 fan for many many years now. It's extremely versatile, from vocals, to guitar cabs, to kick drums... It does each of them exceptionally well! It was built as a radio broadcast mic, so of course it's the cream of the crop for podcasting or VO work. It's built like a tank, nearly indestructible, and can serve your needs for decades to come.

This mic is fantastic for voice over in the home studio environment. It rejects a lot of sound coming from behind the mic. Minimal acoustic treatment allows you to get a very low noise floor. The tone of this mic is warm, full, clear, and detailed. This mic, when recorded at -12db to -18db really is natural sounding. This mic prevented me from spending a lot of money on additional expensive room treatments and gives me the professional sound my clients want.

I was looking for a Microphone that didn't pick up off axis sounds from outside in the street school buses backing up or the trash man. I did a lot of research before choosing this and from what I read it filled my requirements. I set it up using a 2 foot Mogami Gold Cable to a cloudlifter pre-amp, then to my Audient ID14. The voiceover quality is very good and as I had wished the sensitivity pattern ignores off axis sounds. I very much recommend this microphone. Oh, yes, It's made in the USA too.

I've been using either an SM7, a SM57 or if I'm really full of myself a U47 for years. A lot of my "Radio" friends use the RE20, so I thought that I'd give it a go.

Very good response, a little Basie, but acceptable

When you want an isolated sound, this is the perfect mic. I love it on woodwinds or brass. Anything sounds clear through it - I haven't yet used it for kick drum or amps but I have high hopes. To my taste - it can sound unnaturally isolated in that you (usually) don't hear the natural reverb of the room whatsoever. Knowing its time and place, this is the perfect mic.

The RE20 has long been a staple in broadcasting and for very good reason... It's dead simple to setup, works very well with dialogue, and doesn't take much post processing to get a finished product. Of course garbage in=garbage out in that it won't make you more talented, but you certainly won't be battling the microphone part of your sonic equation.

If you're doing podcasting, broadcasting, narration, voice acting, etc. It's solid. I'm sure it's great on other sources, but I bought this for a podcast, knowing what I was getting in to, and I'm unsurprised that this mic came through in spades.

What's to say about the Electro-Voice RE-20, it's the definitive broadcast standard. It's my go to mic for live sports announcers (Hockey, and Basketball), My Podcasting microphone, I even heard it sounds pretty good on Kick Drums.

Accept no imitations, buy the RE-20 you won't regret it...ever!

I like the mic. I can't believe the gain I get without the booster unit but I had the booster unit anyway.

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!

This is a seriously professional mic and will immediately set your recordings apart from the crowd. Lots of dynamic range and nuance. Amazing for voice recordings. If you're a podcaster, voice over producer, or do any type of work that demands demands first rate vocal presentation, look no further. If you can afford it, invest in one and don't look back

For the longest time I've been wanting to experiment with this legendary microphone. I toyed with the idea of purchasing a used one but I was afraid to get stuck with a mike that may have hidden damage. Recently, I received some gift cards so I was able reach the price of a brand new one which enabled me to truly evaluate the performance of the RE-20. Research prior to my purchase revealed that the mike needed plenty of gain to provide a suitable signal. Knowing that, I connected the RE-20 to a Mackie mixer (for a boost in the gain) and then the mixer to my interface. The mike gives my voice the rich tone I prefer and I'm glad I made the decision to buy it. Out of curiosity, I tried connecting the mike directly to my interface but that required turning the gain control much higher than normal. I'm never comfortable driving equipment near maximum levels so I'll be running the RE-20 through my mixer in the future.

The mic itself sounded great, however it picked up 7.5khz noise. The source, after much testing, tweaking, checking, and correspondence with EV is presumably a near by cellular tower. Tried two mics sorting through the problem. Only mic that's ever picked up this interference. Unfortunate, because otherwise, I quite liked the microphone.

While the mic didn't work for me Sweetwater was great to deal with through the process as was Electro Voice. Both were professional and extremely helpful throughout the process.

After consulting my sales consultant "Chris" I decided to buy the RE20. This microphone is fantastic for voice recording. The sound is rich and clear.

I bought this primarily as a bass drum mic. I swapped out my D112 for this, moving the D112 to mic my floor tom and using an EV e901 inside the kick by the beater head and the RE20 on the back resonant head in the port.

I have to say, it's a delightful combination. I also quite liked my D112. But on my particular bass drum (Pearl Reference 20"), this combination through my focusrite ISA428 is amazing. It's that really meaty, substantial kick sound I'd been longing for. And bonus - the D112 as a floor tom mic is pretty impressive, too.

Overall, very happy and impressed with the mic.

This is the workhorse of the broadcasting world. It is also a part of my VO arsenal along with my 416 Shotgun mic. I would recommend the RE 20 to anyone desiring a quality sound.

What a great mic! In my 30+ years in broadcasting and voiceover I have used a lot of different mics. The RE20 is one of the best. I even like it better than the RE27. It has such a clean sound yet it's very warm and inviting. You can't go wrong with the RE20! Plus the price at Sweetwater is nice too.

I've been using the RE-20 for years now and it is my go-to vocal mic for nearly any performance male or female due to the Variable-D proximity enhancement the mic offers.

This mic is very flat and accurate so any source it's placed in front of will have 100% accurate reproduction with no real hype on the lows or highs, though I find the Variable-D actually enhances low end information in the right areas.

You can use this on a number of sources without a problem. Vocals, bass, electric guitars, you can throw a LOT at the RE-20 and have it sound awesome. Get two, not one!

Still the best microphone in broadcasting, especially for the spoken word.

Smooth, great for voice overs. You'll also need the CloudLifter CL-1 to boost the gain.

What a GREAT Mic!
I am a amateur radio operator (KJ4QVJ) and since I started useing my new RE-20, my audio reports have been GREAT! I have had several stations comment that my audio is "broadcast quality".
Thanks Sweetwater!

This mic is absolutely amazing for capturing bass guitar both on the road and in the studio. An RE 20 channel paired with a good DI channel will make your bass sound stunning. Get it!

I've been very happy with the EV RE20 for home recording and for singing live through a Fishman 220 (with a Cloudlifter). The night I forst used the RE20 live, I got several comments on the fine quality of the sound from the audience. This was an upgrade from a Sennheiser e935, which I still like and will keep. But the difference is extraordinary. I particularly like the minimal proximity effect. (I will say that I had to put a counterweight on my mic stand - this thing's a tad heavy.)

I used one of these mics for a little bit. I can't say I was that impressed. I used it for broadcasting work. The main issue I had with it was how airy and thin it sounded on my voice. It sounded very natural though. If I had the money I'd probably buy another just because of how cool it looks. It inspired me to try out the re320 and re27 as well. The RE20 is the better of the three. It sounds much more natural. It's a favorite for a reason. The others are failures in my opinion. If I owned EV I would have worked on making cheaper version of the RE20 not variants that perform worse with those horrible neodymium magnets. I definitely miss this mic a tiny bit. I will be looking back at it later. It has sibilance and buzzy issues among a few other things. It's definitely not always perfect. I've gone back to condensers after trying all the popular dynamics. I'll probably relook at this later. It's just so cool looking!

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)

I love it, I brought it primarily for use on the outer resonant bass drum head paired with a D-6 about 1/3rd the way inside the shell, balancing the levels between the two gives a tonne of options and different sounds/feels.
From the few tests I've done so far I expect this will be one of my "go to" mics for just about everything. the flatness of the sound and lack of proximity effect is fine by me as it allows me to do whatever I want with the source sound.

There is a reason this mic is considered the Gold Standard. It's rugged. If dropped from waist height onto a concrete floor, be concerned for the floor, not the RE20. Its internal mounting provides will gladly absorb gentle bumps without producing the slightest hint of a thump in the audio.

I bought this mic as something to try on kick drum. I've been trying to get a certain recorded sound from kick drums that I'd been unable to achieve: tight, snappy, yet with plenty of bass punch. I knew a bunch of engineers swore by this mic for kick, so I decided to try it out.

They're right. Stick this mic in the hole (if the drum is so equipped) or stick it just in front. On a jazz kick, I didn't need to do any processing at all. No EQ, no compression. It just worked in the mix.

For rock drums, just EQ some bass boost to it, and add a little compression. (This mic has a flat response above 100 Hz or so, and rolls off in the bass... Which isn't usually a problem with a bass-heavy instrument like a kick drum, unless you want it larger-than-life.) It takes almost no effort to get a fantastic kick drum sound.

Note that if the drum is not tuned, has dead heads, or the drummer isn't good, this mic will not mask those flaws. You'll hear every shortcoming in perfect detail! When the kick is properly tuned, with good heads, and played by a good drummer, you'll be floored by how good the drum sounds on the recording.

I deducted a half-star because this mic is very heavy, and the included swivel mount being at the very end of the mic puts a lot of strain on the mic stand -- especially when using this mic on a kick drum.

I originally bought the mic to record kick and upright bass and it has NOT disappointed in those areas. This mic has a "true" sound, meaning it will pickup your sound just as it is. For drummers that know how to tune your drums, this mic is for you.

This mic also excels at vocals. Recently I was recording an artist who's voice was warm, yet powerful. I tried the U-87 and the C-414 but the producer wasn't happy with the results. Before I reached for my ribbon mic, I pulled the RE-20 out and was blown away. This mic does it all!

One side note...Mic needs gobs of gain. I strongly recommend a nice preamp or a Cloud lifter to boost gain.

I like it a lot. I also own the SM7B (the original model) and it was close to a coin flip between the two. Testing with my own voice (male, somewhat bassy), this is what I ended up liking:

For dialog, I liked the SM7B with the presence boost and the RE 20 flat for dialog, both pretty close to the mic. To my ears, the RE 20 was a little more smooth. It seemed to have a bit more core and a nice air on top. The SM7B was a bit more articulate and a bit less flattering. I think I would prefer the RE20 with my voice unless I was concerned about projecting over other sounds.

For singing, I liked the RE20 flat at more of a distance (around 4 inches), and the SM7B flat and pretty close. I preferred the RE20 for what I was singing, but I can see how the SM7B would work better for more punchy vocals.

I think it would depend on the voice and the material which one I would prefer, but if I had to have only one of the two mics I would probably go with the RE20.

great addition to our mic closet handles transients well multi kick drum mic

After months of research I have finally found the vocal mic with the sound that I have longed for. Personally I prefer the RE-20 and the Shure SM7B over many of the hi-end condensors, which is really saying something. I also own the Blue Bottle with B6 and B7 capsules, but I was shocked to hear that I prefered the vocal takes with the RE-20 over the Blue Bottle! (WTF!!!!!!!!!)
The sound has very smooth highs and mojo warmth that sits inside the mix, without the annoying sibilance that I tend to get with alot of condensors.
The RE-20 has excellent noise rejection, which makes it perfect to record pro results without having to leave my computer screen, it sits right next to me while I work. Bonus.
RE-20 or SM7B, Pacifica, SSL XL 9000 K dynamics. EQ not needed = BLISS

This mic now lives inside my bass drum. Its as good as I have recorded with so far.

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!

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.

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.

This is my go-to kick drum mic. I don't like to use the "specialty" kick drum mics, I'd rather use a nice dynamic like this and eq to taste. I also own the shockmount which is very high quality. I use the RE20 close in, and a condenser mic further out to get my kick sound. I have tried this on vocals, but if I want to use a dynamic, I prefer a Sennheiser 441 or a Shure SM7. However, for bass cab and kick drum, this is my go-to piece.