RE320 Large Diaphragm Dynamic Vocal Microphone, Wired

Best dynamic mic one can buy for broadcasting/podcasting. Quality is amazing, heavy and looks gorgeous. Paired it with rode psa1 arm and a cheap 55mm shock mount. Yes coz EV’a shock mount costs a fortune.

Microfono Top de la marca Electro Voice. Válido tanto para voces como para grabar instrumentos.. es un muy buen micrófono versátil. Si solo buscas algo para voz y tienes dinero.. ve directo a por el RE20, es un clásico y no falla. Yo tengo ambos y la verdad, son 2 grandes micros, nada que objetar a ninguno. No es necesario gastar los casi 600€ del RE20 para tener una calidad muy buena de audio. Para mi es un microfono de alta calidad aunque claro, existiendo el EVRE20 y el EVRE27 que son bastante mas caros, este se engloba en un nivel medio.. Yo lo recomiendo.

I wanted to upgrade my mic for streaming. I saw lots of reviews and have been watching Podcastage & decided on the RE320. It's been great so far for me and has a more bright sound than compared to other mics I've used in the past. It's great for rejecting unwanted noises & awesome for picking up my voice at low input gain, about 45db. Definitely Recommend it

I purchased this mic for doing voiceovers on videos and live webinars and I couldn't be happier, but it is an investment, especially by the time you add a good audio interface and most likely an "activator" (pre-preamp) such as a CloudLifter or Fethead. My old mic was a Blue Yeti, which is a great mic but very unforgiving if your room isn't well treated; my room sounded like an echo chamber. So I knew I wanted a dynamic mic, since they work much better in untreated spaces. I chose this particular mic because it doesn't have any "proximity effect" (in which your voice sounds different/bassier up close); this is a patented Electrovoice thing ("Variable-D"), and because I liked the flatter response and lower price compared with this mic's granddaddy, the RE-20. (The RE-20 kind of defined the FM disk jockey sound; this is brighter and more well balanced.) Here is my setup and I couldn't be happier. I'm already getting compliments and I'm not mentioning anything about having new equipment. - EV RE-320 (this mic) - Rolls XLR passive mic switch (mute button) - Cloudlifter CL-1 (activator) - dbx 286s (preamp and voice processor) - Audient id4 (audio interface) - Mogami cables - beyerdynamics DT-770 headphones (so you can hear what you're doing) - Stand All this set me back about $1,500, but you might not need all of it. If this is way out of your range, consider the Sure MV-7 all-in-one USB/XLR dynamic mic. WHY THE CLOUDLIFTER? This mic doesn't put out a very strong signal, so I found I had to turn my preamp all the way up to get a loud enough signal. The preamp on the Audient id4 is SO clean I could turn it up all the way with no hiss or other noise, but the preamp in the dbx wasn't quite so amazing (still great but hiss city on the last 10% of volume). The Cloudlifter gives 25db of clean gain so I can set the dbx preamp about half way, which sounds great. Even if I didn't have the dbx, I'd strongly consider a Cloudlifer or Fethead or you'll always be running with the volume at max. WHY THE dbx? This mic sure sounds sweet going straight into the audio interface, but my room isn't the best and I'm usually live, so I can't do any post-processing. The dbx lets me clean up the audio in real time with a compressor (hides volume differences if I get excited or move closer and farther from the mic), de-esser (removes annoying "s" sounds), equalizer, and noise gate (does a great job removing background noise). WHY the fancy cables? My setup is in my home office surrounded by computer gear; cheap cables are likely to be noisy due to electrical interference. Mogami cables are the best at blocking the interference. This gear goes together extremely well and I absolutely love it! But keep in mind this mic requires a strong preamp or an activator such as a Cloudlifter or Fethead, and of course since all that is analog, you need an audio interface to get it into your computer. All this exceeded my expectations - it sounds fantastic. Highly recommended!

Less expensive than an RE20 but not a budget microphone by any means. I have other microphones but I've been using this a lot. The tailored response works really well with my voice. It does a great job of getting the dialog to sit atop of things like background music, bumpers, or gameplay when streaming. The sound may not be for everybody, and the tailored high end will limit the applications of this mic. If you like a flatter, more natural sound, I'd lean toward the RE20 or SM7B. It's very well built. Of course. Feels sturdy and will absolutely last you a long time. The black finish is really nice. It looks great on a boom, especially when used with the 309A shockmount and with one of those nifty matching pop-filters attached. The output is low and you'll need to use a lot of preamp gain, but it has enough output that most preamps will drive it without too much fuss. Definitely has a stronger output than the RE20 or SM7B.

J’ai choisi ce micro parce qu’il représente une excellente alternative au sm7b ( dans un usage streaming). Le re320 est un micro dynamique qui ne nécessite pas de préamplificateur type fethead ( le sm7b l’exige ) à condition bien sur que vous ayez une carte son qui vous délivre un gain propre, dans le cas contraire un fethead pourra vous servir ( par exemple si vous utilisez un zoom h5, utiliser un fethead vous permettra d’obtenir un gain largement suffisant mais surtout plus propre que le gain donné par le pré ampli interne du zoom h5 ). Mais si vous avez une carte son avec gain propre ( type audient id4 ) alors pas besoin de fethead avec ce micro. Le re320 est également moins chère que le sm7b. Il donne un son broadcast mais plus brillant que le son typique très étouffé du sm7b ( ce qui est typique du sm7b et ce n’est pas un reproche, c’est pour ça que beaucoup le choisissent ). J’ai eu un sm7b et voilà le gros point noir de ce micro qu’il faut bien comprendre : Tout l’intérêt d’un micro dynamique en streaming et home studio ( comprendre espace non traité acoustiquement ) c’est de réduire au maximum l’écho de la pièce ainsi que les bruits ambiants. Le sm7b est tellement gourmand en gain que lorsque vous allez monter le gain, le micro va naturellement capter énormément de son ambiant. En résumé, dans la même pièce le sm7b réglé au bon gain va capter le bruit de mon frigo à l’autre bout du couloir alors que le re 320 réglé au bon gain ( plus bas donc car il est moins gourmand en gain ) ne captera pas le bruit du frigo. A tel point que c’est le jour et la nuit entre les deux enregistrements. Ce qui veut dire moins de traitement à appliquer que se soit en streaming live ou en post production. Conclusion : le sm7b est une légende pour studio professionnel mais le re 320 est plus facile à utiliser en home studio. Sa signature vocale est différente mais excellente pour les voix off, le streaming surtout si vous voulez de la clarté et de la fidélité. Pour cet usage je le préfère même au re20 . le re320 n’a pas de suspension interne donc il vous faudra peut être ajouter un « shock mount » selon vos besoin ( personnellement le bras psa1 de rode suffit à isoler le micro des rares bruits de contact que je pourrais faire ). En résumé : Le cheminement est souvent le suivant : On vise le sm7b, voir même le re20 mais dans 95% des cas le choix idéal, prix, résultat et qualité c’est le re320. Je parle bien d’un usage en home studio, pièce peu ou pas traité acoustiquement.