Electrovoice RE1000, RE2000 & RE200

Best known in the microphone world for their high‑quality dynamic mics, Electrovoice are now hoping to raise their profile as a manufacturer of capacitor models with the release of three additions to their RE range. Paul White listens in.

Best known for their hi‑fi and PA loudspeakers, US‑based manufacturer Electrovoice have been building excellent microphones for many years — they were the first major company to come out with neodymium‑driven dynamic models, and their RE20 dynamic mic is a studio classic. Even so, Electrovoice mics still tend to be associated more with live sound than with studio recording, largely because of the lack of a high‑profile capacitor model in the range. Well, nobody can accuse their new capacitor mics of being low profile, and perhaps they're just what's needed to drive the EV flag further into the studio map.

The RE1000

Looking exactly like the politically‑correct interpretation of a 'proper' studio microphone, the RE1000 is a true capacitor model with a fixed, hypercardioid polar response. The frequency response is nominally flat, extending from 70Hz to 18kHz, and a gentle bass roll‑off is built in to counter the proximity effect when used for close miking. A switchable high‑pass filter with a 12dB‑per‑octave response comes in at 130Hz, and the transformerless electronics provide a sensitivity of 11mV/Pascal; no pad switch is provided. Operation is from phantom power in the 12 to 48V range. The mic output is muted for around 20 seconds after switching on while the circuitry stabilises.

With an equivalent noise of 14dB SPL (A‑weighted), this is a high‑output, low‑noise microphone suitable for both vocal and instrument recording. The diaphragm isn't quite as large as in most 'classic' studio mics, but EV claim their capsule geometry combines the high output level of the large‑diaphragm capsule with the improved transient response of a smaller diaphragm. The capsule incorporates a very thin gold‑sputtered diaphragm which is environmentally stabilised to ensure consistent long‑term operation. Though I'm unfamiliar with the next term, the manufacturers describe the capsule as a 'short‑D', high‑efficiency unit where the rear electrode is made from gold‑laminated ceramic, precision‑spaced behind the diaphragm.

Cosmetically, the mic is finished in a business‑like, textured black enamel, and features a rugged basket incorporating a two‑stage pop filter. Accessories include a very nice hard‑shell carry case and a stand clip. A shockmount is available as an option, but is worth the extra just for its looks!

The RE2000

Unlike the RE1000, the upmarket RE2000 comes with a rugged shockmount and external pop shield as standard, all packed in a hard‑shell carry case. Again, the polar pattern is fixed hypercardioid — unusual on a mic of this price — and the overall frequency response is virtually identical to that of its sibling. Visually, the mic in its cradle is just fabulous — check out the photo!

Weighing in at over twice the price of the RE1000, the RE2000 adopts the same basic housing and capsule, but aside from the obvious black grille mesh and the inclusion of a 10dB pad switch, there are major technical differences behind the scenes. There's a capsule heater to prevent condensation‑related problems, and the electronic circuitry is driven from its own mains‑powered, high‑precision power supply. This liberates the designers from the restrictions of the limited current available from phantom power sources, and allows a much more sophisticated power supply design to be used with a view to bettering the noise performance of the already creditable RE1000. Regular phantom power may still be used, though this disables the capsule heater circuit. Sensitivity is almost double that of the RE1000, clocking in at 20mV per Pascal, and the equivalent input noise is 4dB better at only 10dB (A‑weighted). The pad switch pushes the maximum SPL up to 148dB, and the output stage uses a high‑quality Jensen transformer rather than the transformerless circuit of the RE1000.

The computer grade power supply takes the form of a compact plastic 'brick' and connects to the mic using a fixed 5‑pin XLR cable. A fixed mains cable with a female IEC connector provides the power, and the signal cable splits out into a conventional XLR mic lead.

The RE200

I was going to save this mic for a separate review, but for reasons that will become evident later, I decided to run the three models together. Designed for general‑purpose recording, broadcast and sound‑for‑picture work, the true capacitor, cardioid RE200 is compact and neat, and can run from any phantom power source in the range 12 to 48V. An internal DC‑to‑DC converter ensures the optimum polarising voltage regardless of the phantom power supply voltage. The frequency range is quoted as 50Hz to 18kHz, and the response includes a deliberate presence rise, most predominant above 3 to 4kHz, to help deliver a detailed sound with a good transient response.

Finished in non‑reflective beige, this little mic appears to employ a fairly large‑diameter capsule, which is cradled in an AcoustiDYM shockmount, and utilises a gold‑laminated diaphragm. I couldn't see properly just by unscrewing the grille, but the suspension did seem very soft and well damped. A stand mounting clip, foam windshield, and soft carry pouch are supplied with the mic.

The RE200 is intended for use with acoustic instruments and choirs, both recorded and live, and is also recommended for use with brass instruments. The reasonably high sensitivity of 10mV/Pascal makes the RE200 a realistic choice for acoustic guitars, and the equivalent noise is just 21dB SPL (A‑weighted) — so you aren't restricted to working very close up all the time. There's no pad switch on this mic, but it can handle levels up to 130dB without clipping, making it equally suitable for percussion instruments.

The Mics In Use

The RE1000 turned out to be an excellent, flattering, vocal microphone with a great deal of warmth, projection and intimacy. Compared to some of my other large‑diaphragm capacitor mics, the RE1000 had more of the mid‑range punch associated with good dynamic models, but without compromising on transparency, and without any trace of the honkyness often associated with dynamic mics. Indeed, it reminded me of some of the valve models I've tried, especially when used up close.

Plugging in the RE2000 produced a little more level, as you might expect, and there was a slight difference in tone brought about by the transformer output stage which warmed the sound up even more, but the difference was very subtle. The RE2000 exhibited the same kind of sensitivity as my other 'name' capacitor mics, and the background noise level was low, as promised.

But the big surprise was the relatively inexpensive RE200 which, when compared to the RE1000, sounded very similar indeed, hence my decision to include it in the review — I wonder if they use a variation on the same capsule? There's slightly more presence from the RE200, as its frequency plot would lead you to expect, but the underlying warmth and thickness of tone is undiminished. I think the RE200, if used with a pop shield, would make an excellent vocal mic, as well as an instrument mic — although I admit it doesn't have the RE2000's looks .

The only criticisms I have of these mics are minor; the metal bodies of the RE1000 and RE2000 ring slightly when handled, and while you're unlikely to handle them while recording, I can't help wondering whether the bodywork picks up any appreciable amount of sound when used with loud sound sources. I also feel that variable pattern switching should have been provided for the RE2000, though the chosen capsule topography may preclude this option.

Summary

All three of these mics deserve to be taken very seriously, and all have a thick, almost tube‑like family sound; I feel they are mics you would choose for their character rather than for their impartiality. The RE200 and RE1000 offer very good value, and in its own exclusive way, so does the flagship RE2000, but I still feel that well over £2,000 is a lot to ask for a fixed‑pattern mic. I'm also curious as to why the hypercardioid pattern was chosen as opposed to regular cardioid; I can see why hypercardioid might be useful live, but in the studio, it can actually be an inconvenience if the singer moves around much.

All three mics have good technical specs with the RE2000 showing a particularly low noise floor, but if you need a mic mainly for close vocals, then sensitivity and ultimate noise performance isn't as important as it might be if you're trying to record a choir at 20 metres. For a top professional studio with a big budget, the RE2000 is obviously the best choice, but for the project studio owner who doesn't need the pose value of the RE1000/2000, the RE200 delivers an attractive balance of cost and performance.

Inevitably, the caveat with microphones of character is that they will flatter some singers but may not work so well with others — which is why pro studios carry such a large stock of different mic types. If you intend to use one of these mics with a specific vocalist, then I'd suggest you try one before buying, but if you're after a warm, intimate sound that has the ability to cut through a mix, I think you'll like what you hear from these mics.