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Electro-Voice RE20 Dynamic Broadcast Microphone with Variable-D - Black

Dynamic Cardioid Broadcast Microphone - Black
$449.00

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Electro-Voice RE20 Dynamic Broadcast Microphone with Variable-D - Black
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Broadcast-standard Dynamic Mic

The Electro-Voice 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 long-reach situations or other bass attenuation applications, making it great for acoustic and electric bass, as well as a kick drum. Engineers at Sweetwater agree: the Electro-Voice RE20 is a studio and broadcast standard!

Cardioid polar pattern for top-notch rejection

A true cardioid microphone, the RE20 offers greatest rejection at 180º 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 onstage, 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 shockmounts the internal microphone element, reducing the transfer of vibrations from external sources.

Classic beige model shown.
Classic beige model shown.

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 humbucking 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 it is found in voice booths and broadcasting studios everywhere.

Classic beige model shown.

Electro-Voice RE20 Dynamic Microphone Features:

  • The top industry-standard broadcast microphone for decades
  • Variable-D technology minimizes proximity effect for smooth and consistent sound
  • Finely engineered cardioid polar pattern provides 180º of off-axis rejection, with no coloration
  • Voice tailored frequency response brings out rich fundamental and chest voice
  • Large diaphragm delivers condenser-like sensitivity and response
  • Humbucking coil further reduces noise from poor grounding
  • Bass roll-off switch makes it easy to rein in low frequencies

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Tech Specs

  • Microphone Type: Dynamic
  • Polar Pattern: Cardioid
  • Frequency Response: 45Hz-18kHz
  • Output Impedance: 150 ohms
  • Color: Black
  • Connector: XLR
  • Dimensions: 8.53" x 2.14"
  • Weight: 1.62 lbs.
  • Included Accessories: Stand Mount, Carry Case
  • Manufacturer Part Number: F.01U.411.906

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Customer Reviews

Write your review
Rated 5/5

Great microphone! Fantastic customer service

Where do I begin, when I ordered this microphone I wasn't sure I was going to like it or not. I was also a first time customer with sweetwater so I wasn't accustomed to their ways. They called me and thanked me for my business within hours of placing my order and assured me it would be sent out promptly, which it was. Shipping was fast and efficient and when I received this package I was BLOWN AWAY this microphone is phenomenal totally understated it in the title I love it this will probably be the microphone I use for the rest of eternity! Wish I could give it 100 stars!
Music background: Producer
Rated 5/5

Wanted to update my review…

After having used the RE 20 on several podcasts and kick drum duties, we tried it on some scratch vocals, and also on a local 'live' recording. Let me tell you, it completely surpassed my expectations as a vocal tracking mic. A couple of our clients have chosen it over some of our high end condensers. I would not have a problem with a couple more of these mics in the locker. It has surprised my studio partner, as well. Just FYI, we have well over 70 pro level mics in our locker, with several in the 4-digit price range.

I'll post a link to a local 'live' session we tracked thru a QSC TouchMix30. Notice we used the RE 20 on the lead vocalist, going straight into the QSC TM30.
Rated 5/5

Very cool mic

Very cool mic. It was a toss up between this and the SM7b for me. I am using this for music vocals, not podcasting. I chose the RE20 because I read its design lessens proximity effect. I've found that to be true. I've read people describe this mic as having condenser-like qualities, without the sensitivity/need for room treatment that a condenser has, and again, I think that's spot on. The mic is very quiet and I am able to get ample signal from just the preamp on a xenyx mixer channel. I am very happy and it's definitely an upgrade from the SM58 I'd been using.
Rated 5/5

Surprisingly great for live use

I use this mic for live vocals for my primary rehearsal studio. Excellent feedback rejection! Very flat sounding, giving my renters some flexibility to EQ to their needs, but no frequency ranges pop out too aggressively as compared to other dynamics I've tried.

Also sounds great on trumpet for live recording use. Near perfect isolation even in a loud/small room environment. Can't recommend enough with the time I've spent with it so far!
Rated 5/5

Unbeatable for Spoken Word - Don’t Sleep On It For Vocals Either!

Bought this mic because I create live and recorded spoken word content professionally. My background is in engineering for music, though, so I've been using this mic in both situations. Protips:

With a dynamic mic like this, preamp choice is 30% of the sound: While not as low-output as an SM-7b, you'll be looking for at least 55-60db of gain when you're eating the mic.

Cloudlifters & "mic activators" are better than built-in interface pres, but pale in comparison to a quality solid state preamp with tons of gain. Replaced a FEThead with a used Focusrite ISA One, put it in "Low Impedance" mode and was floored at how much better the sound was - the mid-range and low end really open up with a good preamp!

My spoken word signal chain is RE-20 -> Focusrite ISA One -> Symetrix 528e for gate, compression, "radio scoop" EQ, and phase rotation -> Focusrite Scarlett 4i4. This is "the radio voice", especially in a treated room when you know how to work the mic.

Now, for music: the other preamp in my rack these days is the ART Trans-X - this is a much thicker, mellower sound than the ISA thanks to Jensen input transformers. RE-20 -> Trans-X has become my go-to combo for lead vox sounds. The RE-20 provides incredible off-axis rejection with a super clean, linear response, so your scratch vox can be your final vox even with a band in the background. Honestly feeling dumb for not having this mic around sooner during my myriad recording projects - have wasted so much time trying to EQ and de-ess condensers to sound like this mic does right out of the gate.

For my time and money, this mic is better than the SM-7b. Why? The 7b's lack of Variable-D proximity effect control. Have used both mics in music situations, and for my taste, the 7b just can't touch the RE-20's low end rendering - I'm always reaching for the EQ with the 7b, and working harder to get a tonal balance I like. The RE-20 also takes EQ better in that testy upper midrange where the lead vox's feel in a track really comes together. If you want to look like your favorite podcaster, by all means choose the Shure, but for any other application, I feel the RE is a stronger choice.
Music background: Recording/Mixing/Mastering Engineer/Vocalist/Spoken Word Performer
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