EV RE320

I use the RE320 teaching online - alongside a fethead, and a scarlett 212.
It's a great sounding dynamic - good directionality, no proximity effect really, rugged.

The tonal balance feels like when other microphones (421, 57, beyerdynamic mkii, which I was using before) were compressed. Just that touch more warmth, and brightness in the top end. It's not a wildly open sound - I wouldn't describe it as open or natural, like say the AKG 417PP lapell mic which I also use from time to time, it sounds like a broadcast ready microphone - nice radio friendly tone.

There is a tone switch to swap between kick and voice tones - haven't had a chance to test on kick - but I do prefer the voice setting for my voice - the kick setting seems to take out some stuff between 250-and 320 (ish - haven't gotten forensic with it) - which probably cuts out boxiness on kick, but on my voice just pulled out quite a bit of warmth.

Comes with a protective case - though I'm not sure why you'd need it - as the mic itself feels very very robust - I think you'd have to work hard to damage it - that being said the case is strong and sturdy, and looks like it could take a beating itself - it's not a weak leatherette bag, like you get with some microphones.

I had tried an SM7b, and for my voice preferred the tone of this. Though there is a little more tone shaping on the sm7b - so If I was going at it blind - I possibly would have made that decision. I think having gotten and used this mic, the ease of use and the sound, I wouldn't swap, if anything happened - I'd buy another straight away.

The microphone is a little on the larger side - but thats the price to pay for the variable D (proximity reducing design), but not too unwieldy, fits in a tight enough space on my desk on a fairly basic desk mic stand - without issue.

Although not really advertised - works well with plosives - I haven't really had any pop issues, even though I'm 3 inches from the mic roughly, and working without a pop shield.

For some situations depending on your set up, perhaps you have the need for a high pass filter - so perhaps would prefer the re27 0r re20, I'd spring instead for the triton fethead that also has the filter - or a little bit of post processing - unless its something that you have to have at source.

It's starting to tip into the expensive side for a dynamic - but worth it - sounds every penny and more.

I was recommended this microphone because I needed a radio style mic, and noticed it also was useful on kick drum.

I did a bit of research and discovered the EV Variable-D system - where the usual cardioid bass tip-up when you get close to the mic doesn't happen. The usual base proximity effect is hardly there at all, and it sounds like an omni, but with a useful cardioid response. At about 150mm you can go off to each side of the mic without the sound changing in tone - the thin sound you usually get as you move off is nowhere near so obvious. It's a BIG microphone - the Variable-D system means the capsule itself is quite big so the housing is bigger still. So for the job I had in mind, I'm very happy. Then I tried it on the kick drum. My band is a tribute band - the Beach Boys, and we try to sound as authentic as we can, so a kick drum that goes BOOOOOM is not on the list. I quite like the AKG112 which we use, but that is maybe a little too light. Selecting the kick position on the EV 320 works really well, and the shape allows it to sit closer to the head than the 112. Using a stand is a bit tricky because the hole in the front head is quite low, so the longer reach of the 320 helps. If you use it without the kick position being selected, you DO get the bigger boomy sound, which I guess some people might like.

The mic clamp supplied fits over the XLR socket tube, and is pretty sturdy and well made, and there is a small grub screw that prevents the thing sliding off. For radio station use there is a suspension mount to stick it on an anglepoise type arm, but for me, I don't need that.

There are lots of comments on the net about the dire effects of covering up the side vents, which some people feel the need to do, but I tried it with hardly any impact at all. It certainly didn't make the mic more prone to feedback, which is what I expected.

It's not a bad price and does two jobs - a shame I didn't discover it earlier!

I bought this mic mainly for live kick drum reinforcement, budget not quite stretching to an RE20! The 'kick' frequency switch is a very handy little addition, making a really noticeable instant difference in tone- more punchy and aggressive than the flat setting. Each time i've used this mic so far i've needed to do very little in the way of E.Q- I like my kick tuned for a nice round "thump", something the RE320 is right at home handling. If you're looking for a more clicky, modern sound then i'd recommend checking out the Audix D6 instead.

When put in front of the Bari sax in my Ska band, I got a lovely full, bassy tone, without losing any of the aggressiveness that the music requires. It also sounded great for mic'ing up Bass cabs and studio vocal work.

The metal chassis feels really solid and will be able to take plenty of abuse (if you're clumsy like me), the mic also comes with a handy padded carry case. Be warned that this mic is heavy- you'll need to really tighten up those mic stands to avoid sagging, and you may need a screwdriver handy to tighten up the supplied clip.

I run this mic through a DBX296s Mic Preamp/Processor - and I am exceedingly happy with the results of this combination. The set up gives me a very strong edge on my voice - and it is "almost" impossible to pop the microphone. There is a warmth that equals many more expensive models - such as the venerable RE20. I did not wish to spend RE20 money (even though I love them) and have to say - that my budget version has left me smiling - highly recommended for DJ work!

It is not a light microphone - so bear that in mind when selecting your mic stand... however that is a very minor issue really :)

I bought this knowing that it would be similar to the RE20, but at a lower price point, and so was expecting it to not impress quite as much as its older cousin - I was wrong! This mic, while not having quite the deep tone of the RE20, has its own unique tonal characteristics.

The top end is a fair bit more pronounced than on the RE20, but this is useful in a lot of situations, such as click on the kick drum, the 'string slink' on a bass guitar, or for more intelligibility on vocals or spoken word recordings. This mic, like the RE20, can produce a great kick drum sound, made even more versatile by the 'kick drum curve' switch, which alters the frequency response in the bottom end, to scoop out 200Hz ish ,where the bass guitar resides, giving more separation before you even hit the EQs.

This mic is not the most sensitive, and so lower quality preamps may struggle to drive it sufficiently, but anything decent will suffice - Focusrite Saffire and Liquid Saffire Preamps etc in my experience.