Microphones
Microphones
Born and bred in the American heartland, Electro-Voice
lays claim to over 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 engineering excellence and reliability
while continuously upping the ante with breakthrough
technologies like the Humbucking coil for noise
cancellation, Variable-D™ and VOB™.
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 the largest world tours with today’s
biggest artists; from Knut Rockne using his “Electric Voice”
at Notre Dame to the state-of-the-art wireless microphone
systems 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 created 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.
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.
Table of Contents:
Artist Relationships2
Wired Microphones4
Live Performance Microphones
PL Series6
NDYM Series8
RE Live10
Cardinal / Raven11
Broadcast Microphones
RE Broadcast12
Field Production13
Installation Microphones
Polar Choice14
RE Installation16
General Purpose18
Wired Accessories19
Wired Guidelines20
Microphone Selection Chart
22
Wireless Microphones24
RE-226
RE-2 PRO28
REV30
Wireless Antenna Accessories
32
Wireless Microphones34
Wireless Cables, Clips & others
36
Wireless Guidelines38
We’re proud to be the brand of choice of professional artists and engineers from
around the world, from all corners of the music and pro audio industry. From local
broadcast studios, rehearsal spaces and nightclubs to the largest concert tours, our
microphones and wireless systems are trusted tools that help forge careers.
Our ongoing relationships include:
ARTISTS
DRIVE
Keith Capsuto
Al Green
Dropkick Murphys
Keith Frank
Albert Lee
Echo and the Bunnymen
Kenny Olson
Alexx Calise
Ed “Mr. Improv” Hull
Kenny Wayne Shepherd
Alison Hinds
Elliott and the Untouchables
Keri Noble
Eric Gales
Kerry King
Annie Minogue Band
Eric Tavares
Kreg Viesselman
Avishai Cohen
Fishbone
Larry Russell
Big Bang Theory
Garrett Mason
Lee Scratch Perry
Black Label Society
Geezer Butler
Angelo Kelly
(Kelly Family)
Blackbird McKnight
(Parliament)
George Clinton
(Parliament)
(Slayer)
Leroy Van Dyke
Let’s Get It
Blackhawk
Gregg Rolie Band
Levon Helm
Blasko
Gregory Brock
LMT Connection
Bobby Bare Jr.
GWAR
Lonesome Spurs
Bootsy Collins
Hatebreed
Los Lobos
Carina
Heaven Davis
Maki Ohguro
Cesaria Evora
Helen Cornelius
Maktub
Charlie Lustman
Henry Murphy and the Seahawks
Malford Milligan
CLÃ
(Ozzy Osbourne)
(Portugal)
Clem Burke
(Blondie)
Courtney Pine
Crash Anthem
dada
Damon Johnson
Danny B. Harvey
Dave Wolfe
David Fonseca
David Frizzell
David Pack
Davie Kimm
Deke Dickerson
Delaney Jackson
Derick Sebastian
DevilDriver
Dino Cezares
Dr. Dog
(Dragonforce)
Honeydogs
(Guns ‘N’ Roses)
Marcia Ball
Mark Chestnutt
Jack Frost
James LoMenzo
Marthia Sides
(Megadeth)
Jerry Montano
Maze Meusel
Megadeth
Jim Vilandre
Meldrum
Jimmy Clark
Jimmy Keegan
Michael H. Sweet
(Spock’s Beard)
Joe Bonamassa
Joe Fraulob
Michel Montano
Mitch Gordon
Moe Bandy
John Berry
Johnny Hawthorn Band
Johnny Kelly
Marcello Mello
Marcus Miller
Hoven Droven
(Type-O-Negative)
Johnny Young
K&Neo
Dick Dale
DJ Ashba
Herman Li
Joshua Craig Podolsky
Devo
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(Black Sabbath)
(Kid Rock)
Karl Denson’s Tiny Universe
Karnes McCarrick
Keegan McClellan
Mogwai
Neal McCoy
Nick Catanese
Niki Barr
No Other Name
Patrice Pike
Pete Anderson
Phil Bloch
(Boston)
Presidents of the United
States of America
Purple Reign
Real Groove Band
Reamonn
Reverse Cowgirl
Richard Buckner
Rick Ward
Rob Powers
(Broadcaster)
Rockie Lynne
Rogue Wave
Ronnie McDowell
Rupee
Saint Lu
Sambomaster
Saxon
Secret Agent Bill
Shinya
Skerik
Southern Culture on the Skids
Sparklehorse
Staind
Static-X
The Monks
ENGINEERS
The Roots
Al Davis
Theresa Andersson
Bill Racine
Three Days Grace
Bradley Johnson
ThundHERstruck
Brian Garcia
Tim Burlingame/Kathrin Shorr
Brian Herb
Tim Lepard
Bruce Reiter
Tommy Bolan
Craig Schumacher
Tommy Victor
(Prong)
Dan Lance
Tony Campos
Dave Fridmann
Travis Larson Band
Deanne Franklin
Twisted Sister
Doug Short
Versa Emerge
Duane Dungey
Vibro Champs
Jeremy Smith
Wolf Simon
Jim Baker
XNO
Johnny K
Yellow Hands
Mark Robertson
Yngwie Malmsteen
Mark Vanderwall
Zakk Wylde
Rafael Alkins
Rocky Holman
Sean Peel
Steve “Sonny” B. Taylor
Steve Brown
Steve Vai
T.M. Stevens
Takako Afuso
Takida
TAT
Terri Nunn
Terri Walker
Terry Evans
The Baseballs
The Buzzcocks
The Honeydogs
The Joe Taylor Group
The Lads
The Legendary Shack
Shakers
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Wired Microphones
Wired
Live Performance Microphones
Electro-Voice is a proven leader in the design and manufacture of live
sound microphones. Preferred by performers the world over since the
company was founded in 1927, Electro-Voice microphones have long
been the choice of the music industry’s greatest artists. Why have so
many top-name performers chosen Electro-Voice microphones over the
years?
Trusted by both the artists and their skilled engineers and technicians, our
legendary capsule designs are engineered to deliver the highest quality
tone and clarity in any performance situation.
Rugged design and construction ensures that the capsule (the heart of a
microphone’s performance) remains unaffected by treatment that would
destroy other brands’ microphones.
Reliable and predictable polar pattern performance allows superior control
in the mains and monitors.
Performances as sonically spectacular for the artist as they are for the
audience – the Electro-Voice sound is synonymous with the highest
quality and musicality.
Broadcast Microphones
Benchmarked by the legendary RE20 and RE27N/D Variable-D®
vocal microphones, Electro-Voice broadcast studio and field production
microphones confidently uphold their reputations as Industry Standards.
These number-one choices for radio and television voiceover and
interview work define the sound and reliability broadcast professionals
around the world have come to demand.
Unquestionable reliability and spot-on sonic performance are prime
requirements in broadcast field production work. Electro-Voice field
production mics have been the go-to industry workhorses for decades.
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 inthe-field broadcasts. These microphones set world standards for ENG
(electronic news gathering) and EFP (electronic field production). They
are extremely rugged and withstand high humidity, temperature extremes
and corrosive effects such as salt-air – all while providing excellent sound
performance and that legendary “Buchanan Hammer” durability.
Installed Sound Microphones
Electro-Voice remains on the cutting edge of installed sound technology
through innovative adaptation of our legendary RE and PolarChoice
condenser capsules. These premium-grade elements are worldrenowned for their superb sonic performance.
Electro-Voice’s breakthrough PolarChoice technology sets new standards
in Installed Sound convenience, reliability and performance. Shortening
the long list of products, polar pattern selections and margin for error,
each PolarChoice model incorporates four switchable polar patterns
strategically designed for these specific applications. Selection and
deployment is as easy as choosing the best physical design for the
installation, and setting the polar pattern switch for the best coverage
performance. Should installation conditions change, the polar pattern can
always be changed to meet the new requirements.
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PL Series
Live
Wired
Live for Sound
The PL Series is a comprehensive family of vocal and instrument microphones for the professional live sound and studio
community. Featuring seven vocal models and three instrument models, the PL Series’ exceptional durability, sonic
performance and contemporary styling meet the needs of today’s sound system professional.
PL24
Entry-level Dynamic Vocal Microphone
The PL24 is a professional-grade supercardioid dynamic
vocal microphone designed for live sound applications.
With its balanced frequency response, the PL24’s sonic
performance is robust and articulate, delivering all-around
vocal clarity in any live sound situation.
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Balanced blend of controlled lows, palatable
mid-range, and smooth high frequency content
Powerful neodymium magnet structure
Tight-mesh Memraflex™ grille
Supercardioid polar pattern
Dynamic element
Also available: PL24S with on/off switch.
PL44
Mid-level Dynamic Vocal Microphone
The PL44 is a professional-grade supercardioid dynamic
microphone designed for plug-and-play placement of vocals
in any mix. Its high-mid frequency content design precisely
lifts vocals in the mix to where they need to be, resulting in
fast and effective vocal placement.
PL80a
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Voice-contoured for transparency and
high-mid lift
Powerful neodymium magnet structure
Tight-mesh Memraflex™ grille
Supercardioid polar pattern
Dynamic element
Premium Dynamic Vocal Microphone
The PL80a is a premium-grade supercardioid dynamic
microphone designed to elegantly capture the character
of vocals in live sound applications. Its EQ-friendly sonic
contour adapts well to any vocal texture, allowing vocals to
sit nicely in the mix without sounding harsh.
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Incredible vocal power and clarity
Robust, forgiving and EQ-friendly performance
Superior off-axis rejection
Ultra-low handling noise
Exceptionally cooperative tonal characteristics
Also available: PL80c with the classic beige PL finish.
PL84
Premium Condenser Vocal Microphone
The PL84 is a professional-grade cardioid condenser vocal
microphone designed to enhance a professional vocalist’s
creative expression. With its warm lows, musical mid-range
and smooth high-frequency response, the PL84 captures all
of the intimate detail expressive vocalists require.
Also available: PL84S with on/off switch.
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Carefully voiced for intimate detail and presence
Condenser element for fast transient response
Tight-mesh Memraflex™ grille
Cardioid polar pattern
PL Series
Live for Sound
Dynamic Kick Drum & Instrument Microphone
PL33
Voiced specifically for kick drums and
low-frequency instruments
Powerful neodymium magnet structure
Tight-mesh Memraflex™ grille
Supercardioid polar pattern
Dynamic element
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Voiced specifically for snare drums and
tom-toms
Powerful neodymium magnet structure
Complete with DRC-1 drum rim clamp
Supercardioid polar pattern
Excellent isolation from surrounding drums
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Small diaphragm condenser
Voiced for overhead drums, hi-hats and acoustic stringed instruments
Tight-mesh Memraflex™ grille
Tight cardioid polar pattern
The PL37 is a tight-cardioid condenser microphone
designed to deliver all the crisp detail of cymbals, high-hats
and percussion instruments on stage or in the studio. The
PL37 delivers all the dialed-in tone and percussive transient
response detail that professional drummers and sound
system engineers require.
PL DK models and contents:
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PL DK4 (for a 4-piece drum kit): Three PL35’s and
one PL33
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PL DK4 Plus (for a four-piece drum kit): Three PL35’s, one PL33 and one PL37
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PL DK5 (for a five-piece drum kit): Four PL35’s and one PL33
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PL DK7 (for a five-piece drum kit): Four PL35’s, one PL33 and two PL37’s
PL Series drum mics are also available in pre-pack
assortments of our most requested drum set configurations.
The DK’s come ready for the gig in a heavy-duty firm shell
gig bag (with shoulder strap), which can hold up to six
PL35’s, three PL37’s and one PL33 should you wish to
expand your PL Series drum mic tool kit.
Wired
The PL33 is a supercardioid dynamic microphone designed
to deliver the power, punctuation and snap of kick drums in
sound reinforcement systems or recording studios of any
size. Its frequency response is strategically crafted to deliver
great kick drum sound with little, if any, additional EQ’ing.
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Dynamic Tom, Snare & Instrument Microphone
PL35
Live
The PL35 is a professional-grade supercardioid dynamic
microphone designed to deliver the power, punctuation and
natural tones of tom and snare drums in sound reinforcement
systems or recording studios of any size. Delivery includes
the unique DRC-1 drum rim clamp.
Condenser Overhead & Instrument Microphone
Pre-pack Drum Kits
PL37
PL Drum Kits
Specification
PL24 & PL24S
PL44
PL80a & PL80c
PL84 & PL84S
Element
Dynamic
Dynamic
Dynamic
Condenser
(self-biased)
PL33
PL35
PL37
Dynamic
Dynamic
Condenser
(self-biased)
Polar Pattern
Supercardioid
Supercardioid
Supercardioid
Cardioid
Supercardioid
Supercardioid
Cardioid
Frequency
Response
80 - 16,000 Hz
80 - 18,000 Hz
80 - 16,000 Hz
50 - 20,000 Hz
20 - 10,000 Hz
50 - 16,000 Hz
50 - 16,000 Hz
Impedance
600 Ω
600 Ω
600 Ω
200 Ω
150 Ω
600 Ω
200 Ω
Open Circuit
Voltage
2.2 mV/Pascal
2.2 mV/Pascal
2.2 mV/Pascal
3.5 mV/Pascal
0.63 mV/Pascal
2.2 mV/Pascal
6 mV/Pascal
Power
Requirements
Passive
Passive
Passive
11 to 52 VDC
Passive
Passive
11 to 52 VDC
Connector Type
Three-Pin XLR
Three-Pin XLR
Three-Pin XLR
Three-Pin XLR
Three-Pin XLR
Three-Pin XLR
Three-Pin XLR
Mic Type
Handheld
Handheld
Handheld
Handheld
Instrument
Instrument
Instrument
Case Material
Die-Cast Zinc
Die-Cast Zinc
Die-Cast Zinc
Die-Cast Zinc
Die-Cast Zinc
Die-Cast Zinc
Die-Cast Zinc
Finish
Textured
Satin Black
Textured
Satin Black
Textured
Satin Black
Textured
Satin Black
Textured
Satin Black
Textured
Satin Black
Textured
Satin Black
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N/DYM Series
Live
Wired
Live for Sound
Excellent, clear sound; comfortable, safe handling; powerful neodymium magnetic structures and EV’s unique VOB™
technology … all set the N/DYM Series microphones apart from other microphones on the market. Designed to deliver
exceptional power and clarity in live performance applications, N/DYM microphones outperform any other microphone in
their class.
N/D267a
Versatile Dynamic Vocal Microphone
The N/D267a incorporates EV’s unique VOB™ (VocallyOptimized 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 with increased finesse and vocal clarity;
ensuring a clean, clear, consistent sound that “punches
through the mix.”
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VOB™ technology
Cardioid polar pattern
Tight-mesh Memraflex™ grille
Dynamic, high-sensitivity neodymium element
Warm Grip™ handle for more comfortable feel and low handling noise
Available with on/off switch (N/D267as)
N/D367s
High-performance Dynamic Vocal Microphone
Classic N/DYM sound. The N/D367s has proven very
popular with female vocalists across a variety of musical
genres, thanks to its smooth, controlled frequency response
and exceptional N/DYM sensitivity. The N/D367 also
provides great sound for podium use.
N/D767a
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Top-class vocal microphone
Multi-stage shock mount
Dynamic, high-sensitivity neodymium element
Tight-mesh Memraflex™ grille
Condenser-like performance
VOB™ technology
Supercardioid polar pattern
Premium High SPL Dynamic Vocal Microphone
The N/D967 is the highest gain-before-feedback
performance vocal microphone on the market, making it
a perfect choice for louder stage environments. Comes
with a superior multistage shock mount for unmatched low
handling noise.
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Cardioid polar pattern
Dynamic, high-sensitivity neodymium element
Classic N/DYM sound
Tight-mesh Memraflex™ grille
Smooth, controlled frequency response
Superior multistage shock mount for unmatched low handling noise
On/off switch
Premium Dynamic Vocal Microphone
The N/D767a is the singer and engineer’s first choice for
outstanding vocal clarity in live performance applications.
With low handling noise, VOB™ technology, and excellent
clarity through all frequencies, the N/D767a is the top choice
dynamic mic in its class.
N/D967
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Highest gain-before-feedback microphone
Optimized response for live performance
Vocal personality switch shapes sound
Dynamic, high-sensitivity neodymium element
Tight-mesh Memraflex™ grille
Unique removable front grille assembly and pop filter for easy, hygienic cleaning
N/DYM Series
Live for Sound
N/DYM Series Instrument Group
Dynamic Supercardioid Instrument Microphone
Designed specifically for instruments
Supercardioid pattern
Dynamic, high-sensitivity neodymium element
Unique pivoting head ensures perfect placement for use on drums, horns, acoustic and
electric guitar
Accurate response, even in high sound pressure levels (SPL)
Rugged steel construction
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Outstanding choice for electric guitar/bass guitar amplifier, toms, snare, cymbals, hi-hat, brass and acoustic guitar
Dynamic, high-sensitivity neodymium element
Cardioid pattern for superior feedback rejection and acoustic isolation
VOB™ technology provides tailored bass response for controlled “proximity effect”
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Designed specifically for kick drum
A go-to mic for live or studio environments
Optimized sensitivity for the high sound pressure levels found in bass drum miking
Excellent on bass guitar, floor toms and electric guitar cabinets
Extended low-frequency response
Frequency response tailored for instant kick drum sound
N/D468
Designed specifically for horns, drums, acoustical and
electric guitars, the N/D468’s large-diameter voice coil
(up to 50% larger than other mics) provides a powerful,
articulate yet natural sound. Its unique pivoting-head design
ensures perfect mic placement, while the supercardioid
pattern provides superior off-axis rejection and acoustic
isolation in any application.
Live
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Wired
Pulling double-duty on stage or in the studio, N/DYM Series instrument mics deliver outstanding performance in virtually
any application. Highly acclaimed for their superior transient response and powerful tonal detail, these mics are the right
choice when settling for good enough isn’t an option.
Dynamic Cardioid Instrument & Amplifier Microphone
N/D478
More durable and natural sounding than the other “industry
standard” instrument mic, the N/D478 is ideal for miking
drums, percussion or guitar amplifiers. Its integrated VOB™
technology reduces resonant distortion at low frequencies.
The N/D478 also does a great job as a vocal microphone.
Dynamic Cardioid Kick Drum Microphone
N/D868
The N/D868 is truly a top performer in any application,
thanks to its ability to handle incredibly high sound pressure
levels without distortion. With a frequency response
specifically designed as the perfect kick drum sound, the N/
D868 has been applauded by drummers and engineers the
world over.
Specification
N/D267a
N/D367s
N/D767a
N/D967
N/D468
N/D478
N/D868
Element
Dynamic
Dynamic
Dynamic
Dynamic
Dynamic
Dynamic
Dynamic
Polar Pattern
Cardioid
Supercardioid
Supercardioid
Supercardioid
Supercardioid
Cardioid
Cardioid
Frequency
Response
45 - 15,000 Hz
25 - 20,000 Hz
35 - 22,000 Hz
50 - 13,000 Hz
20 - 22,000 Hz
45 - 15,000 Hz
20 - 10,000 Hz
Impedance
300 Ω
300 Ω
300 Ω
150 Ω
150 Ω
300 Ω
150 Ω
Open Circuit
Voltage
2.9 mV/Pascal
3 mV/Pascal
3.1 mV/Pascal
4 mV/Pascal
3.1 mV/Pascal
2.9 mV/Pascal
1 mV/Pascal
Power
Requirements
Passive
Passive
Passive
Passive
Passive
Passive
Passive
Connector Type
Three-Pin XLR
Three-Pin XLR
Three-Pin XLR
Three-Pin XLR
Three-Pin XLR
Three-Pin XLR
Three-Pin XLR
Mic Type
Handheld
Handheld
Handheld
Handheld
Instrument
Instrument
Instrument
Case Material
Metal
Metal
Metal
Metal
Metal
Metal
Metal
Finish
Non-Reflective
Black
Non-Reflective
Black
Non-Reflective
Black
Non-Reflective
Black
Non-Reflective
Black
Non-Reflective
Black
Non-Reflective
Black
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RE Live
Live
Wired
Live for Sound
With sonic quality and versatility proven at the highest levels, the performance group from EV’s RE Series have become
trusted industry standards for both stage and studio use. Although these premium grade handheld and stand mount
condensers turn a good-sounding stage into a GREAT one, they will also deliver the professional depth, personality and
sheen your recordings require.
RE200
True Condenser Cardioid Microphone
The RE200 is a cardioid condenser instrument microphone
designed for the exacting acoustic reproduction of choirs,
strings, percussion, acoustic guitar and brass instruments in
live performance and studio recordings.
RE410
Premium-grade handheld condenser
Cardioid pattern for excellent feedback rejection and acoustic isolation
Ideal for both vocals and spoken word use
High-compliance shock mount effectively eliminates handling noise
Tight-mesh Memraflex™ grille
Multistage pop filter
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Premium-grade handheld condenser
Supercardioid pattern for excellent feedback rejection and acoustic isolation
Wide dynamic range
High-compliance shock mount effectively eliminates handling noise
Tight-mesh Memraflex™ grille
Multistage pop filter
Premium Condenser Instrument Microphone
A cardioid condenser mic designed for use with musical
instruments via its specially designed instrument-mount
clip assembly. The RE920 is a premium-grade condenser
solution when clipped to drum rims, brass, woodwinds
and stringed instruments. Although terminated in a TA4F
connector for use with EV and Telex bodypack transmitters,
it can be made hard-wired with the additional TXA XLR
preamp.
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Premium Condenser Supercardioid Vocal Microphone w/HPF
The RE510’s 5/8” diameter, self-biased, condenser capsule
offers the warmth of a larger capsule design without
sacrificing off-axis performance or transient response. Its
supercardioid polar pattern enhances acoustic isolation and
off-axis rejection. Low-frequency roll-off switch tailors lowfrequency response to meet application requirements.
RE920
True condenser design
Continuous presence rise enhances sound quality
Transformerless output
Cardioid pattern
Small, unobtrusive profile
Premium Condenser Cardioid Vocal Microphone
Engineered for professional club and concert sound or
studio recording applications, the cardioid condenser RE410
provides crisp, clear top-end and sweet mid-range, pulling
the voice front-and-center in any mixing situation. The RE410
delivers the critical details other mics leave behind.
RE510
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Unidirectional horn/drum mic
Back electret condenser element
Cardioid polar pattern
TA4F connector for wireless bodypacks
A wired solution when coupled with a TXA
High SPL handling
Custom clip for securely mounting on a variety
of instruments
Cardinal / Raven
Live
Wired
Live for Sound
The Cardinal and Raven microphones combine gorgeous, streamlined modern design with the latest audio engineering technology
to offer sonic detail and clarity unparalleled in the industry. While both mics excel at capturing vocals and instruments in studio and
on stage, they have been designed to be two birds of a different feather. The Cardinal is a Class-A cardioid condenser with smooth
and detailed performance, while the Raven is a stylish dynamic that holds up even under the toughest conditions.
Condenser Vocal & Instrument Microphone
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Pressure gradient condenser
Very musical cardioid polar pattern
Class-A discrete ultra-low noise circuitry
Unique double swivel-mounted design for ideal positioning
Innovative visual design with cherry finish
Great for voice or instruments
Outstanding performance on tom-toms and overhead drums
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Dynamic microphone with studio detail
and clarity
Cardioid pattern with excellent off-axis rejection
Unique double swivel-mounted design for ideal positioning
Great for voice or instrument
Chosen as the preferred electric guitar cabinet mic by hundreds of live and studio engineers.
Stylish retro design
Cardinal
The Cardinal is a cardioid condenser microphone designed
to capture vocal and instrumental details in live sound or
studio applications. Employing Class-A discrete amplifier
circuitry, the Cardinal’s smooth and detailed performance
is sure to please even the most discerning artists and
engineers. Although initially designed for vocals, the Cardinal
has become a go-to favorite for miking tom-toms and
overhead drums because of its unique tonal and transient
response characteristics.
Dynamic Vocal & Instrument Microphone
Raven
The 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, and
has been chosen as the preferred electric guitar cabinet
microphone by hundreds of live and studio engineers. The
Raven incorporates collaborative designs from top industry
microphone engineers to provide unparalleled performance
in a stunning package.
Specification
RE200
RE410
RE510
RE920
Cardinal
Raven
Element
True Condenser
Condenser
(self-biased)
Condenser
(self-biased)
Condenser
(back electret)
Condenser
(self-biased)
Dynamic
Polar Pattern
Cardioid
Cardioid
Supercardioid
Cardioid
Cardioid
Cardioid
Frequency
Response
50 - 18,000 Hz
50 - 20,000 Hz
50 - 20,000 Hz
80 - 18,000 Hz
35 - 20,000 Hz
45 - 16,000 Hz
Impedance
200 Ω
250 Ω
150 Ω
1000 Ω
50 Ω
335 Ω
Open Circuit
Voltage
10 mV/Pascal
3.2 mV/Pascal
2.5 mV/Pascal
1.3 mV/Pascal
10.6 mV/Pascal
2.51 mV/Pascal
Power
Requirements
12 - 52 VDC Phantom
24 - 48 VDC Phantom
12 - 52 VDC Phantom
5 VDC
(via optional bodypack)
24 - 48 VDC Phantom
Passive
Connector
Type
Three-Pin XLR
Three-Pin XLR
Three-Pin XLR
TA4F
Three-Pin XLR
Three-Pin XLR
Mic Type
Instrument
Handheld
Handheld
Instrument
Vocal / Instrument
Vocal / Instrument
Case Material
Metal
Metal
Metal
Metal
Metal/wood
Metal
Finish
Semi-Gloss
Camera Black
Non-Reflective Black
Non-Reflective Black
Non-Reflective Black
Cherry Wood
Non-Reflective Black
11
RE Broadcast
Wired
Live for Sound
Broadcast
Benchmarked by the legendary RE20 and RE27N/D Variable-D® vocal microphones, Electro-Voice broadcast studio and
field production microphones confidently uphold their reputations as Industry Standards. These number-one choices for
radio and television voice-over and interview work define the sound and reliability broadcast professionals around the world
have come to demand.
RE20
Broadcast Announcers Microphone w/ Variable-D
The RE20 Variable-D® dynamic cardioid microphone is truly
an industry standard, a firm favorite among broadcasters
and sound engineers worldwide. Its popularity also extends
into music production as a premium grade instrument
microphone. Its Variable-D® design and heavy-duty internal
P-pop filter reduce proximity effect, while an internal element
shock-mount reduces vibration-induced noise.
RE27N/D
•
•
•
•
•
•
•
Variable-D® for minimal proximity effect
True cardioid with no coloration at 180-degrees off-axis
Voice tailored frequency response
Studio condenser-like performance
Large diaphragm
Humbucking coil
Bass roll-off switch
Broadcast Announcers Microphone w/ Variable-D & N/DYM Cap
The RE27N/D is a high-performance, neodymium-equipped
industry-standard broadcast microphone. Superb resolution
and depth for vocals and instruments have also made the
versatile RE27N/D a favorite of recording studios and live
sound engineers around the world.
•
•
•
•
•
•
Variable-D® for minimal proximity effect
Neodymium element design brings 6 dB
more sensitivity
Ultra-flat frequency response
Studio condenser-like performance
Three selectable filters: -6 dB from 250-100 Hz, -12 dB from 1000-100 Hz and -3 dB high
frequency roll-off
Integral wind and blast filters
Specification
RE20
RE27N/D
RE16
RE50-B
RE50 N/D-B
635A
635N/D-B
Element
Dynamic
Dynamic
Dynamic
Dynamic
Dynamic
Dynamic
Dynamic
Polar Pattern
Cardioid
Cardioid
Supercardioid
Omni
Omni
Omni
Omni
Frequency
Response
45 - 18,000 Hz
45 - 20,000 Hz
80 - 15,000 Hz
80 - 13,000 Hz
80 - 13,000 Hz
80 - 13,000 Hz
80 - 13,000 Hz
Impedance
150 Ω
150 Ω
150 Ω
150 Ω
150 Ω
150 Ω
150 Ω
Open Circuit
Voltage
1.5 mV/Pascal
3.1 mV/Pascal
1.4 mV/Pascal
2.0 mv/Pascal
2.0 mV/Pascal
1.4 mV/Pascal
2.8 mV/Pascal
Power
Requirements
Passive
Passive
Passive
Passive
Passive
Passive
Passive
Connector Type
Three-Pin XLR
Three-Pin XLR
Three-Pin XLR
Three-Pin XLR
Three-Pin XLR
Three-Pin XLR
Three-Pin XLR
Mic Type
Vocal / Instrument
Vocal / Instrument
Handheld
Handheld
Handheld
Handheld
Handheld
Case Material
Steel
Steel
Steel
Aluminum
Aluminum
Steel
Steel
Fawn Beige
Semi-Gloss
Camera black
Semi-Gloss
Camera Black
Fawn Beige
Non-Reflective
Black
Finish
12
Fawn Beige
Satin Nickel
Field Production
Live for Sound
Field Production Group
Variable-D® dynamic microphone,
Supercardioid polar pattern
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
A Variable-D® dynamic supercardioid microphone designed
for the most exacting professional use, employing an integral
blast filter to permit handheld and outdoor use without
“P-popping” or excessive wind noise. EV’s Variable-D®
design allows its directional characteristic to be independent
of frequency.
•
•
•
•
•
Omnidirectional polar pattern
Dynamic element
Extremely low handling noise via Dyna-Damp™ “mic in-a-mic” shock mount system
Impervious to wind noise and p-pops via its four-
stage pop filter
Withstands high humidity, temperature extremes, and corrosive salt air
The RE50B is the industry standard in broadcast television
production handheld interview mics, seen and heard 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.
•
•
•
•
•
Omnidirectional / Dynamic
Higher output model with neodymium
magnet structure
Extremely low handling noise
Impervious to wind noise and p-pops via its four-
stage pop filter
Withstands high humidity, temperature extremes, and corrosive salt air
•
•
•
•
•
•
•
Omnidirectional polar pattern
Dynamic element
Incredibly robust and durable
Linear frequency response
Completely pop-free
Four-stage pop and dust filter
Internal effective shock absorber
•
•
•
•
•
Omnidirectional / Dynamic
Neodymium element design delivers
higher output
Acoustalloy® diaphragm material for very smooth response over a wide frequency range
Integral windscreen and blast filter
Black semi-gloss finish
Handheld Interview Microphone
Handheld Interview Microphone w/ N/DYM Capsule
RE16
RE50B
RE50N/D-B
The RE50N/D-B delivers all of the outstanding performance
of the industry standard RE50B with the added benefit of
its high-output neodymium capsule magnet. An industry
standard in broadcast television production where the
additional gain of the neodymium capsule is well-suited for
particular camera or recording device inputs.
Classic Handheld Interview Microphone
635A
The classic 635A live interview wired microphone is the most
popular (ENG) electronic news gathering mic in the world.
It delivers great sound and is known as “The Buchanan
Hammer” for its rugged durability – a nod to EV’s ancestral
home in Michigan. Also available in black (model: 635A/B).
Classic Handheld Interview Microphone w N/DYM Capsule
635N/D-B
The 635N/D-B has the same “hammer-like” toughness and
classic performance and reputation as the 635A(B) with
the added benefit of increased output from its neodymium
magnet structure.
13
Broadcast
Dynamic Supercardioid Handheld w/ Variable-D
•
•
•
•
•
•
Wired
EV´s legendary RE50B and model 635 microphones are classics in broadcast television and radio. These microphones set
world standards, especially for ENG (Electronic News Production) and EFP (Electronic Field Production). They are extremely
rugged and can withstand high humidity, temperature extremes and corrosive effects such as salt-air, yet still provide the
excellent sound performance broadcast professionals demand.
Polar Choice
Wired
Live for Sound
EV’s PolarChoice installation microphones feature user-selectable polar patterns in a variety of boundary, podium and
desktop models. Users can select between omnidirectional, cardioid, supercardioid and hypercardioid (figure “8” on the
PC Boundary), all in one mic! No matter the pattern selected, PC mics have a consistent voicing optimized for speech,
equating to excellent clarity and speech intelligibility with outstanding feedback rejection.
PC Boundary
Multi-pattern Boundary Layer Microphone
Install
The PC Boundary is a very low-profile area microphone
that can be used on any surface and with virtually any mic
mixer. With one omni-directional and three directional polar
patterns on board, it is ideal for virtually any installation
where premium-grade area coverage is required.
PC Desktop
Available in 5”, 12” and 18” gooseneck length versions.
Available in 5”, 12” and 18” gooseneck length versions.
Switchable omni, cardioid, supercardioid or hypercardioid polar patterns
Mute switch with LED can be programmed as either push on/off or push-to-mute
Smooth and uniform frequency response, no matter what pattern is selected
Extended low-frequency response and switchable high-pass filter
Sturdy steel base
•
•
•
•
•
Switchable omni, cardioid, supercardioid or hypercardioid polar patterns
Mute switch with LED can be programmed as either push on/off, or push-to-mute
Smooth and uniform frequency response, no matter what pattern is selected
Extended low frequency response and switchable high-pass filter
Sturdy steel base
Multi-pattern Gooseneck Microphone w/ XLR
PC/XLR models are dual gooseneck section podium
microphones designed to be installed where mating to a
three-pin XLR-F adaptation exists. Delivering four switchable
PC polar patterns, it can be mounted into flush-mount,
recessed, or standard three-pin XLR-F connectors on a
podium or tabletop.
Available in 12” and 18” gooseneck length versions.
14
•
•
•
•
•
Multi-pattern Podium Microphone
The PC Plus is the first dual gooseneck section podium
microphone with the flexibility to be installed into any
environment. Delivering four switchable PC polar patterns, it
can be mounted via a standard three-pin XLR connector or
permanently flush-mounted to a podium or tabletop.
PC/XLR
Selectable polar pattern to easily adapt to different acoustic environments.
Switchable omni, cardioid, supercardioid or figure
“8” polar patterns
Easy-to-use mute switch. Can be programmed to operate as either latching on/off or momentary
Consistent microphone voicing across all four patterns
Multi-pattern Desktop Microphone
The PC Desktop is a free-standing, dual gooseneck section
tabletop microphone firmly anchored by its elegant base.
Selecting one of four polar patterns - omni, cardioid, supercardioid or hyper-cardioid - via an easy-to-access switch
simplifies choosing the right microphone for changing
conditions.
PC Plus
•
•
•
•
•
•
•
•
•
Switchable omni, cardioid, supercardioid or hypercardioid polar patterns
Smooth and uniform frequency response, no matter what pattern is selected
The most natural-sounding podium mic on the market
Sturdy steel base
Mates well with the CPSM recessed shock mount accessory
Polar Choice
Live for Sound
PC/FL
Multi-pattern Gooseneck Microphone w/ Flange Mount
Switchable omni, cardioid, supercardioid or hypercardioid polar patterns
Smooth and uniform frequency response, no matter what pattern is selected
The most natural-sounding podium mic on the market
Installs via an included flange mount kit with knurled brass threaded housing
Wired
•
•
•
•
PC/FL models are the flange-mount equivalent of the PC /
XLR models described above. The four switchable PC polar
patterns are accessed at the cable mounted XLR-M sized
preamp module at the end of its 20’ low-noise cable.
Available in 12” and 18” gooseneck length versions.
PolarChoice Wireless Conversions
When the contracted job includes a $50,000 conference table with an installation rider stipulating “not to be marred or
modified,” or the sheer ease of secure storage and deployment lends itself to logical portability – a wireless solution is the ONLY
option. The PolarChoice Satellite models deliver all of the features of their wired versions combined with the portability and easeof-use of wireless adaptation. Coupled with an Electro-Voice or Telex brand wireless bodypack system, these Satellite models
become a key component of a logical wireless solution.
Accepts Electro-Voice REV, RE2, RE2PRO and Telex FMR or SAFE1000 model bodypack transmitters
Selectable polar pattern to easily adapt to different acoustic environments.
Switchable omni, cardioid, supercardioid or figure “8” polar patterns
Easy-to-use mute switch. Can be programmed to operate as either latching on/off or momentary
•
•
•
•
Accepts Electro-Voice REV, RE2, RE2PRO and Telex FMR or SAFE1000 model bodypack transmitters
Switchable omni, cardioid, supercardioid or hypercardioid polar patterns
Mute switch with LED can be programmed as either push on/off, or push-to-mute
An extended low frequency response and switchable high-pass filter
PC Boundary Satellite
The PC Boundary Satellite is a low-profile area microphone
that can be used on any surface with the additional
convenience of adapting to any Electro-Voice or Telex brand
wireless bodypack transmitter. Delivering the identical polar
pattern, filter and mute switch functionality as its wired
counterpart, it is ideal for virtually any installation where
a wireless solution to premium grade area coverage is
required.
Multi-pattern Desktop Microphone PC Desktop Satellite
The PC Desktop Satellite is a dual gooseneck section tabletop
microphone and base, with the additional convenience
of adapting to any Electro-Voice or Telex brand wireless
bodypack transmitter. Delivering the identical polar pattern,
filter and mute switch functionality as its wired counterpart, it
is ideal for virtually any installation where a wireless solution to
premium grade tabletop goosenecks is required.
Available in 5”, 12” and 18” gooseneck length versions.
Specification
PC Boundary
PC Desktop
PC Plus
PC/XLR
PC/FL
PC Boundary SAT
PC Desktop SAT
Dual Condenser
(back electret)
Omni
Cardioid
S-cardioid
Figure 8
Dual Condenser
(back electret)
Omni
Cardioid
S-cardioid
H-cardioid
Dual Condenser
(back electret)
Omni
Cardioid
S-cardioid
H-cardioid
Dual Condenser
(back electret)
Omni
Cardioid
S-cardioid
H-cardioid
Dual Condenser
(back electret)
Omni
Cardioid
S-cardioid
H-cardioid
Dual Condenser
(back electret)
Omni
Cardioid
S-cardioid
Figure 8
Dual Condenser
(back electret)
Omni
Cardioid
S-cardioid
H-cardioid
Frequency
Response
50 to 20,000 Hz
50 to 20,000 Hz
50 to 20,000 Hz
50 to 20,000 Hz
50 to 20,000 Hz
50 to 20,000 Hz
50 to 20,000 Hz
Impedance
200 Ω
200 Ω
200 Ω
200 Ω
200 Ω
1000 Ω
200 Ω
Open Circuit
Voltage
31.5 mV/Pascal
5.6 mV/Pascal
5.6 mV/Pascal
5.6 mV/Pascal
5.6 mV/Pascal
17.8 mV/Pascal
5.6 mV/Pascal
Power
Requirements
12 - 52 VDC
12 - 52 VDC
12 - 52 VDC
12 - 52 VDC
12 - 52 VDC
5 VDC (via
optional bodypack)
5 VDC (via
optional bodypack)
Connector Type
Three-pin XLR
Three-pin XLR
Three-pin XLR
Three-Pin XLR
Three-Pin XLR
TA4F
TA4F
Mic Type
Boundary
Gooseneck
Gooseneck
Gooseneck
Gooseneck
Boundary
Gooseneck
Case Material
Steel
Steel
Steel
Steel
Steel
Steel
Steel
Finish
Non-Reflective
Camera Black
Non-Reflective
Camera Black
Non-Reflective
Camera Black
Non-Reflective
Camera Black
Non-Reflective
Camera Black
Non-Reflective
Camera Black
Non-Reflective
Camera Black
Element
Polar Pattern
15
Install
Multi-pattern Boundary Layer Microphone
•
•
•
•
RE Installation
Wired
Live for Sound
The RE Installed Sound Series microphones give the installed sound professional sonically superior solutions at a very
affordable price. Featuring EV’s premium performance condenser capsules, these microphones deliver all of the great
sound and reliability professional sound contractors demand.
RE90B
Half-cardioid Pattern Boundary Layer Microphone
Boundary microphone with “half-cardioid” pick-up pattern
and built-in equalization. Ideal for video and teleconferencing
systems, boardrooms, classrooms or houses-of-worship.
Delivers every word fully and naturally.
Install
Also available in white (RE90BW).
RE90P
•
•
•
•
•
Half-cardioid polar pattern
Boundary layer
Ultra-thin profile (16 mm) housing
Rubber non-slip bottom pad and strong
steel screen
Integrated pop filter
Cardioid Pattern Gooseneck Microphone
The RE90P dual gooseneck section podium microphone
achieves sonically superior performance at a very affordable
price. Featuring EV’s premium performance RE90 capsules
and in-line preamps, these goosenecks deliver all the great
sound and reliability professional sound contractors demand.
•
•
•
Dual gooseneck section podium microphone
Uniform frequency response and polar pattern
Strutted, yet flexible, ultra-thin gooseneck
Available in 12” and 18” versions.
RE90H
Cardioid Pattern Hanging Microphone
Compact hanging-style condenser microphone. Ideal
for choral, instrumental, vocal groups and live theater.
Controlled cardioid polar response for distant sound pickup without feedback. 25’ braided and shielded cable with
built-in preamp.
•
•
•
•
Hanging installation microphone
Internal preamp
Very uniform polar pattern
Integrated 25’ shielded low-noise cable
Also available in white (RE90HW).
RE90L
Cardioid Pattern Lavalier Microphone
Omnidirectional lavalier microphone with mic pre-amp
and XLR termination. One of the world’s most compact
and lightweight high-performance microphones. Smooth
frequency response for excellent sound quality. Perfect
for television production, house of worship and business
applications.
16
•
•
•
•
•
Ultra-miniature condenser element
Internal preamp and XLR termination
Omnidirectional polar pattern
Perfect for television, business and house of worship applications
Complete assortment of clips
RE Installation
Live for Sound
Meeting the sonic performance needs of today’s installed sound professional requires precision tools. Electro-Voice engineers
have risen to the challenge, developing the RE92 premium-grade condenser capsule to deliver the highest grade of acoustical
performance. Choosing an RE92 Installation Series product insures superior sonic integrity and maximum durability.
Cardioid Pattern Hanging Microphone w/ HPF
Hanging installation microphone
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
•
•
•
•
Wide, smooth frequency response
Tight cardioid polar pattern
Super-low noise condenser capsule
4’ cable terminates at in-line preamp with 12 dB/
octave switchable HPF and XLR output
RE92H
Designed specifically for applications where the condenser
microphone needs to be suspended from above the sound
source. The RE92H is ideal for theater, house of worship or
any application where a small, high-quality mic needs to be
“heard but not seen.”
Also available in white (RE92HW).
Cardioid Pattern Lavalier Microphone
RE92L
The RE92L is a professional-quality miniature cardioid
electret condenser lavalier microphone. Its excellent sound
quality and small size make it the perfect choice for miking
speech in house of worship, broadcast, presentation and
theater applications. Terminated with three-pin XLR.
Specification
RE90B
RE90P
RE90H
RE90L
RE92H
RE92L
Element
Condenser
(back electret)
Condenser
(back electret)
Condenser
(back electret)
Condenser
(back electret)
Condenser
(back electret)
Condenser
(back electret)
Polar Pattern
Cardioid
Cardioid
Cardioid
Omni
Cardioid
Cardioid
Frequency
Response
80 to 15,000 Hz
70 to 15,000 Hz
75 to 15,000 Hz
50 to 18,000 Hz
40 to 20,000 Hz
40 to 20,000 Hz
Impedance
200 Ω
200 Ω
200 Ω
100 Ω
250 Ω
250 Ω
Open Circuit
Voltage
25 mV/Pascal
4.5 mV/Pascal
27 mV/Pascal
12.6 mV/Pascal
5.6 mV/Pascal
5.6 mV/Pascal
Power
Requirements
9 - 52 VDC
9 - 52 VDC
9 - 52 VDC
9 - 52 VDC
24 - 52 VDC
24 - 52 VDC
Connector Type
Three-pin XLR
Three-pin XLR
Three-pin XLR
Three-pin XLR
Three-pin XLR
Three-pin XLR
Mic Type
Boundary
Gooseneck
Hanging
Lavalier
Hanging
Lavalier
Case Material
Die cast zinc
Steel
Steel
Metal
Metal
Metal
Finish
Non-Reflective Black
or White
Non-Reflective Black
Non-Reflective Black
or White
Non-Reflective Black
Non-Reflective Black
or White
Non-Reflective Black
17
Install
•
•
•
•
•
•
Wired
RE92 Series
General Purpose
649B
Live for Sound
Dynamic Lavalier Microphone
Wired
This popular omnidirectional dynamic lavalier microphone
has been an industry standard for many years. Its frequency
response is tailored for balanced performance in the lavalier
chest position. The turned aluminum case and nested
mechanical parts assure rugged durability.
785 Group
Dynamic element.
Omnidirectional polar pattern
Rugged aluminum body
Robust mechanical and electrical design
•
•
•
•
All units include a heavy duty, three-hole mounting flange and an extra-strength 16” flex arm of steel tubing.
SR785LN/O includes a push button switch with normally “open” switching
SR785L is the same as SR785LN/O except without normally “open” switching
785L is the same as SR785LN/O except without a switch
•
•
•
•
•
12” gooseneck
Dynamic element
Cardioid polar pattern
Powerful neodymium magnet structure
XLR termination
Gooseneck Paging Microphone
A low-impedance gooseneck microphone for single zone
paging. Designed for applications where ruggedness,
dependability and durability are the main requirements.
Microphone housing is constructed of die-cast zinc alloy to
stand up to the toughest abuse and conditions. Features
a recessed aluminum grille with a windscreen and durable
satin-chrome finish.
US690
•
•
•
•
Gooseneck Microphone
US690 12” flexible gooseneck microphone’s neodymium
magnet structure provides up to 6 dB more sensitivity than
conventional designs. The US690 terminates with an XLRtype connector and plug-in mount. Its rugged design and
mic element make the US690 ideal for the most demanding
applications where superb sound is required.
US600EL & US602FL
PTT Hand Microphone
US602FL – A hand microphone featuring clear speech
transmission in high ambient noise level environments,
convenient grip-to-talk activation and noise-canceling
dynamic design. Perfect for police, marine and mobile
paging applications.
General
US600EL is built to withstand rough usage and
atmospheric extremes. A hand microphone designed for
maximum noise rejection in high ambient areas and effective
use without “close talking” techniques. An excellent choice
for critical communication applications.
NC450D & 450D
PTT Hand Microphone
NC450D dynamic noise-canceling paging hand
microphone with push-to-talk switch is particularly effective
for use in noisy locations. Its excellent voice response
characteristics also make it an excellent choice in quiet
areas. 200 ohm impedance matches low impedance inputs.
WP300
Wall Plate Microphone
WP300S is dynamic, omnidirectional wall plate
microphone that is ideal for security monitoring, fast-food
and retail outlets, warehouses and public usage applications.
Mounts onto a standard single-gang electrical box. Brushed
satin-chrome finish front plate includes double-pole, doublethrow switch for push-to-talk and line-shorting capabilities.
18
450D – Same as NC450D except without noisecancellation. Molded Cycolac® housing in pebble-grain
black finish and unterminated black neoprene coil cord
relieved at the housing by spring-type strain relief.
WP300 is the same as WP300S except without the
double-pole, double-throw switch.
Wired Accessories
Live for Sound
Wired Microphone Accessories
Wired
Direct replacement of standard equipment or optional accessories for Electro-Voice wired microphones.
Shock mount adapters
TXA
422A
DRC-1
The TXA is designed to enable
the use of lavalier, head-worn
and other TA4F-terminated
Electro-Voice professional microphones in a wired configuration.
Using standard phantom power
through the TXA ensures the
same high-quality audio performance that you expect using
Electro-Voice microphones over
wireless systems.
Desk stand with rubber
shock mount. Accepts
all EV mic stand clamps.
Designed for PL35
(stock replacement).
Also works well with
N/D468.
309A
CPSM
SAPL-3
RE20
RE90P
PL37
(stock replacement)
RE27N/D
PC-12/XLR
RE200 (optional)
(Replacement elastic bands,
PC-18/XLR
PART # 71220X)
Stand adapters
311
320
323S
326
SAPL-1
SAPL-2
635A & 635AB
RE20
RE50-B
All N/Dym
Handhelds
All PL Series
Handhelds
PL33
RE16
RE27N/D
RE50N/D-B
RE20
RE200
N/D868
BK-1
RE27N/D
N/D468
N/D868
(black foam unless otherwise indicated) Windscreens
314E
376 (grey)
379-1 (black)
379-2 (red)
WSPL-1
WSPL-2
WSPL-3
PL35
635A
General Purpose
PL Series (vocal)
PL33
635AB
Fits most vocal
RE410
RE20
N/Dym Series
RE510
RE27N/D
Cobalt Series
RE50B
N/D868
RE Series vocal
RE50N/D-B
WSPL-4
PL37
RE200
19
Wired Guidelines
Live for Sound
Wired
Eight Decades of Engineering Excellence.
In 1934, just six years into its existence as a pioneer
in electro-acoustical solutions, Electro-Voice invented
the hum-bucking coil for microphones – still an industry
standard almost 80 years later. This invention marked
the start of EV’s success in building microphones, and
the company continued to drive audio technology ahead,
rising to the challenges of rapidly changing times. During
World War Two, EV worked with the U.S. Military on the
development of the T-45 noise-cancelling microphone,
a helmet-attached device that raised the success rate
of combat communications from 20% to 90%, saving
many lives in the process. With reliability and performance
proven in the most critical environments, EV microphones
later accompanied U.S. astronauts on the earliest space
missions and many thereafter. And all this, of course,
occurred while EV mics were performing at the highest level
on live stages around the world, during the heyday of Jazz
and the birth of Rock ‘N’ Roll.
EV continues to set new standards for microphone design
today, adding to this long list of historic achievements
in audio design. We were the first manufacturer to use
neodymium-based magnet structures (N/DYM®) in
microphones, thus achieving higher output and condenserlike qualities such as substantially-faster transient response,
crystal clarity and reliable performance. Our 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 extending
our tradition of legendary reliability and warranty support.
A host of patented technologies attest to EV’s success in
meeting these goals, including the following:
Variable-D
A fundamental principal of acoustical behavior is that the volume and
perceived frequency content of a sound is influenced by the distance
between source and point of perception. As this distance varies, there
is a non-linear adjustment of this perceived balance. Very near, a sound
source will sound full with rich low-frequencies, defined mid-range, and
articulate high end. But as this distance increases, the perceived sound
will thin-out with a dramatically reduced low-frequency content. Because
microphones serve as the point of perception at the front-end of the
audio signal chain, this phenomenon greatly influences how microphones
are used and perform.
Normal directional microphones (cardioid, supercardioid and
hypercardioid) generate increased bottom-end when used close-up.
This is typically called the “proximity effect.” While some vocalists like
this effect and use it to enhance their performance, it is attainable only
in close-up situations where the microphone capsule is within a couple
of inches of the performer’s mouth. When the distance between the
microphone and the source is extended, the sound quality changes
dramatically, losing a substantial amount of the low-frequency content –
thus changing the tone of the performance drastically.
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. This characteristic is particularly beneficial when
the performer (announcer, vocalist or instrumentalist) moves around
while addressing the microphone. And this same attribute is why
radio announcers and DJ’s have chosen Electro-Voice Variable-D®
microphones for decades.
Low-frequency content comes in a variety of characters. An added
benefit of the Variable-D® technology’s low-frequency stabilization is
the resulting personality of the low-frequency content. Variable-D®
microphones produce a tight low-end that is unmatched by any other
microphone technology, and this is why models such as the RE20 and
RE27N/D are revered not only as the #1 announcers mic, but also the
go-to mic for capturing kick drums, low-frequency instruments and guitar
amplifiers.
For decades, the RE16, RE20 and RE27N/D Variable-D® microphones
have been the chosen industry standard for broadcast show hosts, vocal
booths, voice-over studios and professional touring or rental companies,
trusted for their unparalleled acoustical performance and robust durability.
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
VOB
Electro-Voice’s unique VOB™ technology (Vocally-Optimized Bass™)
reduces low-frequency distortion in the microphone’s output. VOB™
counteracts proximity effect, sibilance and P-popping, thus assuring
maximum musical clarity and vocal intelligibility. Critical damping of the
low-frequency resonant peak results in a microphone that replaces
20
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”.
Wired Guidelines
Live for Sound
Microphone techniques for musical instruments
Miking techniques are a matter of personal preference. Choosing the right microphone for your application is a good place to
start, and the suggested mic notes in each application below indicate EV mics that are either designed for the application or
have been recommended by experienced professionals for their performance as described. These are merely guidelines to assist
in the choice and placement of the microphone to achieve optimal performance
Usage
Best Mic placement
Suggested EV Mic
Kick Drum
Due to the unique nature of kick drums and placement, choosing a mic that is designed for
kick drum and low-frequency instruments is recommended. Miking from the front of the drum
(opposite the batter head) is preferred.
PL33, N/D868, RE20 and
RE27N/D
Front heads with hole: Place the mic inside the hole so that the capsule (mesh grille area) is
just inside the interior of the drum. Aim the capsule at an angle toward the spot on the batter
head where the beater makes contact for desired snap (attack of the sound).
Front heads without a hole: Aiming the capsule directly on-axis to the front head and within
1” of the head, choosing a spot that is between 2” and 8” towards the center from the rim.
The center of the head has the floppiest tone, and the edge will have the tightest.
Kick drum with no front head: This allows the widest variety of placement options, but
increases off-axis bleed and eliminates the tonal advantage of the front (resonance) head.
Avoid placing the mic dead-center aiming directly into the beater because of possible wind
velocity distortion. Choose a spot inside the drum between 2” and 8” from the outer shell,
aiming the capsule at an angle toward where the beater strikes the batter head. Placing the
mic deeper or shallower inside the drum will offer tone and attack variations.
Snare Drum
Place mic 1-3” above the batter head, 0-2” in from the rim depending on the desired tone.
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 at the bottom head) and reverse the phase on its input channel.
PL35, N/D468 and N/D478
Electric Guitar
Place microphone approximately 1-2” from and at a 0° angle to the speaker cone. To reduce
boominess, position the microphone off-axis to the cone at 45°, or move the mic toward the
center of the cone. You can expect a brighter tone at the voice coil (speaker center) and a
darker tone the farther out from center you go.
PL33, PL35, N/D467, N/
D478, N/D868, RE20,
RE27N/D and Raven
Tom-Toms
On double-headed toms, place mic 1-3” over the top of the drum head at a 45° 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° angle from the center of head, 3-5” away.
PL35, N/D468; for floor tom
– RE20, N/D868
Cymbals
Place microphone 1-2’ above the top of the cymbals. If using a stereo pair technique,
increase the overhead distance of the drum set to 2-3’, and use the three-to-one rule as a
separation concept.
PL37, RE200 and Cardinal
High-Hat
Place 5” above outside edge at a 45° down-angle toward the top cymbal.
PL37 and RE200
Brass
Place microphone 6-24” away, on axis with the bell of the instrument.
PL80a, N/D468, RE20,
RE27N/D and Raven
Acoustic Guitar
Place microphone 6-12” from where fingerboard joins the body and aim toward sound hole.
PL37, N/D468, N/D478,
RE200, RE20 and Cardinal
21
Wired
General microphone use guidelines
1. Always point the microphone at the desired source and away from sources of unwanted sound.
2. The microphone should be located close to the sound source to minimize interference from other potential sound sources.
3. Use the three-to-one 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‘ away from a sound source, it should be 3’ 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.
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mics • dsp • amps • speakers
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24
Wireless Microphones
Key Strengths
• Designed and supported in the USA
• Electro-Voice microphones, DSP, amplifiers and
loudspeakers & Telex intercom systems are part of
the Bosch Communications family of pro audio brands
• 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 range of models and accessories to fit applications and installations of all shapes and sizes
• Designed and built for maximum professional performance
• Superior design, construction and warranty
Why Choose EV Wireless?
Wireless
All EV wireless systems are designed to exacting standards in
our Lincoln, Nebraska facility and built in state-of-the-art Bosch
production facilities around the world. Advanced techniques are
employed in the design of each wireless product, from initial
computer simulation and circuit design all the way through
the manufacturing line and automated testing. The individual
components in every EV system are tested prior to a complete
system test, ensuring reliable field performance. EV wireless
microphone products are supported from the factory in Lincoln,
Nebraska as well as authorized centers in Canada, Germany and
Singapore. EV has been in the business of providing quality wireless
communications for demanding professional events for over thirty
years – we have the hands-on experience and engineering knowhow to address all your wireless needs. Whether designing a onechannel system or a large, multiple-wireless deployment, you can
trust EV to provide the product, frequency coordination and system
accessories for a turnkey installation.
25
RE-2 Series
Live for Sound
Whether you‘re performing at 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.
RE-2 Bodypack
BPU-2 Bodypack Transmitter
The BPU-2 is a compact bodypack transmitter for the RE-2
wireless system made of high-impact ABS plastic. The
single on/off switch also functions as mute, and the TA4
microphone connector is compatible with any EV lavalier or
headworn mic.
RE-2 Handheld
•
•
•
•
•
•
•
Available with four different microphone elements
N/DYM 267a Dynamic element
N/DYM® 767a Dynamic premium vocal microphone
RE410 cardioid condenser
RE510 supercardioid condenser
On/Off acts as mute and can be disabled.
Internal 1/2-wave antenna
•
•
•
•
•
•
•
One touch Auto-ClearScan™
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
UHF Wireless Microphone
The RE-2 is a completely programmable, frequency-agile
system with one-touch Auto-ClearScan. It operates over
28MHz (six TV channels), XLR mic, line level output, and
many other features.
Wireless
Unique “smart” battery with low battery LED
LCD Displays Group and Channel, Frequency, or Battery Level
One On/Off button that also acts as a mute
On/Off button can be disabled
Cell phone style beltclip
Optional pouches and fixed clip available
A wide selection of lapel and headworn microphone accessories available
HTU2 Handheld Transmitter
The HTU2 handheld transmitter is a rugged, high-impact,
ABS plastic handheld available with EV N/D267a, N/D767a,
RE410, or RE510 microphone elements. One-button on/
off/mute, coupled with the smart battery feature, makes the
HTU2 easy to use, and easy to maintain.
RE-2 Receiver
•
•
•
•
•
•
•
CONSUMER ALERT
Most users do not need a license to operate this wireless microphone system. Nevertheless, operating this microphone system without a license is
subject to certain restrictions: the system may not cause harmful interference; it must operate at a low power level (not in excess of 50 milliwatts); and it
has no protection from interference received from any other device. Purchasers should also be aware that the FCC is currently evaluating use of wireless
microphone systems, and these rules are subject to change. For more information, call the FCC at 1-888-CALL-FCC (TTY: 1-888-TELL-FCC) or visit
the FCC’s wireless microphone website at www.fcc.gov/cgb/wirelessmicrophones
26
RE-2 Series
Live for Sound
Specification
RE-2 Receiver
Audio Parameters
Frequency Response
50-15 kHz +/- 2 dB
Balanced Output
(max @ 40 kHz deviation)
Receiver Type
Synthesized PLL
Frequency Response (RF)
A Band 648-676MHz (TV Channels 43-48)
G Band 614-642 MHz (TV Channels 38-42)
Number of Channels
1112 possible channels, Programmable in 25 kHz steps
Modulation
+/- 40 kHz
Diversity
Digital Posi-Phase True Diversity
RF Sensitivity
< 1.0 uV for 12 dB SINAD
Mic position
Line position
-10 dBV
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
Image Rejection
> 60 dB
Dynamic Range
> 100 dB
Squelch
Tone Code plus Amplitude
Ultimate Quieting
> 100 dB
FCC Certification
Approved under Part 15
Power Requirements
12 V AC/DC 300 mA
Antennas
Detachable 1/4 wave
Dimensions
HxWxD
1.72” x 7.5” x 5.9”
43.69 cm x 190.5 mm x 150 mm
Microphone Head Options
767a
N/D767a Supercardioid
N/DYM Dynamic
267a
N/D267a Versatile
Cardioid Dynamic
RE410
RE410
Classic Cardioid Condenser
RE510
RE510
Classic Supercardioid Condenser
Transmitters, Bodypack (BPU-2) and Handheld (HTU-2)
Radiated Ouput
30 mW typical
TA4 Connector Wiring
Pin 1: Ground; Pin 2 Mic Input;
Pin 3: +5 V bias; Pin 4: +5 V bias through a 3 kW resistor
Audio Gain Adjustment
40 dB (handheld 26 dB)
Power Requirements
9 Volt Alkaline Battery
Battery Life (typical)
> 8 hours with 9 Volt Alkaline Typical
Bodypack Antenna
Flexible external 1/4 wave
Handheld Antenna
Internal 1/2 wave
Dimensions (Handheld)
9.4” (240 cm) Long
Dimensions (Bodypack)
HxWxD
3.8” x 2.6” x 0.92”
96.5 mm x 66 mm x 23.4 mm
RE-2 Systems
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 + ULM21 lavalier mic
RE2-E
Receiver + bodypack transmitter + RE97 headworn mic (beige or brown)
RE2 COMBO
Receiver + N/D267a handheld + bodypack transmitter + ULM21 lavalier mic
Wireless
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:
27
RE-2 PRO Series
Live for Sound
When applications like rentals, small tours, referee systems or tough environments call for a wireless microphone with a mix
of REV and RE-2 features, the answer is RE-2 PRO.
RE-2 PRO Bodypack
WTU-2 Bodypack Transmitter
The WTU-2 is a compact metal bodypack solution for the
RE-2 system. Automatically compatible with the Telex RSB2 mute switch for football applications. Selectable RF output
power and rechargeable AA battery operation with optional
BH-200 charger.
RE-2 PRO Handheld
•
•
•
•
•
•
ABS Resin body with interchangeable microphone heads
User accessible on/off/mute switch
Defeatable on/off switch
8 hour operation on one 9V battery
Shure microphone compatibility
PL80a and N/D967 microphones not available
on HTU-2
RE-2 Professional Receiver w/ rack mount hardware
The RE-2 is a completely programmable, frequency-agile
system with one-touch Auto-ClearScan. It operates over
28MHz, XLR mic, line level output, and many other features.
The RE-2 PRO receiver includes all of the rack-mount
hardware needed.
Wireless
Cast magnesium construction
Flat steel beltclip
Two AA batteries w/ NiMH rechargeable option
Exclusive EV Guitar optimization mode
5mW or 50mW transmit power
Compatible with RSB-2 referee mute switch
TA4 connector for all EV mic options
“Blackberry Proof”
PHTU2 Handheld Transmitter
The PHTU-2 offers a high-impact, ABS plastic handle, and
interchangeable RC2 microphone heads. Available with N/
D767a, PL80a, N/D967, RE410, and RE510 microphone
elements, the PHTU-2 delivers the best sound for any
application.
RE-2 PRO Receiver
•
•
•
•
•
•
•
•
•
•
•
•
•
•
•
•
Rack Mounting hardware with front mount antenna cables
One touch Auto-ClearScan
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
CONSUMER ALERT
Most users do not need a license to operate this wireless microphone system. Nevertheless, operating this microphone system without a license is
subject to certain restrictions: the system may not cause harmful interference; it must operate at a low power level (not in excess of 50 milliwatts); and it
has no protection from interference received from any other device. Purchasers should also be aware that the FCC is currently evaluating use of wireless
microphone systems, and these rules are subject to change. For more information, call the FCC at 1-888-CALL-FCC (TTY: 1-888-TELL-FCC) or visit
the FCC’s wireless microphone website at www.fcc.gov/cgb/wirelessmicrophones
28
RE-2 PRO Series
Live for Sound
Specification
RE-2 PRO Receiver
Audio Parameters
Frequency Response
50-15 kHz +/- 2 dB
Balanced Output
(max @ 40 kHz deviation)
Receiver Type
Synthesized PLL
Frequency Response (RF)
A Band 648-676MHz (TV Channels 43-48)
G Band 614-642 MHz (TV Channels 38-42)
Number of Channels
1112 possible channels, Programmable in 25 kHz steps
Modulation
+/- 40 kHz
Diversity
Digital Posi-Phase True Diversity
RF Sensitivity
< 1.0 uV for 12 dB SINAD
Mic position
Line position
-10 dBV
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
Image Rejection
> 60 dB
Dynamic Range
> 100 dB
Squelch
Tone Code plus Amplitude
Ultimate Quieting
> 100 dB
FCC Certification
Approved under Part 15
Power Requirements
12 V AC/DC 300 mA
Antennas
Detachable 1/4 wave
Dimensions
HxWxD
1.72” x 7.5” x 5.9”
43.69 cm x 190.5 mm x 150 mm
Microphone Head Options
767a
N/D767a Supercardioid
N/DYM Dynamic
967
N/D967 Versatile
Supercardioid Dynamic
PL80a
PL80a
Supercardioid Dynamic
RE410
RE410
Classic Cardioid Condenser
RE510
RE510
Classic Supercardioid Condenser
Bodypack (WTU-2)
Controls
Power, Menu Set, Up and Down
Indicators
Red LED low battery indicator
Backlit LCD Display
Battery level, Channel / Group, or Frequency
Battery Life
8 hours w/ two AA alkaline typical
Battery Recharge
Optional BH-200 w/ NiMH AA
Antenna
External 1/4 wave detachable
Connector
TA4F input for microphone, Pin 1: ground, Pin 2: Mic input,
Pin 3: +5 Bias, Pin 4: +5V through 3k ohm
RF Output Selectable
5 mW or 50 mW typical
Case Material
Cast Magnesium
Dimensions
HxWxD
3.37” x 2.6” x 0.75”
85 mm x 66 mm x 19 mm
Handheld (PHTU-2)
Controls
Power on/off, Set, Up and Down
LCD Display
Battery level, Channel / Group, or Frequency
Battery Life
8 hours w/ 9V alkaline typical
Antenna
Internal 1/2 wave
RF Output
30 mW typical
Case Material
High Impact ABS & Aluminum
DImensions
Length x Diameter
9.75” x 2.04”
24.8 cm x 52 mm
Two Bay Battery Charger
LED indicator show charging status
Two drop in bays for REV-WT or WTU-2 transmitters
10 hour recharge time and transmitters can be left in charger indefinitely
Use standard NiMH AA batteries
Safeguards against wrong or improperly
inserted batteries
BH-200
The BH-200 recharges Nickel Metal Hydride (NiMH) AA
batteries in REV-WT and WTU-2 bodypack transmitters.
2500 mAH batteries will last over 10 hours and recharge in
10 hours. The BH-200 helps to reduce waste and the cost
of running wireless microphones all day, everyday.
Wireless
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29
REV Series
Live for Sound
The REV UHF System is the best-sounding, most roadworthy professional wireless in the industry to date. REV’s
optimized, analog audio path was developed to provide the truest representation of a wired microphone sound in a wireless
system. REV offers two handheld options: a stylish, metal, compact handle for concert and broadcast, and the user-friendly
presentation handheld for rental house, and other applications. In addition, EV‘s IRIS-Net PC software enables remote
monitoring, control, and programming over a CAN bus connection through an EV UCC-1 converter.
REV-H
REV Concert Handheld Transmitter
The REV-H is a metal transmitter with interchangeable mic
heads and a back-lit LCD display. All controls are inside the
battery compartment, out of harm‘s way. With the EV 767a,
967, PL80a, RE410, or RE510, the REV-H is a world-class
vocal microphone.
REV-PH
REV Receivers
ABS Resin body with interchangeable microphone heads
User accessible on/off/mute switch
8 hour operation on one 9V battery
Shure microphone compatibility
5mW or 50mW transmit power
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Cast magnesium construction
Flat steel beltclip
Two AA batteries w/ NiMH rechargeable option
Exclusive EV Guitar optimization mode
5mW or 50mW transmit power
Compatible with RSB-2 referee mute switch
TA4 connector for all EV mic options
“Blackberry Proof”
REV-S Single and REV-D Dual Receivers
The REV-S is a full-rack width chassis with a universal power
supply, headphone monitoring, CAN Bus connections, and full
front-panel controls. Designed for one channel applications, or
larger installations that require an odd number of receivers.
Wireless
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REV Bodypack Transmitter
REV-WT is a cast magnesium bodypack transmitter that
uses two AA batteries, and can be used with the optional
BH-200 charger. Unique features include programmable
on/off switch, RSB-2 referee mute switch compatibility, and
exclusive REV Guitar mode.
The REV-Dual receiver includes two world class UHF receiving
channels with the most “wired” sounding audio in the market.
CAN bus connection on the back for use with IRIS-Net PC
software for monitor and control.
30
Aluminum Construction
Back lit LCD display
10 hour operation on two AA Batteries
N/D 767, N/D 967, PL80a, RE410, RE510 Heads
Shure mic head compatibility
5mW or 50mW transmit power
REV Presentation Handheld Transmitter
The REV-PH presentation handheld combines the compact
RC2 interchangeable microphone elements, and a rugged
handle with a user-accessible on/off/mute switch. The REVPH is perfect for applications that require the user to mute or
turn it on or off.
REV-WT
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Full 19” rack width with integrated rack mounting
Ground independent ½ wave antennas
Antenna pass-through connections to drive 6 channels (3 REV-D) with just two antennas
IEC connection universal switching power supply
Headphone jack for direct monitoring
PC monitor and control with Iris-Net
CAN bus pass-through connectors
No adjustments or switches on back panel
REV Series
Live for Sound
Specification
REV-S Single and REV-D Dual Receivers
REV-H and REV-PH Concert Handheld
Controls
Buttons for Power on/off, set, up
and down
Displays
Backlit LCD display showing:
battery level, channel/group or
frequency
Battery Life (REV-H)
(REV-PH)
Front Panel Controls
Buttons for On/Off, menu, set, up and down
1/4” headset jack with selector and volume
Indicators LCD
Group, channel, diversity, label, and set-up
Backlit Display
Menu-driven dot matrix
10 hours w/ 2 AA alkaline typical
8 hours w/ 9V alkaline typical
Back Panel Connectors
Antenna (REV-H)
(REV-PH)
Internal proprietary
Internal 1/2 wave
1/4” unbalanced adjustable line level output
XLR balanced Mic / Line level output
RJ-45 CAN interface (x2, parallel)
Antennas
Detachable 1/2 wave
Microphone Elements
EV N/D767a or N/D967 Dynamic
EV RE510 or RE410 Condenser
PL80a Supercardioid
RF Specifications
C1 Band 614-638 MHz (TV Channels 37-41)
C2 Band 650-674 MHz (TV Channels 44-47)
C3 Band 674-698 MHz (TV Channels 48-51)
Case Material (REV-H)
(REV-PH)
Machined Aluminum
High Impact ABS
Number of Channels
950 possible (programmable in 25 kHz steps)
DSP PosePhase True Diversity
RF Output
Normal: 5 mW typical
High: 50 mW typical
Diversity
Squelch
Tone code plus adjustable amplitude
Receiver Type
Synthesized PLL agile UHF
RF Sensitivity
< 0.8 uV for 12 dB SINAD
Audio Specifications
100-15 kHz +/- 2 dB microphone
30-15 kHz +/- 2 dB Instrument
Audio Output Level
Balanced line level 10 mV - 1 V RMS adjustable
Unbalanced Output
Adjustable
8 mV to 0.755 V RMS (100 k ohm load)
Distortion
Less than 0.5% (@ 1 kHz, 40 kHz deviation)
Length x Max Diameter
9.75” x 2.04”
24.8 cm x 52 mm
Dimensions
REV-WT Bodypack Transmitter
Controls
Buttons for Power on/off, menu
set, up and down
Signal to Noise Ratio
> 110 dB (A)
Indicators
Red LED low battery indicator
Dynamic Range
> 100 dB
Backlit LCD Display
Battery level, channel/group or
frequency
REV-D Antenna Output
TNC
Powered Antenna Output
12 Vdc, 15 mA
Battery Life
8 hours w/ 2 AA alkaline typical
Battery Recharge
Optional BH-200 w/ NiMH AA
Internal Switching Power
Supply
Universal cord, 90-240 VAC, 50-60 Hz
Antenna
External 1/4 wave detachable
IRIS Net
Connector
TA4F input for microphone, Pin
1: ground, Pin 2: Mic input, Pin
3: +5 bias, Pin 4: +5 V through
3k ohm
CAN Bus Monitoring &
Control
Dimensions
HxWxD
1.72” x16” x 12”
43.7 mm x 406.4 mm x 304.8 mm
RF Output Selectable
5 mW or 50 mW typical
Case Material
Cast Magnesium
Dimensions
HxWxD
3.37” x 2.6” x 0.75”
85 mm x 66 mm x 19 mm
Model #
Description
Model #
Description
RE90TX
Omnidirectional MicroMini lapel mic
CXU-XXX
Low loss coaxial antenna cable 25-100 ft
RE92TX
Unidirectional MicroMini lapel mic
WP-WT
Bodypack pouch for REV-WT
RE97TX
Lightweight omni headworn mic
MAC-G2
Guitar cord
HM7
Headworn cardioid condenser mic
RC2-767
767a dynamic head
FA-XX
1/2 wave Rx antenna
RC2-967
967 dynamic head
AB-2
1/2 wave antenna bracket
RC2-PL80a
PL80a dynamic head
UAA-500
UHF antenna amplifier (520-806 MHz)
RC2-410
RE410 condenser head
APD4+
Antenna / Pwr distribution (600-780 MHz)
RC2-510
RE510 condenser head
TP-2
Termination plug for APD4+
MSA-REV
Mic stand adapter
LPA-500
Directional Rx antenna (450-900 MHz)
CONSUMER ALERT
Most users do not need a license to operate this wireless microphone system. Nevertheless, operating this microphone system without a license is
subject to certain restrictions: the system may not cause harmful interference; it must operate at a low power level (not in excess of 50 milliwatts); and it
has no protection from interference received from any other device. Purchasers should also be aware that the FCC is currently evaluating use of wireless
microphone systems, and these rules are subject to change. For more information, call the FCC at 1-888-CALL-FCC (TTY: 1-888-TELL-FCC) or visit
the FCC’s wireless microphone website at www.fcc.gov/cgb/wirelessmicrophones
31
Wireless
REV Accessories and Parts
Wireless Antenna Accessories
Live for Sound
Wireless Antenna Accessories
Accessories needed for wireless microphone antenna systems. Included are products for remote mounting, amplifying,
distributing and combining antenna signals.
APD4+
UHF Antenna / Power Distribution System
UHF Antenna/Power Distribution System
The APD4+ is a UHF antenna/power distribution system
(provides power and RF signals for 4 units) for use with
RE-2 and REV receivers.
LPA-500
Wireless
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½ wave omni-directional antenna for
excellent coverage
Can be remote mounted using the AB-2 bracket
Frequency tuned for best reception:
FA-GW, Green/White, Freq.: 610-710 MHz
FA-BW, Blue/White, Freq.: 710-880 MHz
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3 or 10dB selectable gain
Green LED to indicate power
Requires phantom power from APD4+ or
REV receiver
Wideband 500 – 900 MHz operating range
Cast aluminum case with mounting tabs
Passive Antenna Splitter / Combiner
The APS-1 is a passive device that splits one transmit
signal into two, or combines two receive signals into one. A
combiner can be used to locate antennas in multiple rooms
for increased coverage.
32
5dB gain on axis compared to an omni-
directional antenna
Mounting hardware for microphone stands, truss, walls, and other surfaces
Includes 10 foot coax cable for remote mounting
Standard EV TNC connector for use with
CXU-XX cables
Antenna Signal Amplifier
The UAA-500 is a broadband UHF amplifier with selectable
3dB and 10dB amplification settings. Antenna signal
amplifiers are used to make up for losses in the cable run,
they do not extend the operating range of the wireless
microphone.
APS-1
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Flexible 1/2 Wave UHF Antenna
The FA-XX is a family of ground independent ½ wave
omni-directional antennas. These antennas can be remote
mounted using the AB-2 bracket or attached directly to the
receiver or APD4+.
UAA-500
Provides diversity antenna distribution to four single receivers
Provides power distribution for four
RE-2 receivers
Universal power supply with IEC power cord
Phantom power on antenna inputs for UAA-500 amplifier
Can be cascaded to provide antennas for up to 16 receivers (requires 5 APD4+)
Directional Log Periodic Antenna
The LPA-500 is a passive directional log periodic antenna
with mounting hardware and 10-foot coax cable. LPA
antennas are used to extend the range of coverage in certain
direction.
FA-XX
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Combines two antenna signals into one
Operating range 100MHz to 900MHz
Low signal loss of -3.4dB
High signal isolation of 23dB
EV standard TNC connections
Wireless Antenna Accessories
Live for Sound
Low-Loss Coaxial Cable
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Less than 3.5 dB loss per 100 feet at
UHF frequencies
Terminated on both ends with TNC connectors
Pre cut in 25, 50, 75 and 100 foot lengths.
Easily connected with AB-2 bracket for
other lengths
The CXU is a family of low-loss coaxial cables are for longer
antenna cable runs. XX designates length, 25 ft (8m), 50 ft
(16m), 75 ft (23m) and 100 ft (30.6m).
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Mounts antenna on wall or other structure
Can be used to mount a ½ wave antenna on microphone stand
Includes a 10ft coax cable
Includes male to male TNC adapter for use with CXU-X or other longer coax cables
The AB-2 is a universal mounting bracket for ½-wave
antennas, with 10-foot coax cable. For use with FA-XX and
CLA-X ground independent half wave antennas.
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Flexible for durability but stands out from the body for efficient radiation
Replacement for standard antenna that ships with bodypacks
Frequency tuned for efficient radiation
Threaded connector for REV-WT, WTU-2 bodypacks
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Extreme flexibility for use under costumes
Smaller than BPA for discrete mounting
Frequency tuned for efficient radiation
Threaded connector for REV-WT, WTU-2 bodypacks
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TNC threaded connection
50 Ohm termination for APD4+
Universal Mounting Bracket
1/4 Wave Flex Bodypack Antenna
CXU-XXX
AB-2
BPA
The BPA is a direct replacement ¼ wave flex antenna for
the antenna that is included with the REV-WT, WTU-2, and
older CSB-1000, WT-1000, REV-BP bodypacks.
1/4 Wave Super Flex Bodypack Antenna
AN-Sflex
¼ wave super flex antenna for REV-WT, WTU-2, and older
CSB-1000, WT-1000, REV-BP bodypacks.
50 Ohm TNC Termination Plug
TP-2
Wireless
50 Ohm TNC termination plug for use with APD4+ antenna
distributor. All unused outputs of the APD4+ must be
terminated to prevent reflections and range problems.
33
Wireless Microphones
Live for Sound
Microphones
Electro-Voice has a wide range of lavalier and headworn microphones for use with any EV wireless bodypack transmitter. Any of
these microphones can be used with the TXA adapter on page XX in XLR wired applications.
OLM10
Omni-Directional Lavalier Microphone
The OLM10 is a rugged lavalier microphone that picks up
sound from all directions. The small size and wide pick up
pattern make this an ideal microphone for beginners and soft
speakers.
ULM21
Wireless
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Ultra-miniature lavalier (Diameter 0.2”)
Back electret condenser element
Omnidirectional polar pattern
6 foot (180cm) permanently attached cord
TA4F connector compatible with all EV bodypack transmitters
Use with TXA for wired XLR applications
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Back electret condenser element
Cardioid polar pattern
6 foot (180cm) permanently attached cord
TA4F connector compatible with all EV bodypack transmitters
Use with TXA for wired XLR applications
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Unidirectional horn/drum mic
Back electret condenser element
Wired with TA4F connector
Smooth audio response and high SPL handling
Custom clip for securely mounting on a variety
of instruments
Use with TXA preamp for XLR wired applications
Horn and Instrument Microphone
The RE920Tx is a cardioid condenser microphone designed
for wireless use with musical instruments via its specially
designed instrument-mount clip assembly. Although
terminated in a TA4F connector for use with EV and Telex
bodypack transmitters, it can be made hard-wired with the
additional TXA XLR preamp.
34
Back Electret cardioid microphone
Clothing clip attaches at microphone body to maintain cardioid pattern
6 foot (180cm) permanently attached cord
TA4F connector compatible with all EV bodypack transmitters
Use with TXA for wired XLR applications
Directional Lavalier Microphone
The RE92Tx is a professional-quality, miniature cardioid,
electret condenser, lavalier microphone. Designed for
picking up speech, it is an excellent choice for use in any
presentation, house-of-worship, broadcast, or theater
application.
RE920Tx
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Omni-Directional Lavalier Microphone
The RE90Tx is a lightweight high-performance omnidirectional lavalier microphone. It is terminated with a TA4F
connector for any EV wireless system, perfect for broadcast,
house of worship, and business applications.
RE92Tx
Back Electret omni-directional microphone
Clothing clip included for easy mounting
6 foot (180cm) permanently attached cord
TA4F connector compatible with all EV bodypack transmitters
Use with TXA for wired XLR applications
Cardioid Lavalier Microphone
The ULM21 is a rugged lavalier microphone with a
directional pick up pattern. The small size and pick up
pattern helps reduce feedback and improve sound quality.
RE90TX
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Wireless Microphones
Micro-Headworn Condenser Microphone
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Ultra-Low Profile for Inconspicuous Use
Lightweight, Durable
Interchangeable for Left or Right Ear
Omni-directional Polar Pattern Provides
Clean Sound and Uniform Response
Use with TXA preamp for XLR wired applications
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Two ear wearing style for stability
Lightweight, durable
Interchangeable for left or right side microphone boom
Omni-directional polar pattern for clean sound
Moisture resistant
TA4F connector compatible with all EV bodypack transmitters
Use with TXA for wired XLR applications
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Ultra-Miniature Size for Inconspicuous Use
Omni-directional Polar Pattern to Provide Clean Sound and Uniform Response
Available in black and beige
Superior Sound Quality
TA4F connector compatible with all EV bodypack transmitters
Use with TXA for wired XLR applications
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Lightweight – 0.9 ounces (25 grams), less cable
Behind-the-head headband is comfortable and stays in place
Cardioid pickup pattern ensures good gain before feedback
Frequency response and proximity effect similar to handheld vocal mics
TA4F connector compatible with all EV bodypack transmitters
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Supercardioid pickup pattern ensures good gain before feedback
Behind-the-head headband is comfortable and stays in place
Frequency response and proximity effect similar to premium handheld vocal mics
TA4F connector compatible with all EV bodypack transmitters
Use with TXA for wired XLR applications
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RC2-767 – Supercardioid dynamic N/D767a
RC2-967 – Supercardioid dynamic N/D967
RC2-PL80a – Supercardioid dynamic PL80a
RC2-410 – Cardioid condenser RE410
RC2-510 – Supercardioid Condenser RE510
RE97Tx
The RE97Tx is an ultra-low profile, omnidirectional, backelectret condenser, headworn microphone designed for
use with standard EV and Telex belt packs. The RE97Tx is
intended for spoken-word use such as houses-of-worship,
corporate AV, theaters, fixed install, and other applications
where a full-range, natural, well-balanced sound is required.
The RE97Tx microphone is available in beige, brown, and
black.
Two Sided Micro-Headworn Condenser Microphone
RE97-2Tx
The RE97-2Tx is an Ultra-low profile, omnidirectional,
back-electret condensor headworn microphone ideal for
applications where a full - range, natural, well balanced sound
is required. The RE97 microphone element provides a clean
and accurate sonic quality and uniform output. This has a two
ear hook design with a band behind the head for comfort and
stability. The band is fully adjustable and the hooks fold flat
for storage and the boom can be on the left of right side.
Micro-Lavalier Condenser Microphone
RE97LTx
The RE97LTx is a micro-lavalier (black and beige) omnidirectional, condenser microphone designed for applications
that demand a high quality microphone element that is
practically invisible when worn by the speaker or performer.
The RE97LTx is intended for spoken-word use in theatrical
performance, fixed installations, corporate AV presentations,
houses of worship, or any venue.
Headworn Condenser Microphone
HM2
The Electro-Voice HM2 headworn microphone is the ideal
microphone for anyone who requires high-quality vocals
in a hands-free application. The HM2 is perfect for use by
lead vocalists, singing instrumentalists, dancers, aerobic
instructors and other presenters.
Headworn Condenser Microphone
HM7
The HM7 headworn microphone is the ideal microphone for
singers and entertainers that really need to move during a
performance. The HM7 has a supercardioid microphone that
offers concert vocal performance and stage noise rejection.
The rugged headband makes for a comfortable fit and the
flexible boom ensures precise microphone placement.
Microphone Heads for REV-H, REV-PH and PHTU-2
RC2-XXX
The RC2 line of interchangeable heads includes the top
dynamic and condenser EV vocal microphones for the
REV and RE-2PRO wireless systems. Dynamic vocal
microphones available are the N/D767a, N/D967 and the
PL80a. And the premium concert condenser microphones
RE410 and RE510 complete the RC2 series.
Wireless
Live for Sound
35
Cables, Clips & Others
Live for Sound
Cables, Clips and other accessories
These mounting brackets, cables and other accessories can be used to complete or complement any Electo-Voice wireless
microphone system.
RM-D
Dual Rackmount Kit
Dual Rackmount kit - (for two receivers) works with RE-2,
FMR-500, SAFE-1000 and other older ½ rack receivers.
Includes all screws and hardware required.
RM-S
Wireless
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Female TNC end connects to any EV/Telex receiver
Male TNC connector mounts in the rack
mount knockouts
Four cables included in each kit, enough for
two receivers
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TA4 in and out connectors for any EV/Telex lavelier microphone and bodypack transmitter
The belt clip can be flipped for right or left side wearing
Positive toggle switch is large and easy to use without looking
Noiseless mute, no clicks or pops
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Elastic top band for a snug, secure fit
Clear window over LCD screen
Top strap snaps to secure bodypack
Leather covered integrated belt clip for belt, costume or guitar strap mounting
Leather Pouch for REV-WT
The WP-WT is a leather pouch for REV-WT and WTU-2
bodypack transmitter. A clear window in the front allows the
LCD screen to show through and the snapping top strap
secures the bodypack. An integrated leather covered metal
beltclip on the back of the WP-WT secures the unit to a belt,
costume, or guitar strap.
36
Mounts one RE-2 receiver in one 19” rack space
Includes knock outs for front mount antenna cables, (RMS-TNC includes cables)
Includes screws, hardware and instructions for installation
Powder coated steel construction
Referee Mute Switch
Referee Mute Switch
The RSB-2 toggle mute switch is the football standard for
referee wireless systems. The RSB-2 plugs in between
the lavalier or headworn microphone and the bodypack
transmitter to provide a noiseless mute. The REV-WT and
WTU-2 bodypacks automatically recognize the RSB-2 but
older transmitters require a special referee version.
WP-WT
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Front Mount Antenna Kit
The FMCK includes 4 front mount antenna cables with
female TNC connectors on one end and a bulkhead male
TNC on the other end. The male connectors mount in the
provided knockouts in the RM-S and RM-D rack mount kits.
The four cables included are enough for two receivers.
RSB-2
Mounts two RE-2 receivers side by side in one 19” rack space
Includes knock outs for FMCK front mount antenna cables
Includes screws, hardware and instructions for installation
Powder coated steel construction
Single Rackmount Kit
Single Rackmount kit - works with RE-2, FMR-500, SAFE1000 and other older ½ rack receivers. Includes all screws
and hardware required.
FMCK
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Cables, Clips & Others
Live for Sound
XLR to TA4 Adapter Cord
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TA4 connector for any EV or Telex Bodypack
4 ft cord to XLR
Works with dynamic microphones only
The MAC-2 cord allows any dynamic handheld microphone
be used with any EV or Telex wireless bodypack transmitter.
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George L no-solder, low noise cable and connectors for great sound and easy repairs
Includes right angle and straight in ¼
inch connector
TA4 connector for any EV or Telex bodypack transmitter
No-solder George L™ guitar cable for the REV-WT, WTU-2,
CSB-1000, WT-1000, and REV-BP. The MAC-G2 includes
a straight in and a right angle ¼ inch connector so you can
use whichever is best for your guitar.
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George L low noise cable for great sound
Built in signal pad to work with BPU-2/WT-500 bodypack transmitters
TA4 connector for any EV or Telex bodypack transmitter
The MAC-G3 uses low noise George L guitar cord for the
BPU-2 and WT-500 bodypack transmitters. Using the
MAC-G3 with the EV RE-2 exclusive Guitar Optimization
gives you one of the most “wired” sounding wireless rigs of
all time.
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Fits BPU-2, WT-500, REV-BP, CSB-1000 and WT-
1000 Bodypacks
Elastic sides for a snug, secure fit
Clear window over LCD screen
Top strap snaps to secure bodypack and it covers the on/off switch
Leather covered integrated belt clip for belt, costume or guitar strap mounting
The WP-1000 is a leather pouch for CSB-1000, BPU-2,
WT-500, WT-1000, and REV-BP bodypack transmitter. A
clear window in the front allows the LCD screen to show
through and the snapping top strap covers and protects the
on/off button. An integrated leather covered metal beltclip
on the back of the WP-1000 secures the unit to a belt,
costume, or guitar strap.
George L Guitar Cable
RE-2 Guitar Cord featuring George L’s Cable
Leather Pouch for BPU-2
BC-1000
Beltclip w/ Tab & Screw
BP2-Clip-Swivel
Beltclip w/ Tab & Screw
BP2-Clip
Flat Beltclip for BPU-2
MAC-2
MAC-G2
MAC-G3
WP-1000
MSSA
Custom Stand Adapter
MSA-REV
Custom Stand Adapter
HHCK
Handheld Color Kit
The MSSA is a custom
fit stand adapter for the
RE-2/FMR-500, PHTU-2
and REV-PH handheld
transmitters.
The MSA-REV is a
custom fit stand adapter
for the RE-H handheld
transmitters.
The HHCK includes 6
different color caps for the
HTU-2, HT-500, PHTU-2
and REV-PH handheld
transmitters. The color
caps help the sound
engineering identify which
channel is in use from a
distance.
The BC-1000 is a cell
phone style swiveling
beltclip with tab and screw
for the REV-WT, WTU-2,
CSB-1000, WT-1000, or
the REV-BP transmitter.
The mounting tab also
allows these transmitters
to work with the PC
and Boundary Satellite
wireless accessory
microphones.
The BP2-Clip-Swivel is a
cell phone style swiveling
beltclip with tab and screw
for the BPU-2, and the
WT-500 transmitter. The
mounting tab also allows
these transmitters to work
with the PC and Boundary
Satellite wireless
accessory microphones.
37
Wireless
The BP2-Clip is a flat
beltclip for the BPU-2, and
the WT-500 transmitter.
The BP2-Clip offers an
alternative mounting style
to the standard swivel clip.
Wireless Guidelines
Live for Sound
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 80 years and Telex practically
invented professional wireless microphones 30 years ago.
In the late 1990’s when Telex and Electro-Voice came
together, these two great heritages combined into a one
of a kind microphone company. All 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. EV 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.
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.
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.
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 EV 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 nondiversity. 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.
Wireless
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
38
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 EV
systems will go nearly twice as far as competitive models in a similar price
range.
Live for Sound
Wireless Guidelines
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 REV and adjusting your antenna placements. But be wary, each time you change the scenery, arena, or even
add people in the performance area, the mix changes.
What is 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 Combination Squelch Circuit?
Wireless
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.
39
Wireless Guidelines
Live for Sound
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 vocal mic, lapel, headworn, or even guitar or
instrument. Frequency Modulated (FM) radios transmit
audio information as changes in the carrier frequency. So, in
the operation of a wireless microphone system, the greater
the changes in frequency (deviation), the better the signalto-noise ratio will be. 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.
How to properly set the Wireless “Gain”
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.
3) Make the audio connections and use the mixing board or amplifier to set the appropriate audio levels for the PA. For a guitar/instrument wireless
system, use the receiver output level adjustment to match the “wired” instrument output level.
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, antenna amplifiers, antennas, low loss coaxial cable, and microphone choices.
Electro-Voice has a complete line of wireless accessories for 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-GW, CLA series or the LPA500.
Wireless
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 stage 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.
ANTENNA DISTRIBUTION
When racking multiple receivers together, it is best to use an antenna distribution system like the APD4+. The APD4+ provides power and antenna
connectors for 4 ½ rack receivers and can be cascaded to run antennas for up to 16 systems from 2 antennas (using 5 APD4+ units). With the REV-D
receiver’s antenna pass through feature, one APD4+ can supply antennas for 24 channels of REV wireless. One 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 range.
40
Bosch Communications Systems
Americas–
Headquarter Americas
Bosch Security Systems, Inc.
12000 Portland Ave South,
Burnsville, MN 55337, USA
USA–Ph: 1-800-392-3497
Fax: 1-800-955-6831
Canada–Ph: 1-866-505-5551
Fax: 1-866-336-8467
Latin America–
Ph: 1-952-887-5532
Fax: 1-952-736-4212
Europe, Africa & Middle-East
Headquarters EMEA
EVI Audio GmbH
Hirschberger Ring 45,
94315 Straubing, Germany
Phone: +49 9421 706-0,
Fax: +49 9421 706-265
©2010 Bosch Security Systems, Inc. LIT000476000
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
UK: Shuttlesound,
4 The Willows Centre,
Willow Lane, Mitcham,
Surrey CR4 4NX, UK
Phone: +44 208 646 7114
Fax: +44 208 254 5666
Asia & Pacific Rim
Headquarter Asia
Telex Communications (SEA) Pte Ltd
38C Jalan Pemimpin
Singapore 577180
Tel: (65) 6319 0616
Fax: (65) 6319 0620
Japan: EVI Audio Japan, Ltd
5-3-8 Funabashi, Setagaya-ku,
Tokyo 156-0055
Tel: +81 (3) 5316-5021
Fax: +81 (3) 5316-5031
Hong Kong: Telex EVI Audio (Hong Kong) Ltd.
Room 508-509, 5/F,
Topsail Plaza
11 On Shum Street
Shek Mun,Shatin HK
Phone: +852 2351-3628,
Fax: +852 2351-3329
Shanghai: Telex EVI Audio (Shanghai) Co., Ltd.
Room 3105-3109,
Tower 1 Office Building,
218 Tian Mu Xi Rd.,
Shanghai, China
Postal Code: 200070
Tel: +86 21-6317-2155
Fax : +86 21-6317-3025
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