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#1
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EV RE55
Based on the accolades by Roy W. Rising (and because of an experience I had with
one 30 years ago) I just bought an EV RE55. While I probably paid too much for it, they aren't exactly making them any more. It will be interesting to test it out. |
#2
Posted to rec.audio.pro
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EV RE55
mcp6453 wrote:
Based on the accolades by Roy W. Rising (and because of an experience I had with one 30 years ago) I just bought an EV RE55. While I probably paid too much for it, they aren't exactly making them any more. It will be interesting to test it out. Congratulations! I know you will like the mic. My favorite evaluation technique is A-B comparison (or, for loudspeakers, A-X-Y comparison). I suggest that you double-track 'raw' the '55 with another mic you really like, using a familiar voice. In playback, route everything to a single monitor speaker. Flip-phase one track and mix them to mono. Adjust the levels for the best null and restore the phase. Then, using your 'standard' EQ settings on your reference mic's track, use top and bottom shelving to get a similar bass/treble balance on the RE55 track. Flip the phase on one track and again seek the best null. Now, after a long, ear-relaxing break, A-B the tracks. Let us know your results. Of course all you're going to use them for is drums ... ;-) -- ~ Roy "If you notice the sound, it's wrong!" |
#3
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EV RE55
On 2/15/2012 8:14 PM, Roy W. Rising wrote:
mcp6453 wrote: Based on the accolades by Roy W. Rising (and because of an experience I had with one 30 years ago) I just bought an EV RE55. While I probably paid too much for it, they aren't exactly making them any more. It will be interesting to test it out. Congratulations! I know you will like the mic. My favorite evaluation technique is A-B comparison (or, for loudspeakers, A-X-Y comparison). I suggest that you double-track 'raw' the '55 with another mic you really like, using a familiar voice. In playback, route everything to a single monitor speaker. Flip-phase one track and mix them to mono. Adjust the levels for the best null and restore the phase. Then, using your 'standard' EQ settings on your reference mic's track, use top and bottom shelving to get a similar bass/treble balance on the RE55 track. Flip the phase on one track and again seek the best null. Now, after a long, ear-relaxing break, A-B the tracks. Let us know your results. Of course all you're going to use them for is drums ... ;-) That's a great way to test, Roy. We'll see how it goes. Unfortunately, it will be tested in my "studio" with my voice. Neither is very good. Thirty years ago, I went into a radio station at which a friend was chief engineer. The guy on the air had a great voice and was sounding great on the air. In fact, the mic made his voice sound better than it really was. When I got there, I checked it out, and it was an RE55. I've never forgotten it. |
#4
Posted to rec.audio.pro
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EV RE55
mcp6453 wrote:
Based on the accolades by Roy W. Rising (and because of an experience I had with one 30 years ago) I just bought an EV RE55. While I probably paid too much for it, they aren't exactly making them any more. It will be interesting to test it out. My comment about using the RE55 only on drums revived an important recollection. In the early '70s the music director on The Lawrence Show insisted on a single RE55 for the drum kit. Placement was a few inches behind the top edge of the kick drum, essentially in the center of the kit. It sounded OK, but the player at that time did not give me a valid reference. I've often wanted to record drums with a clip-on lapel mic to hear what the player is hearing. -- ~ Roy "If you notice the sound, it's wrong!" |
#5
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EV RE55
Roy W. Rising writes:
snips In the early '70s the music director on The Lawrence Show insisted on a single RE55 for the drum kit. Placement was a few inches behind the top edge of the kick drum, essentially in the center of the kit. It sounded OK, but the player at that time did not give me a valid reference. I've often wanted to record drums with a clip-on lapel mic to hear what the player is hearing. Hi Roy - Occasionally I'll stumble across an old LW from the 70s on PBS, and be intrigued at the sound. It's clean and everything can be heard, and interesting that all or nearly every mic on stage is an EV product. I'm always curious: - was LW audio all live? Was anything pre-recorded with the band just playing along for the video? - if it was live, was it live-mixed to the VTR, or was it multi-tracked and mixed/sweetened later? (I could tell stories about trying to lock an MM1000-8 and MM1200-16 to an AVR2, but that's a tale best told another time! w) - were these done in a network studio, such as CBS Television City or NBC Burbank, or was an independent facility used? - what console(s) was being used? Much EQ or comp in use? - anything ever done in stereo? - recently caught a show from perhaps the late 70s that along with the EVs had what looked like three U47s in use on brass, but they appeared just a hair too skinny for 47s, yet too fat and not long enough to be the large-diaphragm AKGs of that era. Does that ring a bell? What was being used? - I never hear any reverb on the LW shows; I assume that was intentional, or was there limited access to live chambers or good spring reverb? (Quad-8 made a pretty good spring unit in those days, if you didn't hit it too hard. At that time digital reverb was rare (or didn't exist), sounded terrible, and cost the GDP of a small country. Never saw many plates in TV studios.) I love this audio history! Thanks for any enlightenment. Frank Stearns Mobile Audio -- |
#6
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EV RE55
On Thu 2012-Feb-16 01:22, Frank Stearns writes:
In the early '70s the music director on The Lawrence Show insisted on a single RE55 for the drum kit. Placement was a few inches behind the top edge of the kick drum, essentially in the center of the kit. It sounded OK, but the player at that time did not give me a valid reference. I've often wanted to record drums with a clip-on lapel mic to hear what the player is hearing. Occasionally I'll stumble across an old LW from the 70s on PBS, and be intrigued at the sound. It's clean and everything can be heard, and interesting that all or nearly every mic on stage is an EV product. Never had noticed that, but I've noticed that the audio holds up rather well, even if I don't care as much for Lawrence's arrangements. IT still stands up, no matter what I'm listening on, cheap internal speaker in a tv set; tv audio patched to stereo, etc. I'd be curious about a lot of things over adn above the questions Frank asked you Roy, such as monitoring in the controlroom, etc. Regards, Richard -- | Remove .my.foot for email | via Waldo's Place USA Fidonet-Internet Gateway Site | Standard disclaimer: The views of this user are strictly his own. |
#7
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EV RE55
On 2/15/2012 8:26 PM, Roy W. Rising wrote:
I've often wanted to record drums with a clip-on lapel mic to hear what the player is hearing. For there was a fad to tape a PZM to the drummer's chest (hopefully to a shirt) to record the drums as he or she hears them. I guess it sort of worked, until people got into "detail" and wanted to hear the tail end of the decay of the bottom head on the toms. -- "Today's production equipment is IT based and cannot be operated without a passing knowledge of computing, although it seems that it can be operated without a passing knowledge of audio." - John Watkinson http://mikeriversaudio.wordpress.com - useful and interesting audio stuff |
#8
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EV RE55
Mike Rivers wrote:
On 2/15/2012 8:26 PM, Roy W. Rising wrote: I've often wanted to record drums with a clip-on lapel mic to hear what the player is hearing. For there was a fad to tape a PZM to the drummer's chest (hopefully to a shirt) to record the drums as he or she hears them. I guess it sort of worked, until people got into "detail" and wanted to hear the tail end of the decay of the bottom head on the toms. Tee hee! So many of the drum "classics" we celebrate were recorded so differently from what some folks demand. Solos aside, if we're listening to the details of the drums, we are missing the program. -- ~ Roy "If you notice the sound, it's wrong!" |
#9
Posted to rec.audio.pro
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EV RE55
mcp6453 wrote:
Based on the accolades by Roy W. Rising (and because of an experience I had with one 30 years ago) I just bought an EV RE55. While I probably paid too much for it, they aren't exactly making them any more. It will be interesting to test it out. And how is it? I haven't used one for years, I just remember using one on a guitar on stage and getting the cleanest sound, and with gain before feedback that was better than an SM-57... and wondering "how the hell do they do that with an omni?" --scott -- "C'est un Nagra. C'est suisse, et tres, tres precis." |
#10
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EV RE55
On 2/19/2012 1:25 PM, Scott Dorsey wrote:
mcp6453 wrote: Based on the accolades by Roy W. Rising (and because of an experience I had with one 30 years ago) I just bought an EV RE55. While I probably paid too much for it, they aren't exactly making them any more. It will be interesting to test it out. And how is it? I haven't used one for years, I just remember using one on a guitar on stage and getting the cleanest sound, and with gain before feedback that was better than an SM-57... and wondering "how the hell do they do that with an omni?" --scott I haven't gotten it yet. It should be here by Tuesday or Wednesday. |
#11
Posted to rec.audio.pro
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EV RE55
"mcp6453" wrote in message
... On 2/19/2012 1:25 PM, Scott Dorsey wrote: mcp6453 wrote: Based on the accolades by Roy W. Rising (and because of an experience I had with one 30 years ago) I just bought an EV RE55. While I probably paid too much for it, they aren't exactly making them any more. It will be interesting to test it out. And how is it? I haven't used one for years, I just remember using one on a guitar on stage and getting the cleanest sound, and with gain before feedback that was better than an SM-57... and wondering "how the hell do they do that with an omni?" --scott I haven't gotten it yet. It should be here by Tuesday or Wednesday. As a child, well almost, I was working at a radio station in Great Bend, Ks. A local C & W group wanted to record. We had a couple EV666's, several RCA 77DXs, and a whole bunch of 655s, which I assume were the predecessors of the RE55. I ended up using the 655s on everything but vocals. There was certainly no separation, but what the hey, we were recording to a monaural Magnacord. It turned out way better than it had any right to. Steve King |
#12
Posted to rec.audio.pro
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EV RE55
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#14
Posted to rec.audio.pro
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EV RE55
mcp6453 wrote:
Roy, please look for the post with questions for you from Richard Webb about Lawrence Welk. I'm anxious to hear your responses. I've searched on Richard's name but don't recognize the thread. Do you recall it's subject? -- ~ Roy "If you notice the sound, it's wrong!" |
#16
Posted to rec.audio.pro
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EV RE55
On 2/19/2012 1:25 PM, Scott Dorsey wrote:
mcp6453 wrote: Based on the accolades by Roy W. Rising (and because of an experience I had with one 30 years ago) I just bought an EV RE55. While I probably paid too much for it, they aren't exactly making them any more. It will be interesting to test it out. And how is it? I haven't used one for years, I just remember using one on a guitar on stage and getting the cleanest sound, and with gain before feedback that was better than an SM-57... and wondering "how the hell do they do that with an omni?" Now that I have had a little time to play, I can report that the mic has a very natural sound to it. I'm going to try a different preamp in the near future as the one I used is not very good. Unfortunately, the acoustics of my studio are not good. It's easy to tell it's an omni because of room reflections. Nevertheless, I can already tell that in a proper studio environment, this mic could be very useful. |
#17
Posted to rec.audio.pro
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EV RE55
mcp6453 wrote:
On 2/19/2012 1:25 PM, Scott Dorsey wrote: wrote: Based on the accolades by Roy W. Rising (and because of an experience I had with one 30 years ago) I just bought an EV RE55. While I probably paid too much for it, they aren't exactly making them any more. It will be interesting to test it out. And how is it? I haven't used one for years, I just remember using one on a guitar on stage and getting the cleanest sound, and with gain before feedback that was better than an SM-57... and wondering "how the hell do they do that with an omni?" Now that I have had a little time to play, I can report that the mic has a very natural sound to it. I'm going to try a different preamp in the near future as the one I used is not very good. Unfortunately, the acoustics of my studio are not good. It's easy to tell it's an omni because of room reflections. Nevertheless, I can already tell that in a proper studio environment, this mic could be very useful. With an omni, you can get as close as you need to without any proximity effect. This will have all the ugly that goes with getting that close, but maybe that's better than room ugly. -- Les Cargill |
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