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Average Price: $40
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$75
$201+
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Description
Crafted for those who demand precision and clarity in their recordings, the Electro-Voice RE-16 dynamic microphone stands out as a versatile staple in any studio setup. With its unique Variable-D technology, this microphone offers consistent tonal quality and minimizes proximity effect, making it ideal for capturing vocals and instruments with natural presence. Whether you're recording a podcast, a live performance, or a studio session, the RE-16 delivers a clear and articulate sound that professionals trust.
Its rugged design is built to endure the rigors of both stage and studio environments, while the internal pop filter reduces plosive sounds, ensuring smooth audio capture. The RE-16’s supercardioid pattern provides excellent off-axis rejection, allowing you to isolate your sound source and reduce unwanted noise bleed. This microphone doesn't just capture sound; it captures the essence of your performance with fidelity and warmth.
Perfect for both seasoned audio engineers and aspiring musicians, the Electro-Voice RE-16 is an investment in quality that pays dividends in superior sound production. Discover why it's a beloved choice among broadcasters and musicians alike.
Key Features:
- Variable-D technology for minimized proximity effect
- Supercardioid polar pattern for excellent off-axis rejection
- Internal pop filter for reduced plosive sounds
- Durable construction suitable for live and studio use
- Ideal for vocals and instruments with natural presence
Product specs
| Brand | Electro-Voice |
| Model | RE16 Supercardioid Dynamic Microphone |
| Finish | Gray |
| Year | 1960s |
| Made In | United States |
| Categories | Microphones |
| Electronics | Analog, Passive |
| Microphone Type | Dynamic |
| Polar Pattern | Supercardioid |
| Wired/Wireless | Wired |
FAQs
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What is the primary application of the Electro-Voice RE-16 microphone?
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The Electro-Voice RE-16 is designed for professional vocal and instrument applications, offering excellent sound quality in live and studio settings due to its supercardioid pattern which minimizes background noise.
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How does the supercardioid polar pattern of the Electro-Voice RE-16 benefit recording?
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The supercardioid pattern of the RE-16 provides focused sound capture while reducing the pickup of ambient noise from the sides, making it ideal for isolating vocals or instruments in noisy environments.
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Is the Electro-Voice RE-16 suitable for live performances?
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Yes, the Electro-Voice RE-16 is well-suited for live performances due to its robust build and supercardioid pattern, which helps reduce feedback and background noise on stage.
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What are the key features of the Electro-Voice RE-16 microphone?
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The Electro-Voice RE-16 features a dynamic design with a supercardioid polar pattern, offering excellent off-axis rejection and a tailored frequency response for clear and natural sound reproduction.
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Does the Electro-Voice RE-16 require phantom power?
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No, the Electro-Voice RE-16 is a dynamic microphone and does not require phantom power to operate, making it easy to use with a variety of audio equipment.
Videos
Podcastage
Electro Voice RE-16 Dynamic Mic Review / Test
Reviews
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Artist usage
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Used for vocals and piano on Nighthawks at the Diner, as stated by producer "Bones" Howe in this February 2004 Sound on Sound interview.
For Waits' and Howe's first collaboration, it seemed logical to move up to the larger track configurations that were quickly becoming popular, and Heart Of Saturday Night and Nighthawks At The Diner, the first two albums they made together, in 1974 and 1975 respectively, were done on the 3M 16-track deck at Wally Heider's Studio 3. Nighthawks was an especially interesting project. (...) Howe used a similar microphone setup as for previous sessions, although he had to make a few exchanges based on what Record Plant had available those nights. Electro-voice RE16s replaced the Shures he was used to, and Howe set up a Shure SM57 for Waits's vocal. "It was easy to use as a hand microphone," he says. "I also had a RE16 for him to use if he wanted." Howe ran the 3M 16-track deck at 15ips. "I knew the high end sounded better at 30ips, but I didn't like how it emasculated the overall sound and thinned out the low end. All the jazz records I recorded I did at 15ips. I actually went from 15ips on tape right up to the moment I started working in digital."
The image shown from the interview is "Bones Howe's original layout diagram for the live recording that would become Nighthawks At The Diner."
Mentioned in this October 11, 2016 Electronic Musician article.
Brenneck takes a “less is more” approach when it comes to miking. Interestingly, his retro-sounding productions get their sound, in part, through the almost exclusive use of dynamic and ribbon mics, rather than condensers. “We use a lot of Electro-Voice RE15s and RE16s,” he says. “We also have an Electro-Voice 636. If we were cutting a large rhythm section, we got to this point where we would use the ribbons on the drums, use the same ribbon to overdub the horns, and everything else that’s live, just mike it up with similar-sounding dynamic mics.
Album Usage
The Electro-Voice RE-16 has been featured on the following albums:
Genre Usage
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Used With
Based on how musicians on Equipboard use Electro-Voice RE-16, it is most commonly used with the following gear.
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