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If you have ever listened to late night radio, you have probably heard an Electro-Voice RE20. The long steel microphone with the rounded grille has sat in broadcast booths since the late 1960s. It is also a quiet favourite in recording studios for kick drums, bass cabinets and vocals. For podcasters and home recordists it offers something rare: a dynamic microphone that sounds full and smooth without the room noise problems of many condensers.
What the Electro-Voice RE20 is
The RE20 is a large diaphragm dynamic cardioid microphone. Electro-Voice's specifications list a frequency response of 45 Hz to 18 kHz, a balanced impedance of 150 ohms and a steel case. It weighs about 737 grams, so it needs a sturdy stand or boom arm. A stand clamp comes in the box, and the optional 309A shock mount is popular for broadcast arms.
Inside, an internal pop filter tames plosives, an internal shock mount reduces handling noise, and a humbucking coil helps reject electrical hum from nearby equipment. A bass tilt switch on the body rolls off low frequencies when you need a leaner sound.
Variable-D explained
Most directional microphones suffer from proximity effect: the closer you get, the more bass builds up. Electro-Voice's Variable-D design uses multiple ports along the body to keep low frequency response far more consistent as you move. In practice, a host can lean in or sit back without the voice changing from boomy to thin. That stability is why broadcasters love it, and why it forgives less experienced speakers.
The cardioid pattern also rejects sound from the rear well, with minimal colouration of off axis sound. In an untreated room, that helps keep reflections and noise lower than with a sensitive condenser.
How the RE20 sounds
The RE20 is smooth and controlled rather than bright and airy. Voices sound warm, close and polished, with sibilance kept in check. On kick drum it captures a tight, punchy low end. On bass amps it gives a solid, defined tone. Many engineers also use it for electric guitar cabinets and brass. It does not have the shimmering top of a studio condenser, so some vocalists add a little high shelf EQ in the mix.
Gain and interface requirements
Like most dynamic microphones, the RE20 has modest output and needs plenty of clean gain. It does not need phantom power. A good audio interface or preamp with quiet gain is important. If your interface struggles, an inline mic activator can add clean gain before the preamp. The same applies to any dynamic broadcast mic, so plan for it when building a voice chain.
If you also record instruments, the RE20 pairs well with a compact synth such as the Novation Bass Station II running through a separate line input, letting you record voice and synth parts in the same session. Guitarists fitting fresh Regular Slinky strings before a session will find it handles amp cabinets just as well.
RE20 placement tips
For speech, position the microphone a few centimetres from your mouth and slightly off axis, angled toward the corner of your lips rather than straight on. That keeps plosives and breath noise down even with the internal pop filter. Speak into the end of the microphone, not the side; it is an end address design, which surprises many first time users. For kick drum, start just inside the port of the resonant head and move it in or out to balance attack and boom. Engage the bass tilt switch when a voice or instrument sounds too heavy, rather than reaching straight for EQ.
Who the RE20 suits
- Podcasters and streamers. Consistent tone, low room pickup and a classic look.
- Voiceover artists. A polished broadcast sound with minimal fuss.
- Home studios. A versatile dynamic for kick, bass, guitar and vocals.
Spoken word and calm ambient beds go well together, which is why many shows open over slow music like Dawn. The RE20 keeps the voice in front without fighting the music underneath.
Where to buy
For more microphones, interfaces and recording tools, explore the home studio hub.
