Новый каталог микрофонов Electro

Новый каталог микрофонов Electro
EUROPE
English
INTRODUCTION
I
n 2007, Electro-Voice celebrates 80 years of unmatched innovation in
microphone design and manufacturing. Back in 1927, company founders Al
Kahn and Lou Burroughs started out as true pioneers, establishing the
industry standard for audio excellence and reliability while continuously
upping the ante with breakthrough technologies like Variable-D™ and noise
cancellation.
From day one, Electro-Voice built all its microphones to be bulletproof and
sound beautiful. It’s not unusual to see a classic Electro-Voice microphones like
the 635A—the broadcast industry standard fondly known as the “Buchanan
Hammer” after Electro-Voice’s former home in Michigan—still going strong
after 30 years on the job.
Eight decades on, Electro-Voice microphones continue to deliver the sound of
history’s most significant events. We’ve helped the world hear everything from
the very first radio broadcasts to John Glenn’s first orbit of the Earth; from
Elvis and the Beatles to world tours with today’s biggest artists; from Knut
Rockne using his “Electric Voice” at Notre Dame to the state-of-the-art mics at
this year’s Superbowl; from Presidential inaugurations to tonight’s evening
news; from Dr. Martin Luther King’s “I Have A Dream” speech to the Next Big
Thing rehearsing in the garage next door…
Electro-Voice stays true to its roots as a great American brand while advancing
to new heights in the 21st Century. We were the first to offer N/DYM™
neodymium technology in microphones, and the only wireless to offer
ClearScan™ for quick, automatic wireless microphone channel coordination.
And that’s just the beginning—our engineers are constantly working on new
ways to keep your tone intact…
WIRED
MICROPHONES
Our latest and greatest? REV™. Made in the USA to the industry’s highest
standards, the new REV intelligent wireless system places Electro-Voice in
pole position, adding its unique features to our hefty portfolio of patents
and award-winning wireless technologies. REV’s optimized
audio path was developed to provide the truest
representation of a wired microphone or guitar sound
possible in a wireless system. Simply put, this is the
most wired-sounding wireless you’ve ever heard.
2
From soundcheck to encore, Electro-Voice
microphones offer great sound, durability,
ergonomics and style, whether you’re
outfitting a world tour, a house of worship, a
professional studio or a neighborhood block
party. We believe the equipment you use
should withstand both the rigors of
performance and the scrutiny of your
listeners. At Electro-Voice, innovating new
products to make you sound your best is job
number one—our name says it all.
Contents . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .3
LIVE MICROPHONES
EV Raven & Cardinal . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .6–7
RE410 – RE510 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .8–9
N/DYM Series . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .10–16
RE200 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .17
BROADCAST
RE20 – RE27 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .18–19
RE50, 635, RE16 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .20–21
INSTALL
PolarChoice Satellite/Desktop . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .22
PolarChoice Plus, FL, XLR . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .23
RE90, RE92 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .24–27
ACCESSORIES / TECH INFO
Wired Accessories . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .28
Wired Microphones Tech Info . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .29
Wired Microphones Selection Guidelines . . . . . . . . . . . . . . . . . . . . . . . . . . .30–33
WIRELESS MICROPHONES
RE-2 Wireless System . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .36–37
REV Wireless System . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .38–39
RE-2 Pro . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .40–41
Wireless Accessories . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .42–45
Wireless Guidelines . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .46–47
WIRED
MICROPHONES
3
LIVE
MICROPHONES
I N T R O D U C T I O N
Electro-Voice® Live Sound Microphones
Electro-Voice® has long been a leader in the design and
manufacture of live sound microphones. Preferred by
performers the world over since the company was founded,
Electro-Voice microphones have been seen in the hands of the
music industry’s greatest artists. Today’s endorser list is no less
impressive (please see page opposite) and includes performers
from virtually every musical genre. So, why have so many
top-name performers chosen Electro-Voice microphones over
the years? Let us explain...
Better Sound:
The “Garbage In = Garbage Out” Factor
The bottom line is that no vocalist should go to a gig without
his/her own mic, specifically chosen to match his/her vocal
type and music style. Electro-Voice engineers have put
innumerable hours into developing a number of microphones
that suit various vocal types. Why? From the company’s
engineering department to its sales and marketing staff,
Electro-Voice is comprised of real, performing musicians. They
realize that the microphone is the first step in the signal path
and should represent the voice or instrument as naturally as
possible – because, after all, garbage in equals garbage out.
The purest voices are often polluted by poor or improperly
chosen equipment. Electro-Voice is dedicated to maintaining
the integrity of what the vocalist or musician puts into their
mics. No amount of equalization or processing can fix what
starts out as garbage because of the wrong mic. And whether
you’re playing a coffee house “open mic” or performing in
front of 40,000, you should sound your very best.
WIRED
MICROPHONES
Choices – Why Settle for the Old Standard?
4
Electro-Voice® provides the performer with options for both
vocal and instrument use. From lead vocals to kick drum or
guitar amp, Electro-Voice has the perfect mic to suit your
unique application. Why settle for the old standard?
All mics ARE NOT created the same.
ENDORSERS
Skywynd
Snoop Dog
Southern Culture on the Skids
Static-X
Stereo Fallout
Steve Brown
Steve “Sonny” B. Taylor
(engineer for Neal McCoy)
Steve Vai
T.M. Stevens
Terri Nunn
Terri Walker
Terry Evans
The Legendary Shack Shakers
The Black Irish
The Buzzcocks
The Honeydogs
The Lads (Australia)
The Monks
The Reverend Al Green
The Roots
Theresa Andersson
Three Days Grace
Thundherstruck
Tim Burlingame/Kathrin Shorr
Tim Lepard
Travis Larson Band
Twisted Sister
Vibro Champs
Wolf Simon
Yngwie Malmsteen
Zakk Wylde
WIRED
Honeydogs
Hoven Droven (Sweden)
Jack Frost
James Lomenzo
(Megadeth, Black Label Society)
Jamey Jasta
(Hatebreed, Headbangers Ball Host)
Jeremy Smith (FOH engineer for GWAR)
Jerry Montano (Hell Yeah, Danzig)
Jim Baker (engineer for John Berry)
Jim Vilandre
Jimmy Clark
Jimmy Keegan (Spock’s Beard)
Joe Bonamassa
Joe Fraulob (Danzig)
John Berry
Johnny Hawthorn Band
Johnny K (3 Doors Down, Disturbed)
Johnny Kelly (Type-O-Negative, Danzig)
Joshua Craig Podolsky
Karl Denson’s Tiny Universe
Keith Capsuto
Keith Frank
Kenny Olson (Kid Rock, The Flask)
Kenny Wayne Shepherd
Keri Noble
Kerry King (Slayer)
Kreg Viesselman
Larry Russell
Lee Scratch Perry
Leroy Van Dyke
Los Lobos
LMT Connection
Lonesome Spurs
Maktub
Marcus Miller
Mark Robertson
(studio engineer, East Roswell Studios)
Marthia Sides
Meldrum
Michel Montano (Caribbean)
Ministry
Moe Bandy
Mogwai
Neal McCoy
Nick Catanese
Niki Barr
Pete Anderson
Pete Shelley (Buzzcocks)
Phi/Bloch
Presidents of the United States
of America
Procussions
Purple Reign
Rafael Alkins (monitor engineer, Ricky Martin)
Real Groove Band
Reamonn (Germany)
Reverse Cowgirl
Richard Buckner
Rick Ward
Robosaurus
Rockie Lynne
Rocky Holman
(FOH engineer for John Mellencamp)
Rogue Wave
Rupee (Caribbean)
Sean Peel (FOH, Three Inches of Blood)
Secret Agent Bill
MICROPHONES
a.d.n. (Latin America)
Al Davis (FOH engineer,
Rev. Al Green, Lee Scratch Perry)
Albert Lee
Alexx Calise
Alison Hinds (Caribbean)
Annie Minogue Band
Arizona
Asesino
Avishai Cohen
Bill Racine (studio engineer, Mogwai,
Mercury Rev, Whirlwind Heat, etc.)
Black Label Society
Blackbird McKnight (Parliament)
Blackhawk
Blasko (Ozzy Osbourne)
Blue County
Bobby Bare Jr.
Brian Herb (FOH engineer, Helmet)
Bruce Reiter (FOH engineer,
Static-X, Dragonforce)
Captain Yonder
Captured by Robots!
Cesaria Evora (France)
Champtown
Chumley’s Toy
Clem Burke (Blondie)
Clipp Payne (Parliament)
Courtney Pine
Craig Schumacher (studio engineer,
Neko Case, Calexico, etc.)
dada
Damon Johnson (Alice Cooper)
Dan Lance (FOH engineer for John Prine,
Kris Kristofferson, Leon Redbone)
Danny B. Harvey
Dave Fridmann (Grammy Award winning
recording engineer, The Flaming Lips)
Dave Mustaine
Dave Wolfe Trio
David Frizzell
David Lee (Legendary Shack Shakers)
Deke Dickerson
DevilDriver
Devo
Dick Dale
Dino Cezares
DJ Ashba
Doug Short (FOH engineer,
David Lee Roth, Slayer)
Dr. Dog
Duane Dungey (FOH engineer, Parliament)
Echo and the Bunnymen
Ed “Mr. Improv” Hull
Eric Gales
Eric Tavares
Fishbone
Geezer Butler (Black Sabbath)
George Clinton Parliament All-Stars
Go Fish
Gregg Rolie Band
GWAR
Hatebreed
Heaven Davis
Helen Cornelius
Hell Yeah
Henry Murphy and the Seahawks
Herman Li (Dragonforce)
www.electrovoice.com
5
EV® SERIES
WIRED
MICROPHONES
Live / Broadcast / Studio Microphones
6
The EV® Series Cardinal™ is a cardioid
condenser designed to capture the detail of
both voice and instrument in live sound or
studio applications. Employing Class A,
discrete ultra-low noise amplifier circuitry, the
Cardinal’s smooth and detailed performance is
sure to please even the most discerning artists
and engineers.
The EV® Series Raven™ is a stylish dynamic microphone
designed to capture the character of live and studio
vocals. It is also the perfect microphone for live and
studio instruments. The Raven incorporates the
collaborative design work from the top industry
microphone engineers to provide unparalleled
performance in a stunning package.
Raven
Cardinal
• Dynamic mic with studio detail and clarity
• Pressure gradient cardioid condenser
• Cardioid pattern with excellent off-axis rejection
• Class-A discrete ultra-low noise circuitry
• Unique double swivel-mounted design for
ideal positioning
• Unique double swivel-mounted design for
ideal positioning
• Great for voice or instrument
• Innovative visual design with cherry finish
• Innovative visual design
• Great for voice or instruments
SPECS
Element
Polar pattern
Frequency Response (-3 dB)
Open Circuit Voltage (at 1,000 Hz)
Impedance, Low-Z balanced
Maximum SPL (0.5% THD)
Power requirement (Phantom power ±4V)
Included accessories
Connector type
Raven
Condenser (self-biased)
Cardioid
35 - 20,000 Hz
10mV/Pascal
50 ohms
150dB SPL(0.5% THD)
+48 Vdc
Stand adapter,
cloth gig bag
3-pin XLR
Dynamic
Cardioid
45 - 18,000 Hz
3.2 mV/Pascal
400 ohms
162dB SPL(1% THD)
N/A
Stand adapter,
soft cloth bag
3-pin XLR
FREQUENCY RESPONSE
WIRED
MICROPHONES
FREQUENCY RESPONSE
Cardinal
7
RE-SERIES
WIRED
MICROPHONES
Live Performance Microphones
8
For professional concert sound
or studio recording applications
the RE410 provides crisp, clear
top-end, sweet mid-range, and
pulls the voice out-of-the-mix in
a crowded spectrum. The RE410
is perfect for high-energy
pop/rap/hip-hop and indie rock.
The RE510 is the first choice of
microphones for smooth and
accurate sound reproduction.
Its unique performance make it
a favorite in the professional
touring business.
RE410
• Professional condenser
vocal microphone
• Versatile handheld condenser
microphone
• Selectable low-end roll-off
• Ideal for both vocals and
spoken word use
• Excellent off-axis rejection
RE510
• Supercardioid pattern
• Cardioid pattern for excellent
feedback rejection and
acoustic isolation
• Wide dynamic range
• Warm-Grip™ handle for
comfortable feel and low
handling noise
• Warm grip handle for great
feel and low handling noise
• Large diameter diaphragm
for clear, warm sound
• High-compliance shock mount
effectively eliminates handling
noise
• Multistage pop filter eliminates
breath pop noises
Element
Polar pattern
Impedance, Low-Z balanced
Frequency Response (-3 dB)
Sensitivity, open circuit voltage, 1kHz
Equivalent Noise (0 dB=20 micropascal)
A-weighted
Maximum SPL (1% distortion, 1,000 Hz)
Power requirement (Phantom power)
Specials
Case Material
Finish
Included accessories
Connector type
Dimension (Length x max. Diameter)
Weight net
FREQUENCY RESPONSE
Condenser (self-biased)
Cardioid
250 ohms
50 - 20,000 Hz
3.2 mV
<26 dB SPL
140 dB SPL
24 - 48 VDC
No
Metal
Warm-Grip
black handle
Stand adapter,
soft zippered ‘gig’ bag
3-pin XLR
182 x 51 mm
260 g
Element
Polar pattern
Impedance, Low-Z balanced
Frequency Response (-3 dB)
Sensitivity, open circuit voltage, 1kHz
Equivalent Noise (0 dB=20 micropascal)
A-weighted
Maximum SPL (1% distortion, 1,000 Hz)
Power requirement (Phantom power)
Specials
Filters
Case Material
Finish
Included accessories
Connector type
Dimension (Length x max. Diameter)
Weight net
Condenser (self-biased)
Supercardioid
150 ohms
50 - 20,000 Hz
2.5 mV
18 dB SPL
140 dB SPL
12 - 52 VDC
transformerless
output device
switchable low-freq roll-off
Metal
Warm-Grip
black handle
Stand adapter,
zippered vinyl
carrying pouch
3-pin XLR
180 x 50 mm
215 g
FREQUENCY RESPONSE
9
N/DYM SERIES
Live Performance Microphones
Just listen to Static-X explain how the N/D967
performs: “The N/D967 was a real problem-solver
for us. Given the volume that the band performs at
and the kind of feedback rejection we were looking
for, there was nothing that worked for us. We then
discovered the N/D967. Wow, we were impressed.
In fact, you now see these on high-volume stages
around the world. This mic is a life-saver.”
WIRED
MICROPHONES
– Bruce Reiter, FOH engineer, Static-X/Megadeth
10
The N/D767a is the singer and engineer’s
first choice for outstanding vocal clarity in
live performance applications. With low
handling noise and VOB™ technology, the
N/D767a sounds more like a condenser
microphone allowing clarity through all
frequencies, reducing boominess and
P-popping associated with other dynamic
mics in its class. More and more performers
are switching to this rugged and sonically
superior microphone.
N/D767 a
• Top-class vocal microphone
• Multi-stage shock mount for unmatched
low-handling noise
• Condenser-like performance
• VOB™ technology provides tailored bass
response for controlled “proximity
effect”and exceptional vocal clarity
• Supercardioid pattern for superior
feedback rejection and acoustic isolation
Hundreds of performers and engineers
asked us for this microphone. They said:
“Give us a mic that has excellent gainbefore-feedback, excellent rejection of
extraneous noise like cymbals, and can
really take the high-SPL world of the
metal and rap stage.” Our design
engineers went out to countless shows
and experienced first hand what our
customers were talking about… They
then went back into the lab. Hundreds
of gallons of coffee later, the engineers
emerged with a godsend: the N/D967.
N/D967
• Highest gain-before-feedback
performance vocal microphone
• Optimized response for live
performance
• EV-exclusive personality switch
shapes sound
• High N/DYM® sensitivity
• Neodymium based magnet structure
provides greater sensitivity and
signal-to-noise ratio
• Unique removable front grille
assembly and pop filter for easy
hygienic cleaning
• Warm Grip™ handle for more
comfortable feel
• Superior multistage shock mount for
unmatched low handling noise
• Warm Grip™ handle for more
comfortable feel
Element
Dynamic
Polar pattern
Supercardioid
Impedance, Low-Z balanced
300 ohms
Frequency Response (-3 dB), close response
35 - 22,000 Hz
Frequency Response (-3 dB), far response
70 - 22,000 Hz
Output Level(0dB = 1 m W/Pascal)
at 1.000 Hz
- 51 dB
Open Circuit Voltage (at 1.000 Hz)
3.1 mV/Pascal
Equivalent Noise (0 dB=20 micropascal)
A-weighted
< 17 dB SPL
Magnetic Circuit
N/DYM®
Case Material
Metal
Finish
Nonreflecting black
Included accessories
Stand adapter,
soft zippered carrying pouch
Connector type
3-pin XLR
Dimension (Length x max. Diameter)
181 x 52 mm
Weight net
260 g
FREQUENCY RESPONSE
Element
Polar pattern
Impedance, Low-Z balanced
Frequency Response (-3 dB),
close response
Frequency Response (-3 dB),
far response
Output Level(0dB = 1 m W/Pascal)
at 1.000 Hz
Open Circuit Voltage (at 1.000 Hz)
Equivalent Noise (0 dB=20 micropascal)
A-weighted
Magnetic Circuit
Case Material
Finish
Included accessories
Connector type
Dimension (Length x max. Diameter)
Weight net
Dynamic
Supercardioid
150 ohms
50 - 13,000 Hz
120 - 13,000 Hz
- 52 dB
4.0 mV/Pascal
< 16 dB SPL
N/DYM®
Metal
Nonreflecting black
Stand adapter,
soft zippered
carrying pouch
3-pin XLR
173 x 52 mm
205 g
FREQUENCY RESPONSE
11
N/DYM SERIES
Live Performance Microphones
The N/D267a/as both incorporate EV’s
unique VOB™ (Vocally-Optimized Bass™)
technology to provide the performer with
reduced resonant distortion at low
frequencies. Critical damping of the low
frequency resonant peak has resulted in a
microphone that replaces the “muddiness”
found in competitive models with greater
warmth and increased vocal clarity. The
increased clarity permits greater working
distances than other competitive
microphones, and ensures a clean, clear,
consistent sound that “punches through
the mix.”
N/D267 a/as
Element
Dynamic
Polar pattern
Cardioid
Impedance, Low-Z balanced
300 ohm
Frequency Response (-3 dB),
close response
45 - 15,000 H
Frequency Response (-3 dB),
far response
100 - 15,000 H
Output Level(0dB = 1 m W/Pascal) at 1.000 Hz
- 52 dB
Open Circuit Voltage (at 1.000 Hz)
2.9 mV/Pascal
Equivalent Noise (0 dB=20 micropascal) A-weighted
< 17 dB SPL
Magnetic Circuit
N/DYM
Case Material
Metal
Finish
Nonreflecting black
Included accessories
Stand adapter
soft zippered carrying pouch
Connector type
3-pin XLR
Dimension (Length x max. Diameter)
181 x 52 mm
Weight net
238 g
N/D267 a/as
• VOB™ technology provides tailored bass
response for controlled “proximity
effect” and exceptional vocal clarity
• Cardioid pattern for superior feedback
rejection and acoustic isolation
• Consistent sound over greater working
distances than competitive models
• Neodymium-based magnet structure
provides greater sensitivity and
signal-to-noise ratio
• Warm Grip™ handle for more
comfortable feel and low handling noise
WIRED
MICROPHONES
• On/Off switch on N/D267as
12
FREQUENCY RESPONSE
N/D267 a/as
N/D367s
Element
Dynamic
Polar pattern
Cardioid
Impedance, Low-Z balanced
300 ohms
Frequency Response (-3 dB),
close response
25 - 20,000 Hz
Frequency Response (-3 dB),
far response
55 - 20,000 Hz
Output Level(0dB = 1 m W/Pascal) at 1.000 Hz
- 53 dB
Open Circuit Voltage (at 1.000 Hz)
2.2 mV/Pascal
Equivalent Noise (0 dB=20 micropascal) A-weighted
< 17 dB SPL
Magnetic Circuit
N/DYM®
Case Material
Metal
Finish
Nonreflecting black
Included accessories
Stand adapter,
soft zippered carrying pouch
Connector type
3-pin XLR
Dimension (Length x max. Diameter)
181 x 52 mm
Weight net
200 g
The EV N/D367s features excellent
gain-before-feedback and smooth,
controlled frequency response. The
controlled response of the N/D367s
allows the performer or speaker to
easily “work” the microphone for
optimal performance. It also features a
cardioid pattern for enhanced frontarea sensitivity and acoustic rejection
directly behind the microphone,
reducing feedback under live
performance conditions. Additionally,
the N/D367s’s polar patterns are
unusually uniform with frequency,
ensuring superior gain-beforefeedback in live applications and
superior isolation when used in the
studio. Although this is a popular
choice for both genders, it has
become recognized as the perfect
complement to a woman's voice.
N/D367 s
• Classic N/DYM® sound
• Smooth, controlled frequency
response
FREQUENCY RESPONSE
N/D367 s
• High N/DYM® sensitivity
• Superior multistage shock mount
for unmatched low handling noise
• Warm Grip™ handle for more
comfortable feel
• Noiseless on/off switch
• Also sounds great when used
on a podium
• Cardioid pattern for excellent
feedback rejection and acoustic
isolation
13
N/DYM SERIES
Live Performance Microphones
Designed specifically for horns, drums, acoustical and electric
guitars, the N/D468 provides a smooth, natural sound,
capturing the excitement of the instrument. The supercardioid
pattern provides superior off-axis rejection and acoustic
isolation in any application. An innovative EV design
harnesses the increased power of a neodymium-based
magnet design, allowing a large-diameter voice coil (up to
50% larger than other mics) for dynamic, efficient microphone
performance. N/DYM® offers the power and clarity to “cut
through the mix.” Whatever your instrument application, the
N/D468 is sure to be a top performer.
N/D468
• Designed specifically for instruments
• Supercardioid pattern for exceptional acoustic isolation and
off-axis rejection
• Unique pivoting head ensures perfect placement for use on
drums, horns, acoustic and electric guitar
• Accurate response, even in high sound pressure levels (SPL)
WIRED
MICROPHONES
• Rugged steel construction for exceptional durability
14
FREQUENCY RESPONSE
The N/D868 is truly a top performer in any application.
Whether in a live sound or studio environment, the N/D868 is
able to handle incredibly high sound pressure levels without
distortion or overriding the mixer input. With a response
specifically designed to “kick”, the N/D868 can be used “as
is” – no additional EQ required. Perfect for bass drum, the
N/D868 has been applauded by drummers and engineers
the world over.
N/D868
• Designed specifically for kick drum applications in live
or studio environments; also excellent on bass guitar,
floor toms, and electric guitar cabinets
• Optimized sensitivity for the high sound pressure levels
found in bass drum micing
• Extended low frequency response
• Frequency response tailored for “plug-and-play”
• Rugged steel construction for exceptional durability
Element
Polar pattern
Impedance, Low-Z balanced
Frequency Response (-3 dB),
close response
Frequency Response (-3 dB),
far response
Output Level(0dB = 1 m W/Pascal)
at 1.000 Hz
Open Circuit Voltage (at 1.000 Hz)
Equivalent Noise (0 dB=20 micropascal)
A-weighted
Magnetic Circuit
Case Material
Finish
Included accessories
Connector type
Dimension (Length x max. Diameter)
Weight net
N/D468
Dynamic
Supercardioid
150 ohms
N/D868
Dynamic
Cardioid variant
150 ohms
30 - 22,000 Hz
20 - 10,000 Hz
60 - 22,000 Hz
—
- 51 dB
3.1 mV/Pascal
- 52 dB
1.0 mV/Pascal
< 14 dB SPL
N/DYM®
Metal
Nonreflecting black
Stand adapter,
soft zippered
carrying pouch
3-pin XLR
115 x 52 mm
190 g
< 17 dB SPL
N/DYM®
Metal
Nonreflecting black
Stand adapter,
soft zippered
carrying pouch
3-pin XLR
133 x 60 mm
295 g
FREQUENCY RESPONSE
15
N/DYM SERIES
Live Performance
Microphones
The N/D478’s acoustic response presents
optimal performance in both a live sound
or studio environment. VOB™ technology
(Vocally-Optimized Bass™) provides the
instrumentalist with reduced resonant distortion
at low frequencies. Critical damping of the low
frequency resonant peak has resulted in a
microphone that replaces the “muddiness”
found in competitive models with greater
warmth and increased clarity. The result is an
exceptional performing instrument microphone
with clean, clear, consistent sound.
N/D478
• Outstanding choice for electric guitar/bass
guitar amplifier, toms, snare, cymbals, hi-hat,
brass, and acoustic guitar
• VOB™ technology provides tailored bass
response for controlled “proximity effect”
and exceptional sound clarity
• Excellent choice for micing acoustic or electric
instruments, whether in a live sound
or studio environment
• Neodymium-based magnet provides greater
sensitivity and signal-to-noise ratio
• Cardioid pattern for superior feedback
rejection and acoustic isolation
• Warm Grip™ handle for comfortable feel
and lower handling noise
Element
Polar pattern
Impedance, Low-Z balanced
Frequency Response (-3 dB),
close response
Frequency Response (-3 dB),
far response
Output Level(0dB = 1 m W/Pascal)
at 1.000 Hz
Open Circuit Voltage (at 1.000 Hz)
Equivalent Noise (0 dB=20 micropascal)
A-weighted
Magnetic Circuit
Case Material
Finish
Included accessories
WIRED
MICROPHONES
Connector type
Dimension (Length x max. Diameter)
Weight net
16
FREQUENCY RESPONSE
N/D478
Dynamic
Cardioid
300 ohms
45 - 15,000 Hz
100 - 15,000 Hz
- 52 dB
2.9 mV/Pascal
< 17 dB SPL
N/DYM®
Metal
Nonreflecting black
Stand adapter,
soft zippered
carrying pouch
3-pin XLR
181 x 52 mm
247 g
RE-200
The Electro-Voice® RE200 is a cardioid,
true condenser instrument microphone
designed for the exacting acoustic
reproduction of choirs, strings,
percussion and brass instruments in live
performance and sound recordings.
RE200
• True condenser design
• Continuous presence rise
enhances sound quality
• Transformerless output
• Small, unobtrusive profile
• Includes stand clamp, windscreen
and zippered vinyl pouch
• Cardioid pattern for excellent feedback
rejection and acoustic isolation
Element
Polar pattern
Impedance, Low-Z balanced
Frequency Response (-3 dB)
Sensitivity, open circuit voltage, 1kHz
Equivalent Noise (0 dB=20 micropascal)
A-weighted
Maximum SPL (1% distortion, 1,000 Hz)
Power requirement (Phantom power)
Current Consumption
Magnetic Circuit
Specials
Filters
Case Material
Finish
Included accessories
Connector type
Dimension (Length x max. Diameter)
Weight net
130 dB
12 - 52 VDC
3.5 mA
N/A
AcoustiDYM™,
transformerless output device
—
Metal
Semi-gloss
camera black
Stand adapter, windscreen
3-pin XLR
137 x 28 mm
185 g
WIRED
MICROPHONES
FREQUENCY RESPONSE
RE200
True condenser
Cardioid
200 ohms
50 - 18,000 Hz
10 mV
21 dB SPL
17
RE-SERIES
Broadcast / Studio Microphones
WIRED
MICROPHONES
The RE20 and RE27N/D are the first choice of
microphones for smooth and accurate sound
reproduction. Their unique and famous performance
makes them a favorite in the broadcast, recording studio
and live sound business. RE20 and RE27N/D microphones
were developed with EV’s Variable-D® design to ensure
true and accurate response across all frequencies without
the up-close boominess associated with proximity effect.
As a result, these microphones have become the industry
standard for radio studios worldwide. And, when it comes
to studio recording or professional concert sound
applications, these mics provide you with the tools you
need to get the sound you’re after when recording vocals,
guitars, drums, or brass.
18
RE20
RE27
• Variable-D® for minimal
proximity effect
• Variable-D® for minimal
proximity effect
• True cardioid with no coloration
at 180-degrees off-axis
• N/DYM® element design
brings 6 dB more sensitivity
• Voice tailored frequency
response
• Ultra-flat frequency response
• Studio condenser-like
performance
• Large diaphragm
• Studio condenser-like
performance
• Large diaphragm
• Switchable EQ (down to
–4.5 dB from 400 to 100 Hz)
• 3 selectable filters: -6 dB,
250-100 Hz / -12 dB,
1000-100 Hz/ -3 dB high
frequency roll-off
• Integral wind and blast filter
• Integral wind and blast filter
• Humbucking coil
Element
Polar pattern
Impedance, Low-Z balanced
Frequency Response (-3 dB)
Power Level (0dB = 1 mW/Pascal)
at 1.000 Hz
Open Circuit Voltage (at 1,000 Hz)
Equivalent Noise (0 dB=20 micropascal)
A-weighted
Maximum SPL (1% distortion, 1,000 Hz)
Magnetic Circuit
Specials
Filters
Case Material
Finish
Included accessories
Connector type
Dimension (Length x max. Diameter)
Weight net
Dynamic
Cardioid
150 ohms
45-20,000 Hz
-51 dB
RE27
1.5 mV/Pascal
—
3.1 mV/Pascal
—
—
—
Variable-D®
Tilt-down EQ
Steel
Fawn beige
Stand adapter,
zippered vinyl
carrying pouch,
hard-shell case
3-pin XLR
217 x 54 mm
737 g
—
N/DYM®
Variable-D®
3 selectable EQs
Steel
Satin nickel
Stand adapter,
zippered vinyl
carrying pouch,
hard-shell case
3-pin XLR
217 x 54 mm
709 g
FREQUENCY RESPONSE
WIRED
MICROPHONES
FREQUENCY RESPONSE
RE20
Dynamic
Cardioid
150 ohms
45 - 18,000 Hz
- 57 dB
19
RE-SERIES
Broadcast Microphones
You’ve seen Electro-Voice™ live interview microphones in the hands of reporters and
news correspondents around the world – from interviews with the President of the
United States to the family next door – EV’s RE50 and 635A mics are famous in
broadcast, television, and radio OBs (outside broadcasts). These microphones set world
standards for ENG (electronic news gathering) and EFP (electronic field production).
They are extremely rugged, withstand high humidity, temperature extremes and
corrosive effects such as salt-air, while providing excellent sound performance, and that
legendary “Buchanan Hammer” durability.
RE50B / RE50N/D B
635A (beige) or
635A/B (black)
• Extremely low handling noise via DynaDamp™ “mic in-a-mic” shock mount system
• Impervious to wind noise and p-pops feat. fourstage pop filter, integral wind screen & blast filter
• Withstands high humidity, temperature
extremes, and corrosive salt air
• Acoustalloy® diaphragm material for very
smooth response over a wide frequency
range
• N/D version offers higher output thanks to
N/DYM capsule design
• No muddy lows when used near lips
• Black semi-gloss
• Linear frequency
response
• Completely pop-free
performance
• Four-stage pop and
dust filter
• Internal effective
shock absorber
WIRED
MICROPHONES
The EV® RE16 is designed for the most exacting
professional use, employing an integral blast filter
to permit handheld and outdoor use without “Ppopping” or excessive wind noise. In utilizing the
Variable-D design, the RE16 features a directional
characteristic independent of frequency. This
results in a microphone that generates little offaxis coloration, while providing the greatest
rejection of unwanted sounds.
The supercardioid RE16 provides its greatest
rejection at 150-degrees off-axis; An easilyoperated “bass-tilt” switch corrects spectrum
balance for boom use and other longer reach
applications.
Element
Polar pattern
Impedance, Low-Z balanced
Frequency Response (-3 dB)
Power Level (0dB = 1 mW/Pascal)
at 1,000 Hz
Open Circuit Voltage (at 1,000 Hz)
Equivalent Noise (0 dB=20 micropascal)
A-weighted
Maximum SPL (1% distortion, 1.000 Hz)
Power requirement (Phantom power)
Current Consumption
Magnetic Circuit
Specials
Filters
Case Material
Finish
Included accessories
Connector type
Dimension (Length x max. Diameter)
Weight net
20
635N/D-B
• Uniform 80 – 13,000 Hz
frequency response
• N/DYM® element design
offers higher output
• On-camera use with
422A desk stand
• Acoustalloy® diaphragm
material for very smooth
response over a wide
frequency range
• Integral windscreen and
blast filter
• Black semi-gloss
RE16
• Variable-D® dynamic microphone,
supercardioid handheld
• Great for podium or handheld use
• Unique blast filter makes close-up use
possible without popping
• Uniform response independent of angle
• Humbucking coil reduces electromagnetic
hum pickup
• Bass roll-off switch
• Memraflex™ grill means screen keeps its shape
RE50 B / RE50 N/D B
Dynamic
Omnidirectional
150 ohms
80 - 13,000 Hz
- 55 dB (-51 dB)
635A (B)
Dynamic
Omnidirectional
150 ohms
80 - 13,000 Hz
- 55 dB
635 N/D (B)
Dynamic
Omnidirectional
150 ohms
80 - 13,000 Hz
- 51 dB
RE16
Dynamic
Super-Cardioid
Low-Z (150 Ohms nominal)
80 - 5,000 Hz
-56 dB
— (2.0 mV/Pascal)
—
—
—
2.0 mV/Pascal
—
—
—
N/A
N/A
Alnico (N/DYM®)
Dyna-Damp™
(Dyna-Damp™ Memraflex)
—
Aluminum
Semi-gloss
camera black
Stand adapter, zippered vinyl
carrying pouch hard-shell case
3-pin XLR
197 x 49
269 g
—
N/A
N/A
Alnico
—
—
N/A
N/A
N/DYM®
Acoustalloy®
—
—
Steel
Fawn beige (A)
Semi-gloss black (A/B)
Stand adapter
—
Steel
Semi-gloss
camera black
Stand adapter
3-pin XLR
151 x 36 mm
170 g
3-pin XLR
151 x 36 mm
170 g
N/A
N/A
—
Steel
Fawn beige
micromatte
Stand adapter, zippered
vinyl carriying pouch
3-pin XLR
187 x 45 mm
227 g
FREQUENCY RESPONSE
FREQUENCY RESPONSE
FREQUENCY RESPONSE
FREQUENCY RESPONSE
RE50 N/D B
635A
635 N/D
RE16
WIRED
MICROPHONES
FREQUENCY RESPONSE
RE50B
21
POLAR CHOICE
SERIES
Installation Microphones
The World’s ONLY
Wired and Wireless
Microphones with
Selectable Polar
Patterns.
PolarChoice, the first podium
microphone that allows you
to select the polar pattern,
continues to get better.
PolarChoice is now available in
seven different versions. These
include the standard XLR,
FL – Flange Mount, and PC Plus
for conventional, mounted podium
mic installations. If a free-standing
podium mic is called for, the
hard-wired PolarChoice Desktop
and the one-of-a-kind wireless
PolarChoice Satellite round out
the most versatile and flexible
podium microphone product line
in the industry.
The latest addition to the
PolarChoice family, the
PolarChoice Boundary Satellite,
expands PolarChoice’s offerings
into the boundary style.
XLR
All versions of
FL
PolarChoice feature...
• Selectable polar patterns
• A smooth and uniform response,
no matter what pattern is selected
• Exceptional sound quality
• An extended low frequency response
and switchable high-pass filter
• EV’s exclusive Multiport™ windscreen
which virtually eliminates “P” pops
WIRED
MICROPHONES
FREQUENCY RESPONSE
22
Element type
Selectable Polar Patterns
Impedance
Frequency Response
Open Circuit Voltage
Equivalent Noise
Max. SPL
Power requirement
Current Consumption
Finish
Included Accessories
Connector Type
PC, XLR, FL, PLUS & DESKTOP
Back electret condenser
Omni, Cardioid, Supercardioid, Hypercardioid
200 Ohms
50 Hz - 20 kHz(mic system)
5,6 mV/Pascal(mic system)
< 26 dB SPL(A-weighted, mic system)
>135 dB(mic system)
24 to 52 Volt Phantom Power
3 mA
Nonreflective Black
Multiport Windscreen
XLR
PolarChoice Plus
The first podium microphone with
the flexibility to be installed into any
environment. It can be mounted via
a standard 3-pin XLR connector, or
permanently flush-mounted to the
podium or tabletop. Available in 5”,
12” and 18” gooseneck lengths.
PolarChoice
Desktop
PolarChoice
Satellite
PolarChoice
Boundary Satellite
For wired use.
Integrated desk
stand & configurable
switch, with standard
10’ XLR cable.
For wireless applications.
Integrated desk stand
& configurable switch for
use with EV & Telex
wireless beltpacks.
The new PolarChoice™ Boundary
Satellite from Electro-Voice® is
the most flexible wireless
boundary microphone available
today. This unique product
provides the perfect solution for
countless applications, while
meeting the critical demands of
contractors, consultants and
rental houses everywhere.
Both Feature:
The PolarChoice® Plus also features
an easy-to-use and programmable
microphone mute switch
• The switch is oriented so that
anyone can use it
• Mic status LED above the mute
switch so the user can see if the
mic is on or off
• Configure the switch (via easy to
set switches) to be either push
on/off or push-to-mute
• Free-standing weighted base for reliable
stability
• Exceptional sound quality with EV’s proven
PolarChoice™ design
Features:
• Easy to use, programmable on/off mic switch
with mic status LED (see PC Plus for details)
• Selectable polar patterns
including Figure 8
• Available in three gooseneck lengths:
18”, 12” or 5”
• Easy to use on/off switch
which is programmable and
completely noiseless
WIRED
MICROPHONES
PC SATELLITE & BOUNDARY SATELLITE
Element
Back electret condenser
Polar patterns – Satellite
Omni, Cardioid, Super-Card, Hyper-Card
Polar patterns – Boundary
Omni, Cardioid, Super-Card, Figure 8
Impedance, Low-Z balanced
200 ohms
Frequency Response (-3 dB)
75 - 15,000 Hz
Power Level (0dB=1 m W/Pascal) at 1,000 Hz
- 44 dB
Open Circuit Voltage (at 1,000 Hz)
5.6 mV/Pascal
Equivalent Noise (0 dB=20 micropascal)
< 28 dB SPL
A-weighted
Maximum SPL (1% distortion, 1,000 Hz)
130 dB
Power requirement
5 V DC from Beltpack
Current Consumption
2.8 mA
Finish
Nonreflecting black
Connector type
TA4F
• For use with EV and Telex
beltpack transmitters
23
RE-SERIES
Installation Microphones
RE90P
RE90H
• Gooseneck podium
microphone; available in
12- and 18-inch formats
• Available in black as RE90H;
in white as RE90HW
• Uniform frequency response
and polar pattern
• Internal pre-amp
• Strutted, yet flexible,
ultra-thin gooseneck
• Includes installation guide
• Hanging microphone
• Very uniform polar pattern
• Features EV’s exclusive new
Multiport™ windscreen, which
virtually eliminates “P” pops
Element
Polar pattern
Impedance, Low-Z balanced
Frequency Response (-3 dB)
Power Level (0dB=1 m W/Pascal) at 1,000 Hz
Open Circuit Voltage (at 1,000 Hz)
Equivalent Noise (0 dB=20 micropascal)
A-weighted
Maximum SPL (1% distortion, 1,000 Hz)
Power requirement (Phantom power)
Current Consumption
Specials
Case Material
Finish
Included accessories
Connector type
Dimension
WIRED
MICROPHONES
Weight net
24
FREQUENCY RESPONSE
RE90 P
Back electret condenser
Cardioid
200 ohms
70 - 15,000 Hz
- 43 dB
4.5 mV/Pascal
< 28 dB SPL
RE90 H
Back electret condenser
Cardioid
200 ohms
75 - 15,000 Hz
- 30 dB27 mV/Pascal
< 25 dB SPL
130 dB
9 - 52 VDC
2.5 mA
transformerless
output device
Steel
Nonreflecting black
Windscreen, double-sided tape
3-pin XLR
P-12: 281 x 6.4 mm
P-18: 443 x 6.4 mm
P-12: 400 g
P-18: 528 g
120 dB
9 - 52 VDC
2.0 mA
external pre-amp
Steel
Low-gloss black
760 cm braided cable
3-pin XLR
37 L x 13 D mm
157 g
FREQUENCY RESPONSE
The wide frequency response of the RE92H picks up
everything from the bass to the sopranos, while the
cardioid pattern makes sure that nothing extraneous
gets into the performance. The mic features a 25 ft.
cable, and is terminated in an in-line amp module.
The RE92H’s XLR output provides an ultra-low noise
floor, a 12 dB/octave switch-able high pass filter, and
a transformer-less differential output to drive long
cable runs.
RE92H
• Available in black as RE92H, in white as RE92HW
• Wide, smooth frequency response
• Cardioid polar pattern
• In-line electronics module
• 12 dB/octave switchable high pass filter
• Transformerless differential output to drive
long cables
RE92 H
Element
Polar pattern
Impedance, Low-Z balanced
Frequency Response (-3 dB)
Power Level (0dB=1 m W/Pascal)
at 1,000 Hz
Open Circuit Voltage (at 1,000 Hz)
Equivalent Noise
(0 dB=20 micropascal) A-wd
Maximum SPL
(1% distortion, 1,000 Hz)
Power requirement (Phantom power)
Current Consumption
Special
Case Material
Finish
Included accessories
Connector type
Dimension
FREQUENCY RESPONSE
5.6 mV/Pascal
< 30 dB SPL (A-weighted)
>135 dB
24 to 52 V Phantom Power
6 mA
external preamp
output device
Steel
Nonreflecting black or white
mounting hardware
3-pin XLR
10.5 mm D x 32.1 mm L
(mic only)
240 g total
WIRED
MICROPHONES
Weight net
Back electret condenser
Cardioid
250 ohms
40 - 20,000 Hz
-
25
RE-SERIES
Installation Microphones
RE92L
The RE92L is based on a great-sounding new
cardioid microphone element.
This capsule features a broad and smooth
frequency response for a warm and natural sound,
a tight cardioid polar pattern for excellent off-axis
rejection, and extremely low noise to give a clean
and unadulterated sound.
The RE92L is the hardwired counterpart of the TX
version and is intended for spoken word
applications. The RE92L features the same wide
and smooth frequency response, well-controlled
cardioid polar-pattern, while its 4-ft. cable is
terminated into an in-line amplifier with XLR
output. The amp features a 12 dB/octave switchable high-pass filter for rolling off low frequency
noise, and its transformer-less differential output
easily drives longer cable runs.
Accessories include:
• Two-stage mic wind-screen
• Both single and dual mic tie clips
• Amp housing belt clip
WIRED
MICROPHONES
• Zippered gig-bag.
26
FREQUENCY RESPONSE
RE92L
RE-SERIES
Installation Microphones
RE90B
RE90L
• Boundary layer
• Ultra-miniature condenser lavalier microphone
for inconspicuous attachment
• Available in black as RE90B, in white as RE90BW
• Ultra-thin profile (16 mm) housing with rubber
non-slip bottom pad and strong steel screen
• Internal terminal block for disconnecting cable
to insert thru holes
• Integrated pop filter
• Ideal working angle 60-degrees off-axis
FREQUENCY RESPONSE
• Complete assortment of clips
• Perfect for television, business and
worship applications
FREQUENCY RESPONSE
RE90B
RE90 L
Back electret condenser
RE92 L
Back electret condenser
(Half-) Cardioid
Omnidirectional
Cardioid
200 ohms
80 - 15,000 Hz
- 33 dB
25 mV/Pascal
< 25 dB SPL
100 ohms
50 - 18,000 Hz
- 34 dB
12.6 mV/Pascal
< 29 dB SPL
250 ohms
40 - 20,000 Hz
- 34 dB
5,6 mV/Pascal
< 30 dB SPL
130 dB
9 - 52 VDC
1.0 mA
external pre-amp
>135 dB
24 to 52 V Phantom Power
6 mA
external preamp
Polycarbonate resin
Nonreflecting black
Gig bag, tape
3-pin XLR
6 L x 5 D mm
34 g
—
Nonreflective black or white
mounting hardware
3-pin XLR
10.5 mm D x 24.1 mm L
160 g total
127 dB
9 - 52 VDC
2.5 mA
transformerless
output device
—
Heavy-duty zinc diecast
Nonreflecting black Nonreflecting black or white
—
—
TA4F
3-pin XLR
141 L x 81 W x 50 H mm 128 L x 94 W x 16 H mm
128 g
358 g
WIRED
RE90 B
Back electret condenser
MICROPHONES
Case Material
Finish
Included accessories
Connector type
Dimension
Weight net
• Omnidirectional polar pattern provides clean
sound and uniform response
RE90L
Boundary Satelite
Dual condenser,
Back electret
Polar pattern
Omnidirectional
Cardioid, Supercardioid
Impedance, Low-Z balanced
1 kHz, 1000 ohms
Frequency Response (-3 dB)
50 - 20,000 Hz
Power Level (0dB=1 m W/Pascal) at 1,000 Hz
—
Open Circuit Voltage (at 1,000 Hz)
17.8 mV/Pascal
Equivalent Noise (0 dB=20 micropascal)
< 26 dB SPL
A-weighted
Maximum SPL (1% distortion, 1,000 Hz)
130 dB
Power requirement (Phantom power)
5 VDC
Current Consumption
< 1.5 mA
Specials
Element
• Internal preamp and XLR termination
27
ACCESSORIES
TxA
422A
309A
MSA-COI
323S
320
311
CPSM
379-1 (black)
376 (grey)
379-2 (red)
368
326
TxA The Electro-Voice® model TXA is a microphone accessory designed
to enable the use of lavalier, head-worn, and other TA4F-terminated
Electro-Voice professional microphones in a wired configuration.
Powering microphones using standard phantom power through the
TXA ensures the same high quality audio performance that you
expect using Electro-Voice microphones over wireless systems.
See page 48 & 49 for all EV lavalier and headworn mics which can
be worn with the TXA.
422A Desk stand with rubber shock mount – accepts mic stand
clamps, black
309A Suspension shock mount for RE20, RE27, black
WIRED
MICROPHONES
323S Mic stand clip for 1.0 inch diameter microphones (RE50, BK-1), black
311 Mic stand clamp for all EV 3/4-inch diameter microphones
(635A, RE16, RE200, N/D468), black
MSA-COI Stand clamp for Cobalt® Co4 instrument microphone, black
320 Stand clamp for RE20, RE27, N/D868
376/379 Windscreen pop filter, 376 – gray, 379 – 1 black, 379 – 2 red
CPSM Shock mount for RE90P and PolarChoice™ gooseneck mics, black
368 Drum mic mounting clamp (N/D468, N/D478), black
314E (not shown) Windscreen pop filter for user with 635 series mics, gray
326 326 Mic stand clamp for all NDYM and Cobalt handheld
microphones
28
TECHNICAL INFO
In 1934, Electro-Voice® invented the hum-bucking coil for microphones, which is
still an industry standard almost 70 years later. The invention was the beginning of
EV’s success in building microphones, but not the end. Electro-Voice continues to
set new standards for microphone design today. Electro-Voice was the first
manufacturer to use neodymium-based magnet structures (N/DYM®) in its
microphones, thus achieving higher output and condenser-like qualities such as
crystal clarity and reliable performance. Electro-Voice’s goals in developing
microphone technologies have always been the same: providing the highest
sound quality, achieving better and more comfortable handling for the user, and
continuing the company’s tradition of legendary reliability and warranty support.
EV’s long list of patents attest to its success in meeting these goals.
Variable-D®
Normal microphones generate increased bottom end when
used close up. This is typically called the “proximity effect”.
While some lead vocalists like this effect and use it to
enhance their performance, it is attainable only in close-up
situations. When the distance between the microphone and
the source is extended, the sound quality changes
dramatically. Electro-Voice’s patented Variable-D® eliminates
this disadvantage. On the rear side of the diaphragm there
is a perforated pipe (interference duct) with precise sonic
slots at set distances. The duct provides maximum damping
that is completely uncolored and undistorted at 180°
off-axis, ensuring the same frequency response as if the
source was nearly on-axis.
Variable-D® designed microphones can be used very close
to other sound sources with no loss in clarity or definition.
This makes them the preferred choice for tight vocals and
challenging instruments such as brass. Variable-D®
microphones like the RE20 and RE27 are favorites with
broadcast show hosts, vocal booths, voice-over studios, and
professional touring or rental companies.
VOB™
VOB™ counteracts proximity effect, sibilance, and Ppopping, thus assuring maximum vocal intelligibility and
musical clarity.
WIRED
MICROPHONES
Electro-Voice’s unique VOB™ technology (Vocally-Optimized
Bass™) reduces low-frequency distortion in the microphone’s
output. Critical damping of the low-frequency resonant
peak results in a microphone that replaces the “muddiness”
found in competitive models with greater warmth and
increased vocal intelligibility. With a wider range of working
distances than other microphones, this intelligibility ensures
a clean, clear, consistent sound that “cuts through the mix”.
29
GUIDELINES
WIRED
MICROPHONES
Microphone Techniques
30
General Microphone Use Guidelines
1. Always point the microphone at the desired source and away from the sources of
any unwanted sound.
2. The microphone should be located close to the sound source to minimize
interference from other potential sound sources.
3. Use the 3-to-1 rule when using multiple microphones: place each microphone
three times farther away from other microphones as it is from the desired sound
source. (If the microphone is 1 foot away from the sound sources, it should be
3 feet away from the next closest microphone).
4. Minimize over-handling of the microphone to reduce unwanted mechanical noise.
5. Positioning the microphone close to the sound source will increase gain-before
feedback and will also increase the bass tone of the signal.
Microphone Techniques for Musical Instruments
Miking techniques are a matter of personal preference. These are merely guidelines to assist
in the placement of the microphone to achieve optimal performance.
SNARE DRUM
Place mic 1-3” above the heads, 1-2” in from the rim. aim each
mic at the top head angled down 45 degrees. If the drum rings,
tape deadening material to the head or use damping rings.
for more “snare” sound, place a second mic under the drum
aimed up a the bottom head.
Suggested mics: N/D478, N/D468, Co4.
ELECTRIC GUITAR
Place microphone approximately 1-2” from and at a 90 degree
angle to the speaker cone. To reduce boominess, move the bass
microphone off axis to the cone from 90 degrees to 45 degrees,
or move mic from center of cone to the edge.
Suggested Guitar Amplifier Mics: RE20, N/D868, N/D468,
Co4, Raven
TOM-TOMS
On double-headed toms, place mic 1-3” over the top of the drum
head at a 45-degree angle to the drum surface and 1/2" from the
drum edge. On single headed toms, use above method or place
mic inside tom from underneath at a 90-degree angle from the
center of head, 3-5” away.
Suggested mics: N/D468, for floor tom – RE20, N/D868
CYMBALS
Place microphone one to two feet above the top of cymbals.
Suggest mcs: RE200, Cardinal
HIGH-HAT
Place 5” above outside edge at a 45-degree down angle.
Suggested mics: RE200
BRASS
6-24” away, and on axis with the bell of the instrument.
Suggested mics: RE20, Co4, N/D468, Raven
ACOUSTIC GUITAR
Place mic 6-12” from where finger board joins the body.
Suggested mics: N/D468, N/D478, Co4, RE20, RE200, Cardinal
WIRED
Best Mic Placement & Suggested EV Mic Usage
MICROPHONES
Usage
31
EV MICROPHONE
X
RE
90
B
X
RE
90
P
X
RE
92
L/
H
RE
90
L/
H
X
RE
90
TX
RE
63
5A
X
RE
92
TX
RE
50
B/
N
X
RE
97
TX
RE
16
RE
27
RE
20
10
21
UL
M
X
M
X
OL
HM
7
HM
2
DB
Application Table
X
X
X
X
X
X
X
X (half)
X (H)
X (H)
X (H)
Element
Dynamic
Condenser
X
Polar Pattern
Supercardioid
Cardioid
Omni
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
Stage
Lead Vox, female
Lead Vox, male
Backing Vox
Speech
Kick Drum
Snare
Toms
HiHat / Overhead
Percussion
X
X
Guitar Amp
Bass Amp
Acoustic Guitar
Upright Bass
X
X
X
X
Strings
Piano
Accordion
X
Woodwinds
Brass
X
X
Studio
WIRED
MICROPHONES
Boardrooms / Podiums
Boundary
Speech / Broadcast
Interview
Speech Lav. / Headset
32
Vocals
Kick Drum
Snare
Toms
HiHat / Overhead
Percussion
Guitar Amp
Bass Amp
Acoustic Guitar
Upright Bass
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
Piano
Accordion
X
X
Woodwinds
Brass
X
X
X
X
X
Strings
X
X
X
X
X
X
X
X
X (L)
X (L)
X (L)
X
X
X
X
X
X
X
oic
e
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
la r
ch
X
X
f)
X
Po
X
X
Ra
ve
n
X
N/
D4
68
Ca
rd
ina
l
RE
41
0
X
N/
D4
78
RE
51
0
X
N/
D9
67
N/
D7
67
A
N/
D3
67
S
N/
D2
67
A(
S)
N/
D8
68
RE
92
0
B
RE
20
0
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
33
WIRELESS
MICROPHONES
WIRELESS
MICROPHONES
34
INTRODUCTION
Key Strengths
• Designed, built and supported in the USA
• Part of Bosch Communications Systems Solutions – EV Speakers
& Amps, KT Processing, Midas Mixing, Telex Intercom
• ClearScan™ the original and best scanning technology on the planet
• Patented Posi-Phase® true diversity for dropout-free audio with the
best range in the business
• Complete variety of models and accessories to fit almost any
application or size of install
• Designed and built for maximum professional performance
• Superior design, construction and warranty
Why Choose a EV Wireless?
All EV and Telex wireless systems are designed and built to exacting
standards in our Lincoln, Nebraska facility. That’s right – made here in the
U.S. State-of-the-art manufacturing techniques are employed in each
wireless product, from the initial CAD design to the advanced auto-inserted
surface mount printed circuit board assembly. Every EV system is tested as
individual components and as a complete system to ensure reliable field
performance.
EV wireless microphone products are supported from the factory in Lincoln,
Nebraska as well as authorized centers in Canada, Germany, Singapore,
and Hong Kong.
EV has been in the business of providing quality wireless communications
for demanding professional events for almost thirty years. We have the
experience and talent to solve any wireless need. When you are designing
large multiple wireless installations, you can look to EV to provide the
important frequency coordination, and system accessories for a turnkey
installation.
35
RE-2
UHF Wireless Microphone System
RE-2 Receiver
• One touch Auto-ClearScan™
Whether you’re broadcasting from the local rock club, lecturing at
a corporate seminar, or speaking in a house of worship, the
Electro-Voice® RE-2™ brings ease-of-use, clear sound, and clean
channels to wireless.
WIRELESS
MICROPHONES
Where does the performing musician, corporate speaker, or
religious leader for professional sound? To Electro-Voice®, a
company that has over 25 years of experience in wireless
innovations. The RE-2 wireless system takes frequency agility to a
whole new level – professional power with previously unmatched
simplicity. You can also be assured that there will be no
interference, drop-outs, or compromised audio quality. Simply
press the one-touch Auto-ClearScan™ button and the receiver
finds the clearest channels in seconds. That’s it. You do your job
as a professional performer, without the hassle and headache
associated with many other wireless systems.
RE-2 UHF systems provide groups of up to 10 simultaneous,
harmonized channels per frequency bands. Besides
individual components, following complete sets, including
transmitter and receiver are available:
RE2-N2
Receiver + N/D267a handheld transmitter
RE2-N7
Receiver + N/D767a handheld transmitter
RE2-410
Receiver + RE410 handheld transmitter
RE2-510
Receiver + RE510 handheld transmitter
RE2-G
Receiver + bodypack transmitter + MAC-G3
guitar cord
RE2-BP
Receiver + bodypack transmitter
RE2-L10
Receiver + bodypack transmitter +OLM10
lavalier mic
RE2-L21
Receiver + bodypack transmitter +
ULM21lavalier mic
RE2-E
Receiver + bodypack transmitter + RE97
headworn mic (beige or brown)
RE2 Combo Receiver + N/D267a handheld + bodypack
transmitter + ULM21 lavalier mic
• Programmable in 25kHz steps across 28 MHz operating
bandwidth
• Backlit LCD displays the Group, Channel, Frequency,
transmitter battery level, diversity operation, and RF and
Audio signal level meters
• Balanced XLR audio output for Microphone or Line level
signals and a 1/4-inch line level jack
• Fourth generation Posi-phase™ diversity and advanced
audio circuits
• Unique “Guitar” setting
• Detachable 1/4-wave antennas
RE-2 UHF Transmitter
• Unique “smart” battery
• LCD Displays Group and Channel, Frequency,
or Battery Level
• Low battery LED
• One On/Off button that also acts as a mute
• On/Off button can be disabled
RE-2 UHF Handheld
• Available with four different microphone elements
• N/DYM 267a Dynamic element
• N/DYM® 767a Dynamic premium vocal microphone with
VOB™ (Vocal-Optimized Bass™)
• RE410 cardioid condenser
• RE510 supercardioid condenser
• Internal 1/2-wave antenna
RE-2 UHF Bodypack
• Cell phone style beltclip
• Optional pouches and fixed clip available
• A wide selection of lapel and headworn microphone
accessories available
36
RECEIVER
Front
RE-2 Receiver
Receiver Type
Frequency Range (RF)
Number of Channels
Modulation
Diversity
RF Sensitivity
Image Rejection
Squelch
Ultimate Quieting
FCC Certification
Power Requirements
Antennas
Dimensions
Back
Synthesized PLL
A Band 648 – 676 MHz
B Band 696 – 724 MHz
D Band 798 – 822 MHz
E Band 841 – 865 MHz
1112 possible channels
Programmable in 25 kHz steps
+/- 40 kHz
Digital Posi-Phase™ True Diversity
< 1.0 uV for 12 dB SINAD
> 60 dB
Tone Code plus Amplitude
> 100 dB
Approved under Part 15
12 V AC/DC 300 mA
Detachable 1/4 wave
1.72” H x 7.50” W x 5.9” D
43.69 cm H x 190.50 mm W x 150 mm D
Audio Parameters
Frequency Response
50 – 15 kHz +/- 2 dB
Balanced Output (max @ 40 kHz deviation)
Mic Position
-10 dBV
Line Position
Adjustable 10 mV-2V RMS
Unbalanced Output
Adjustable 10 mV-1V RMS
Distortion
<1.0%, 0.5% typical (ref 1 kHz, 40 kHz deviat)
Signal-to-Noise Ratio
>100 dB A Weighted
Dynamic Range
>100 dB
Front
HANDHELD
Transmitters, Bodypack (BPU-2), Handheld (HTU-2)
Radiated Output
Microphone Head
Electro-Voice 767a
Microphone Head
Electro-Voice 267a
Microphone Head
Electro-Voice RE 410
Standard Lavalier Microphone
TA4 Connector Wiring
Audio Gain Adjustment
Power Requirements
Battery Life (Typical)
Bodypack Antenna
Handheld Antenna
Dimensions (Handheld)
Dimensions (Bodypack)
30 mW typical
N/D 767a Supercardioid
N/DYM Dynamic
N/D 267a Versatile
Cardioid Dynamic
RE 410
Classic Cardioid condenser
EV RE 90Tx MicroMini™
Omni-Directional Condenser
Pin 1: Ground; Pin 2 Mic Input;
Pin 3: +5V bias; Pin 4: +5V bias
through a 3kW resistor
40 dB (handheld 26 dB)
9 Volt Alkaline Battery
> 8 hours with 9-Volt Alkaline Typical
Flexible external 1/4 wave
Internal 1/2 wave
9.4 in. (24.0 cm) Long
3.8 in. H x 2.6 in. W x 0.92 in. D
96.5 mm H x 66 mm W x 23.4 mm D
Top
Front
WIRELESS
MICROPHONES
37
REV
Professional
Wireless Microphones
Electro-Voice® has been at the forefront of wireless microphone
technology since the ’80s. In the ‘90s EV invented the first
scanning wireless, EV® NRU, and in 2002 EV reinvented wireless
with the professional RE-1, currently on tour with Zakk Wylde,
Gretchen Wilson, the Reverend Al Green, Parliment, Static-X, and
Megadeth, to name just a few. Now Electro-Voice establishes a
whole new paradigm in professional wireless with the REV.
REV-PH Presentation Handheld
REV concert handheld
• A rugged, fully machined aluminum handle
about the size and shape of a wired
microphone encourages proper microphone
technique for better performances.
• Interchangeable microphone RC2 head allows
a choice of elements to fit the vocalist’s style
and environment. Microphone choices
include: — N/DYM® 767a, N/DYM 967,
RE-410, RE-510
• Backlit LCD display controlled by three buttons
mounted out of harm’s way inside the battery
compartment. Battery level gauge always
visible on the LCD display..
• RF transmit power (5 or 50mW) and audio gain
are controlled from the LCD screen controls,
no tools required.
• Two AA batteries power the REV-H for over ten
hours of continuous use.
REV-BP Bodypack Transmitter
WIRELESS
MICROPHONES
• Cast magnesium case is extremely light and
durable with a cell phone style beltclip or flat
metal clip for comfortable wearing options.
38
• A tough high impact ABS shell using the new RC2
interchangeable microphone elements provides an
excellent alternative handheld for rental houses and other
users at a lower price point.
• Accessible on/off switch that also acts as a mute, great for
pauses in presentations and worship services.
• On/off button can be disabled to prevent accidental
turnoffs during a performance.
• One 9V battery powers the REV-PH for over eight hours of
continuous use and the Smart-Battery™ feature means
there is no way to put the battery in wrong.
REV Single & Dual Receiver
Optimized analog audio path developed to provide the
truest representation of a wired microphone sound
possible in a wireless system.
• REV-Link™ PC software for remote monitoring, control and
programming over a CAN bus connection through a UCC1 converter or Netmax N8000.
• Factory set channel groups allow up to 16 systems to
operate simultaneously in one frequency band. For groups
up to 44 systems, EV can help with the coordination and
custom groups are easily programmed.
• Advanced ClearScan™, automatic group and channel
selections for quick, simple setup.
• Backlit LCD display and three control buttons
mounted inside the battery housing make
programming a channel or frequency is quick
and easy.
• Backlit LCD Display shows the Sound Engineer the
Group/Channel, transmitter battery status, diversity
operation, RF and Audio level meters, and space for a
custom name
• Software controlled Guitar mode switches in a
20dB pad, moves the low end response down
to 30Hz and changes the audio circuit to
optimized guitar mode.
• REV-D Dual Receiver includes antenna pass through jacks
so up to six receivers can be connected to just two
antennas. All required cables are included.
• One on/off switch that also acts as a mute,
great for pauses in presentations and worship
services but it can be disabled to prevent
accidental turnoffs during a performance.
• Unique Smart-Battery circuit means there is no
way to put the 9V battery in wrong.
• Battery level gauge always visible on the LCD
display. Low battery LED will light when the
battery needs a replacement.
• RF transmit power (5 or 50mW) and audio gain
are controlled from the LCD screen controls,
no tools required.
• Specially designed “Sound Check” mode provides the
ability for one person to walk test the microphone in the
performance space with tangible results.
• Patented DSP Posi-Phase™ Diversity System for maximum
range and audio quality.
• Guitar mode matches the optimized instrument audio with
the REV-BP bodypack.
• Internal universal switching power supply, headset
monitoring jack, and DC power on antenna input jacks for
optional RF amplifier
• Integrated rack mount ears and front mount antenna
cables included.
• Three-Year Limited Warranty.
cha nnel 1
monitor
dual receiver
chan nel 2
menu
c hannel
P OWE R
menu
2
1
s et
s et
s elec t
I/O
chan nel
monitor
S ingle receiver
menu
P OWE R
s et
I/O
PAT E NT NO. 6,256,484
A UDIO 1
A UDIO 2
R E MOT E
A NT E NNA
IN
OUT
P OWE R
90-260 VA C 50-60 Hz
A NT E NNA
OUT
IN
12 V dc
150 mA
Out
MA DE IN U.S .A .
CAN
B US
HIG H
Z
B A L A NC E D
PAT E NT NO. 6,256,484
R E V-D
DUA L R E C E IV E R
12 V dc
150 mA
Out
B A L A NC E D
HIG H
Z
S E R IA L NO.
A UDIO
P OWE R
90-260 VA C 50-60 Hz
R E MOT E
A NT E NNA
A NT E NNA
R E V-S
R E C E IV E R
MA DE IN U.S .A .
HIG H
Z
B A L A NC E D
CAN
B US
S E R IA L NO.
REV Front and Rear Panel
R
R
755050
R
755050
755050
GP
CH
R E V-B P
REV BodyPack
REV-H
REV-PH
RE-V ACCESSORIES AND PARTS
Model #
RE90TX
RE92TX
RE97TX
HM7
FA-1
CLA-3
AB-2
UAA-500
APD4+
TP-2
LPA-500
CXU-XXX
WP-1000
MAC-G2
RC2-767
RC2-967
RC2-410
RC2-510
MSA-REV
WIRELESS
Omnidirectional MicroMini™ Lapel Mic:
Unidirectional MicroMini™ Lapel Mic:
Lightweight omni headworn Mic:
Headworn Cardioid Condenser Mic:
1/2 Wave Rx Antenna (C3 and C5 Bands):
1/2 Wave Rx Antenna (C1 and C2 Bands):
1/2 Wave Antenna Bracket:
UHF Antenna Amplifier (520 - 806 MHz):
Antenna /Pwr Distribution (600-780 MHz):
Termination Plug For APD4+:
Directional Rx Antenna (450-900 MHz):
Low Loss Coaxial Antenna Cable 25 – 100ft:
Bodypack Pouch:
Guitar Cord:
767a Dynamic Head:
967 Dynamic Head:
RE410 Condenser Head:
RE510 Condenser Head:
Mic Stand Adapter:
MICROPHONES
REV-S SINGLE AND REV-D DUAL RECEIVERS
Front Panel Controls :
On/Off, Menu, Set, Up, Down Buttons
1/4” Headset Jack with Selector and Volume
Indicators LCD:
Group, Channel, Diversity, Label, Set-up
Backlit Display:
Menu-driven dot matrix
Back Panel Connectors:
1/4” unbalanced adjustable line level output
XLR balanced mic/line level output
RJ-45 CAN interface (x2, parallel)
Antennas:
Detachable 1/2 wave
RF Specifications
Frequency Range:
C1 Band 614 – 638 MHz ; C2 Band 650 – 674 MHz
C3 Band 674 – 698 MHz ; C5 Band 722 – 746 MHz
D Band 798,1 – 821,9 MHz ; E Band 841,1 – 864,9 MHz
Number of Channels:
950 possible (programmable in 25kHz steps)
Diversity:
DSP PosiPhase™ True Diversity
Squelch:
Tone Code plus Adjustable Amplitude
Receiver Type:
Synthesized PLL Agile UHF
RF Sensitivity:
<0.8uV for 12 dB SINAD
Audio Specifications
Frequency Response:
100 – 15 kHz +/- 2 dB Microphone
30 – 15 kHz +/- 2 dB Instrument
Audio Output Level:
Balanced Line Level 10mV – 1V RMS Adjustable
Unbalanced Output Adjustable
8 mV to 0.755V RMS (100k ohm load)
Distortion:
Less than 0.5% (@ 1kHz, 40 kHz deviation)
Signal to Noise Ratio:
> 110 dB (A)
Dynamic Range:
>100 dB
REV-D Antenna Output:
TNC
Powered Antenna Inputs:
12Vdc,15mA
Internal Switching Power Supply:
Universal Cord, 90–240 VAC, 50–60 Hz
CAN Bus Monitoring & Control:
REV-Link Software
Size:
1.72” H x 16” W x 12” D
43.7 mm H x 406.4 mm W x 304.8 mm D
REV-H CONCERT HANDHELD
Controls:
Power On/Off, Set, Up, Down Buttons
Displays:
Backlit LCD display showing: Battery Level,
Channel/Group or Frequency
Battery Life:
10 hours with two AA alkaline typical
Antenna:
Internal Proprietary
Microphone Elements:
EV N/D 767a or N/D 967 Dynamic
EV RE510 or RE410 Condenser
Case Material:
Machined Aluminum
RF Output:
Normal: 5 mW typical
High: 50 mW typical
Size:
24.8cm (9.75 in.) x 52mm (2.04 in.)
(Length x max diameter):
REV-BP BODYPACK TRANSMITTER
Controls:
Power On/Off, Set, Up, Down Buttons
Indicators:
Red LED Low Battery Indicator, Back lit
LCD display showing:
Battery Level, Channel/Group, or Frequency
Battery Life:
8 hours with 9V alkaline typical
Antenna:
External 1/4 wave detachable
Connector:
TA4F input for microphone Pin 1 ground,
Pin 2 Mic input Pin 3 +5V Bias,
Pin 4 +5V through 3k ohm
RF Output:
Normal: 5 mW typical
High: 50 mW typical
Case Material:
Cast Magnesium
Size:
3.75 in. H x 2.6 in. W x 0.9 in. D
94 mm H x 66 mm W x 23 mm D
39
RE-2 PRO SERIES
WIRELESS
MICROPHONES
Professional Wireless Microphones
40
RM-S
RM-D
When applications like rentals, on location
broadcasts, or tough environments call for
a wireless microphone with a mix of RE-1
and RE-2 features, the answer is RE-2
PRO. The advanced features of the RE-1
transmitter platforms allow more systems
in one location, longer range, more
microphone head choices, and high
quality materials like the cast magnesium
bodypack. Match the RE-2 transmitter and
receiver and the RE-2 PRO system offers
professional wireless at a price point
between the RE-1 and RE-2.
RE-2 Pro Receiver
FMC-K
• All of the great RF and Audio features of
the RE-2 receiver plus all of the rack
hardware to install it including front
mount antenna cables.
RE-2 Pro Handheld
Transmitter
• All of the great features of the RE-2
handheld plus Normal/High transmit
power, detachable microphone heads,
and a choice of 767a, 967, RE410 or
RE510 mic heads.
RE-2 Pro Bodypack
Transmitter
All of the great features of the RE-2
transmitter plus a cast magnesium metal
housing, detachable antenna and
Normal/High transmit power.
Bodypack Antenna
Handheld Antenna
Dimensions, Handheld (L) mm
Dimensions, Bodypack (H x W x D), mm
Normal 5 mW / High 50 mW typical
767a Supercardioid N/DYM Dynamic
967 Supercardioid N/DYM Dynamic
RE 410 Cardioid Condenser
RE 510 Supercardioid Condenser
Detachable Flexible external 1/4 wave
Internal 1/2 wave
268 mm long
96.5 x 66,0 x 23.4 mm, Cast Magnesium
WIRELESS
Radiated Output
Interchangeable Microphone Heads
MICROPHONES
Transmitters, Bodypack (BPU2PRO)
and handheld (HTU2PRO) Additional Features
41
EV ACCESSORIES
Use any EV lapel or headworn
mic wired with a TXA.
Wireless Microphones
See page
OLM 10
ULM 21
RE 90 TX
RE92 TX
HM 2
HM 7
• Lavalier mic
• Lavalier mic
• Lavalier mic
• Lavalier mic
• Headset mic
• Headset mic
• Includes
accessories
(shown)
• Includes
accessories
(shown)
• Top-class
• Includes
accessories
(shown)
• Includes
accessories
(shown)
• Includes
accessories
(shown)
• Top-class
• Ultra-miniature
• HighPerformance
OLM 10
ULM 21
RE 90 TX
RE92 TX
HM 2
HM 7
Element
Back electret
condenser
Omnidirectional
Back electret
condenser
Cardioid
Back electret
condenser
Omnidirectional
Back electret
condenser
Cardioid
Back electret
condenser
Cardioid
Back electret
condenser
Supercardioid
80 – 16.000 Hz
---
50 - 18.000 Hz
---
40 – 20.000 Hz
---
30 - 18.000 Hz (12mm)
---
100 - 15.000 Hz
---
2.5 mV/Pascal
120 dB (1% THD).
from Bodypack
12.6 mV/Pascal
130 dB (1% THD)
from Bodypack
5.6 mV/Pascal
135 dB (1% THD)
from Bodypack
4.0 mV/Pascal
120 dB (1% THD)
from Bodypack
7.0 mV/Pascal
120 dB (3% THD)
from Bodypack
t.b.a.
--Plastic
--Sub-miniature
Polycarbonate resin
t.b.a.
replaceable element
Metal
max. 0.5 mA @ 9 VDC
--Plastic
--Ultra-lightweight
Plastic
Frequency Response (-3 dB)
t.b.a.
Output Level (0dB = 1mW/Pascal)
--1.000 Hz)
Open Circuit Voltage (at 1.000 Hz)
t.b.a.
Maximum SPL (THD)
t.b.a.
Power requirement
from Bodypack
(Phantom power)
Current Consumption
t.b.a.
Specials
--Case Material
Plastic
(Capsule enclosure)
Finish
Included accessories
approx. 180 cm
permanently attached
cable, windscreen,
universal tie clip
Optional Accessories
--Connector type
4-pin TA4F
Dimension (Length x Diameter)
t.b.a.
Weight net
t.b.a.
MICROPHONES
approx. 180 cm
permanently attached
cable, windscreen,
universal tie clip
--4-pin TA4F
0.71 x 0.29 in.
23g
All Nonreflecting black
approx. 180 cm
approx. 180 cm
approx. 120 cm
permanently attached
detachable
permanently attached
cable, windscreen,
cable, windscreen,
cable, windscreen,
universal tie clip,
tie tac universal tie clip
cable clip
------4-pin TA4F
4-pin TA4F
4-pin TA4F
0.25 x 0.19 in.
0.948 x 0.412 in.
--14 g
25g
25 g
SPECS
RE920 TX
RE97 TX
Element
Back electret
condenser
Cardioid
Back electret
condenser
Omnidirectional
80 – 18kHz.
1.3mV/Pascal
>148 dB
from Bodypack
40 – 20kHz
5.6 mV/Pascal
135 dB (1% THD)
from Bodypack
<500uA
--Metal
<500uA
--Plastic
Two Stage Windscreen
Gig Bag
Shock Mount Clip
--4-pin TA4F
0.412 x 6.2 in. (mounted)
54g (1.9 oz.)
Two Stage Windscreen
Tie Clip
Gig Bag
--4-pin TA4F
--5.7g (0.2 oz.)
Polar pattern
WIRELESS
• Includes
accessories (shown)
SPECS
Polar pattern
42
• Super light weight
and comfortable
Frequency Response (-3 dB)
Open Circuit Voltage (at 1.000 Hz)
Maximum SPL (THD)
Power requirement
(Phantom power)
Current Consumption
Specials
Case Material
(Capsule enclosure)
Finish
Included accessories
Optional Accessories
Connector type
Dimension (Length x Diameter)
Weight net
approx. 120 cm
permanently attached
cable, windscreen,
cable clip
--4-pin TA4F
--70 g
OLM 10
ULM 21
RE90 TX
RE92 TX
HM 2
HM 7
RE920 TX
RE97 TX
RE97 TX Mini Mic
• Extremely lightweight
earworn microphone
• Almost invisible
• Available in beige, brown
and black
• Wear on left or right ear
RE97-2 TX
• Omnidirectional for smooth,
natural sound
• Two sided band for stability
• Same mic element as RE97
• Available in beige, black
and brown
• Can be worn on left or
right side
RE920 TX
• Unidirectional horn mic
• High SPL handling
• Custom clip for mounting
WIRELESS
MICROPHONES
43
EV
ACCESSORIES
Wireless Microphones
APD-4+
RM-D
AB-2
LPA-500
FA-500
CXU
TP-2
UAA-500
EV Wireless Accessories - Antennas etc.
APD-4+
UHF Antenna/power distribution system
(provides power and RF signals for 4 units)
for use with RE-2, RE-1, and REV
RM-S
Rack-mount kit - works with RE-2 Receivers
RM-D
Rack-mount kit - double (for two receivers)
works with RE-2
UAA-500
AB-2
LPA-500
WIRELESS
MICROPHONES
FA-500
44
TP-2
CXU-X
Wideband RF Antenna Amplifier for use with
REV, APD-4+, and CDR-1000
Universal mounting bracket for 1/2-wave
antennas, with 10-foot coax cable
Directional log periodic antenna with mounting
hardware and 10-foot coax
1/2-wave UHF antenna
50 ohm TNC termination plug for use with APD-4+
Low-loss coax cable (X designates length,
25ft = 8 m, 50ft = 16 m)
RC510
RC410
MSA
AN-FLEX
WP1000
RC967
RC767A
AN-SFLEX
BC1000
379-1
MAC-2
HHCK
MAC-G3
RC2
RC967
NDYM 967 Dynamic Microphone Element for RE-1/RE2PRO
RC410
RE410 Condenser Microphone Element for RE-1/RE2PRO
RC767a
RC510
AN-Flex
AN-Sflex
MSA
NDYM 767a Dynamic Microphone Element for RE-1/RE2PRO
RE510 Condenser Microphone Element for RE-1/RE2PRO
Replacement Antenna for RE-1/RE2PRO bodypack transmitter
Optional super flexible antenna for RE-1/RE2PRO bodypack transmitter
Microphone Stand Clip for RE-2 (use MSA-1000 for RE-1/RE2PRO)
BC-1000
Swivel Beltclip and mounting stud for RE-1/RE2PRO
BC2-Clip
(not shown) Swivel Replacement beltclip and mounting stud for
RE-2 Bodypack
WP-1000
Leather bodypack pouch for use with WT-1000
Handheld Color Kit for RE-1/RE-2/REV-PH handheld transmitters, 6 colors
379-1
Windsceen for all handheld microphone elements
XLR to TA4F adapter cord
TA4 to 1/4” plug George L’s Guitar cord for RE-2, straight plug only.
MAC-G2
TA4 to 1/4” plug George L’s® Guitar Cord for RE-1, REV,
also includes right angle plug
RC2
RC2-767 NDYM 767a Dynamic Microphone Element for REV-H and PH
RC2-967 NDYM 967 Dyanmic Microphone Element for REV-H and PH
RC2-410 RE410 Cardioid Condenser Mic Element for REV-H and PH
RC2-510 RE510 Supercardioid Condenser Mic Element for REV-H and PH
WIRELESS
MAC-G3
MICROPHONES
HHCK
MAC-2
MAC-G2
45
WIRELESS GUIDELINES
Information
Choose the wireless system wisely!
It’s important to note that all wireless systems are not
created equal. Only a very few of the products on the
market today are actually designed and built by the people
selling them. Many of the most popular systems are built by
microphone companies that only recently began to
manufacture wireless devices. EV is unique in the world of
wireless. Electro-Voice has been leading the way in
microphone technology for 75 years and Telex practically
invented professional wireless microphones 30 years ago.
All Telex and EV wireless products are the result of this vast
experience and technological know-how.
As more and more wireless products get into the market,
more problems in installation and performance are being
encountered. Often times these problems are unique to the
situation and require a trained professional with
considerable RF experience to solve. Telex maintains a staff
of highly trained RF engineers and designers to help our
dealers and customers get systems to work in the most
critical and demanding applications. Wherever possible, we
build features into our new products to take care of
problems before they start. The key for the selling dealer is
that they have a large company with plenty of experience
and talent backing-up their wireless installations.
Important Wireless Terminology
Like any other technical business, the wireless world is filled
with technical jargon and concepts all its own. It is very
important that you understand the basics of this language,
or overzealous marketing materials can easily mislead you.
The Basics
A wireless system at its most basic includes a transmitter,
handheld or bodypack, and a receiver. There are many
ways to get the signal from point A to point B and it is
important to dispel any myths or preconceived notions that
may have been picked up from various marketing materials.
We will go through the more common technical terms and
try to give you and objective outlook.
WIRELESS
MICROPHONES
What is Diversity?
Diversity reception is a method of minimizing the effects of
multi-path delays that create drop outs of the radio signal.
This is done by combining or selecting two or more
antenna sources for the same signal in order to produce a
constantly usable signal. This always requires more than
one antenna in different physical locations but not
necessarily multiple receivers.
46
There are many diversity circuits used in wireless
microphones on the market today, including twin receiver
“switching” diversity, antenna diversity, switching antenna
diversity, and the Telex patented Posi-Phase auto diversity.
Each of these methods may be effective, depending on the
particular implementation of the circuitry by the
manufacturer, provided other critical areas of the receiver
circuitry are not compromised.
The term “diversity” is derived from the word “diverse”,
which according to the American Heritage Dictionary
means varied or unlike. In the RF world, this translates to
two or more unlike sources of received signal energy at the
receiver. As long as the two sources of signal are unlike or
varied from each other, they are diverse, hence the term
‘diversity’. These days you hear a lot of hype about some
systems that claim to be “true” diversity. It this were true,
there would also have to be a “false” diversity. But, by
definition, any receiver using two or more varied signal
inputs has diversity, so the only ‘false’ diversity would be
single antenna non-diversity. Major manufacturers may
differ in their particular implementation of the diversity
circuitry, but all diversity systems use different sources of
received energy from two or more antennas. The term ‘true
diversity’ is meaningless from an engineering standpoint.
What is patented Posi-Phase Diversity?
Posi-Phase diversity uses two antennas spaced apart,
connected to a single high quality receiver. The antenna
signals are connected internally to microprocessor circuits
that monitor the phase relationship between the two
antennas. Both antennas are active at all times which
greatly increases the signal strength under normal
conditions. In the event of a signal interruption from a
partial phase cancellation (multipath) or total phase
cancellation (dropout) the logic circuitry adjusts the phase
of the secondary antenna to a positive condition relative to
the primary antenna. This process occurs in a fraction of a
second and continually adjusts the phase of the second
antenna for the optimum signal. A similar patented
technique is used in cellular telephones to insure their
reliable operation. Telex Posi-Phase diversity is more
effective and less costly to produce than switching diversity
because only one high quality receiver is required. Since
only one receiver is needed, we are able to concentrate on
the overall receiver design on more important aspects of
the receiver design such as filtering, IF circuitry, squelch
and audio circuitry Concentrating on these critical areas of
a receiver design yields superior performance over
switching diversity.
The superior performance is easily verified by a simple
shoot-out with range and audio quality tests. Generally,
under the same environment Telex systems will go nearly
twice as far as competitive models in a similar price range.
What is Phase Cancellation?
Phase cancellation or multipath dropout is a phenomenon
where a direct radio signal and a reflected radio signal
combine in the receiver. The two signals are slightly out of
phase from each other due to the delay in the reflected
signal. The phase difference causes the two signals to
interfere with each other and cause deterioration in the
quality of signal at the receiver. When the distance and
geometry are just right, the signals are 180 degrees out of
phase and can cancel each other completely, often referred
to as a dropout.
A very common example of phase cancellation or multipath
dropout has occurred to most people at one time or
another. If you have ever driven your car listening to your
favorite FM radio station and pulled up to a stop light and
noticed your radio station become fuzzy and faded away as
you pull slowly forward, you have experienced phase
cancellation. Did you notice that when you pulled your car
up just a few feet the station came back to perfect
reception?
Because multipath problems are related to the geometry of
the set up, it is possible to walk test the transmitters and
correct potential dropouts using tools like the Sound Check
Screen in the RE-1 and adjusting your antenna placements.
But be wary, each time you change the scenery, arena, or
even add people, the mix changes.
What is a Squelch Circuit?
Good receiver design begins with the RF and IF filtering, but
another important part of the receiver circuitry is the squelch
system, or RF detection circuitry. This circuitry is the “gate” that
allows the audio to turn on or off based on the RF signals
entering the receiver. Simple gate squelch circuits that are
commonly used in most competitive wireless receivers have a
detector circuit that opens the audio path as soon as a preset
level of RF energy is reached. When the signal is below the
preset level, the audio path is “closed” or grounded to be very
quiet. The obvious problem with a simple gate squelch is that
any RF energy including distortion, hiss, harmonics from such
sources as lighting dimmers, CD or DVD players, computers,
digital effects and electric motors are indistinguishable from the
desired signal. This extraneous RF energy will open the squelch
gate just as easily as the intended transmitter. So, often times
the user must “crank” up the squelch level all the way up to
limit the sensitivity to noise, which reduces range and
performance of the system.
What is a Combination Squelch Circuit?
Advanced products like the FMR-1000, RE-1 and ENG-100 use
a combination of tone-code and amplitude squelch to provide
maximum protection against errant signals. In this case, the tone
squelch works as described in the previous section and when
the tone is present the amplitude squelch remains active. If, in
the unlikely event, random noise fools the tone detector, the
signal at the intended frequency still needs to be high enough
to register on the amplitude squelch. The back up amplitude
squelch further reduces the chances that an errant signal will
cause audio noise while the transmitter is turned off.
What other considerations should I think about?
When selecting a wireless system, consider the long-term use
for the system and always purchase a complete solution. That is,
if you eventually intend to add more systems, make sure you
select a system that will allow for the total number of future
systems. Also, don’t forget to look at accessories such as
antenna combiners, antennas, low loss coaxial cable, and
microphone choices.
Electro-Voice has a complete line of wireless accessories for
both VHF and UHF systems. These accessories allow the system
to be tailored for the individual application and allow the user
to get the most from their investment.
Wireless Microphone Antenna Guide
ANTENNA TYPES
Most products ship with 1/4-inch wave antennas to be
mounted directly on the receiver or the rack mount hardware.
These 1/4-inch wave antennas are not ground independent,
meaning that they cannot be mounted remotely at the end of a
run of coaxial cable. For remote mounting, use 1/4-inch wave or
directional Log Periodic antennas such as the FA-500, CLA
series or the LPA500.
ANTENNA DISTRIBUTION
When racking multiple receivers together, it is best to use an
antenna distribution system like the APD4+. The APD$+
provides power and antenna connectors for 4 receiver and can
be cascaded to run antennas for up to 16 systems from 2
antennas (using 5 APD4+ units). The important thing to keep in
mind is to connect the input of each additional splitter to the
output of the original APD4+ (the one connected directly to the
antennas) to prevent a loss of rang.
Wireless “Gain” Settings
Almost every wireless microphone system has an adjustment on
the transmitter that is called a “Gain” adjustment, which often
confuses users. This setting should really be called a “Deviation
Control”, but that would more than likely confuse users even
more. The problem with calling it a gain setting, however, is that
the end user attempts to use it to set their overall audio level –
not what the control is designed to do. After all, wired
microphones do not have a gain control and the mixing board
or amplifier must be used to control the audio levels.
The gain setting is unique to wireless microphones and is used
to maximize the signal-to-noise ratio and dynamic range
whether it is used as a podium microphone, close talking
signing mic, lapel, headworn, or even guitar or instrument.
Frequency Modulated (FM) radios transmit audio information as
changes in the carrier frequency. The bigger the changes in
frequency, the better the signal-to-noise ratio. So, if the system’s
maximum deviation is +/-40KHz, we want the loudest level input
into the microphone to generate 40KHz deviation. With the gain
set above that, we would be clipping or distorting the maximum
input and if it is set too low, we are not getting the clearest
possible signal.
To set the Wireless “Gain” properly, it should be adjusted
without any audio output.
1) Before the audio connections are even made or with the
PA system muted, simply sing or scream into the
microphone as loudly as it will ever be used in performance
in this application. (For guitar systems, turn the gains on the
guitar to maximum and hit the hardest note that will be
used in concert)
2) Then adjust the gain on the transmitter until the audio meter
peaks in the usable range (or the overmodulation light does
not come on).
3) Then make the audio connections and use the mixing board
or amplifier to set the audio levels for the PA. Or, with a
guitar/instrument wireless system, when the bodypack
gain is set and the audio meter is not railing, set the
receiver output to match whatever instrument amplifier is
being used.
REMOTE MOUNTING
Antennas should be mounted with a direct line-of-sight to the
performance area. Whenever possible, that also means above
the cast and crew, so mounting antennas ten feet in the air at
the side of the state is one of the best places for them. All
coaxial cable has signal loss, so keep the cable runs to minimum
and use low loss cables to keep the maximum performance
range. The CXU cables from EV use very low loss cables that will
help maintain range.
47
© 2008 EVI Audio GmbH · Art.Nr. D164564 · Printed in Germany · www.telexcommunications.com · Subject to change without prior notice!
Americas
Telex Communications Inc.
12000 Portland Ave South,
Burnsville, MN 55337, USA
USA—Phone: 1-800-392-3497,
Fax: 1-800-955-6831
Canada—Phone: 1-866-505-5551,
Fax: 1-866-336-8467
Latin America—Phone: 1-952-887-5532,
Fax: 1-952-736-4212
Europe, Africa & Middle-East
Germany: EVI Audio GmbH,
Hirschberger Ring 45, D-94315,
Straubing, Germany
Phone: +49 9421 706-0
Fax: +49 9421 706-265
France: EVI Audio France S.A.,
Parc de Courcerin,
Allée Lech Walesa,
F 77185 Lognes, France
Phone: +33 1-6480-0090
Fax: +33 1-6006-5103
Asia & Pacific Rim
Japan: EVI Audio Japan Ltd.
5-3-8 Funabashi, Setagaya-Ku,
Tokyo, Japan 156-0055
Phone: +81 3-5316-5020,
Fax: +81 3-5316-5031
Hong Kong: Telex EVI Audio (HK) Ltd.
Unit 5,1/F, Topsail Plaza
11 On Shum Street
Shek Mun,Shatin HK
Phone: +852 2351-3628
Fax: +852 2351-3329
UK: Shuttlesound,
4 The Willows Centre,
Willow Lane, Mitcham,
Surrey CR4 4NX, UK
Phone: +44 208 646 7114
Fax: +44 208 254 5666
China: Telex EVI Audio (Shanghai) Ltd.
Room 2210-2215,
Tower B, Far East International Plaza,
No. 317, Xianxia Road,
Shanghai, China, PC: 200051
Phone: +86 21-6235-1677
Fax: +86 21-6235-1676
Singapore: Telex Pte. Ltd.
3015A Ubi Road 1,
05-10 Kampong Ubi Industrial Estate,
Singapore 408705
Phone: +65 6746-8760
Fax: +65 6746-1206
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