ELECTRO-VOICE RE320

Key Features:

 Variable-D pattern control minimizes positional

and off-axis tonal shifts.
 Integrated hum-bucking coil and integral pop
filters provide virtually noiseless performance.
 Unique dual-voicing switch selects from two
response curves.
 Kick drum curve is ideal for bass drum mincing.
 General curve is ideal for other instruments and
voice.
 Extremely durable build, fit and finish.
PRODUCT DESCRIPTION:
The RE320 is a professional quality dynamic microphone designed
specifically for sound reinforcement and recording applications
requiring extremely low noise and the highest level of predictable
tonal and transient response. Ideal for capturing a wide variety of
instrument and vocal sources, the RE320 delivers unparalleled
detail, dynamic content and natural tonal performance.

Variable D - Electro-Voice’s exclusive solution to the tonal

changes associated with the proximity effect found in other
directional microphones. Providing balanced and uniform
frequency response up to 180° off-axis, the result is always stable
and linear tonal performance even when the sound source is
moving around the mic. Ideal for capturing the critical details of
amplified and acoustic instruments, as well as voice, Variable-D
capsules deliver impeccably smooth and natural tone on virtually
any sound source. Utilizing the same hum-bucking coil technology
found in the RE320 and RE27N/D to arrest electro-magnetic field
interference introduced from sources close to the microphone, the
RE320 produces an ultra-quiet signal path free from the hum and
buzz found in other dynamic microphones.
The RE320 incorporates a two-position frequency response
contour switch which allows engagement of two vastly dissimilar
performance curves. Selecting the left-hand switch position
engages a curve specifically designed for use on kick drums. With
dips and peaks exactly where kick drums need a little EQ
attention, the result is an incredibly tight “insta-kick” sound
requiring little if any additional EQ when the microphone is
properly positioned at the drum. Selecting the right-hand switch
position engages a flatter, more linear curve designed to be ideal
for other instruments (such as guitar amps, bass amps, low toms,
percussion, brass and wind instruments etc.) as well as voice
(music and speech) in many applications. The response is
smooth, natural and articulate with a minimum of discolored off-
 axis bleed from surrounding sound sources.
TECHNICAL SPECIFICATIONS:

Generating Element Dynamic neodymium

magnet
Frequency Response 30-18000 Hz (kick curve)
45-18000 Hz (general
curve)
Polar Pattern Cardioid
Impedance 150 ohms balanced
Sensitivity, Open Circuit 2.5 mV/pascal
Voltage, 1KHz
Hum Pickup Level, -130 dBm
Typical (60 Hz/1
milliosted field)
Case Material Steel
Length 216.7 mm (8.53 in)
Widest Diameter 54.4 mm (2.14 in)
Body Diameter Body Diameter
Finish Semi-gloss black
Net Weight 681 g (1 lb 8 oz)
Shipping Weight 1044 g (3 lb 5 oz)
The RE320 was designed and developed in the US, by E-V’s
staff in Burnsville, MN.
The mic includes a stand clamp (Electro-Voice p/n 81715) and
a padded storage case. Optional accessories include a foam
windscreen (p/n WSPL-2) and two types of shock mount (p/n
SASM-20, 309A). Selecting the left-hand switch position engages
a curve specifically designed for use on kick drums. With dips and
peaks. Exactly where kick drums need a little EQ attention, the
result is an incredibly tight “insta-kick” sound requiring little if any
additional EQ when the microphone is properly positioned at the
drum. Selecting the right-hand switch position engages a flatter,
more linear curve designed to be ideal for other instruments (such
as guitar amps, bass amps, low toms, percussion, brass and wind
instruments etc.) as well as voice (music and speech) in many
applications. The response is smooth, natural and articulate with a
minimum of discolored off-axis bleed from surrounding sound
sources.
 The RE320 is a next-generation RE20 — a large-format
end-address moving-coil dynamic microphone equally suitable
for broadcast vocals and instrument miking.
Like its sibling the RE27N/D, the RE320 uses Neodymium
magnets within the moving-coil cartridge. These rare-earth
magnets are said to increase transient response and high-
frequency detail as compared to non-rare-earth magnets. Yet
the RE320 has a slightly less forward high-frequency response
curve whereas the RE27N/D shows a +5dB peak from 4kHz–
9kHz, the RE320 (in “voice” mode) peaks under +5dB, and
across a smaller range of 5–6kHz. Owing to its predecessor’s
multiple varied applications around the broadcast and
recording studio, the RE320 has been tailored to better serve
what might be considered two disparate use cases.
Specifically, the mic has two passive filter circuits that can be
individually selected via an external switch:
Voice/instrument mode - creates a nominally flat frequency
response from 150–3kHz, with a presence peak just under
+5dB from 5–6kHz.
Kick Drum mode - cuts the low-mids with a -4dB filter
centered at 300Hz; raises the HF presence peak to +8dB at
4kHz.
SOUND & QUALITY
Just as one would expect from a large diaphragm studio mic, it
provides a deep low-end response with a great richness of sound.
It is relatively accurate for not only voice but also kick drums and
bass cabs. The strength of proximity effect is moderate but it
doesn’t change its quality whether the source is directly on axis or
off axis. That being said, it likes to have some space, if you bring it
too close it may actually sound too loud and distorted. You
definitely don’t want to eat this mic, but when the proper distance
is maintained, it sounds smooth without any issue. Just keep in
mind that this is a sensitive mic.

Having covered the low end, it is crucial to note about the RE320’s
bright character. Although for the most part it is flat, the highs are
actually shelved to +4.5 dB, which is quite noticeable. Then again,
higher transient response makes it hotter, which some podcasters
have little tolerance to. Shure SM7B definitely sounds mellower.
Yet this only seems to be relevant if you are in a noisy or an
untreated room. In the right environment, the Electro-Voice RE320
actually gives more advantage when it comes to recording. On the
other hand, it is also fairly easy to reduce the EQ to complete flat in
the mixer.

INSTRUMENT RECORDING
RE320 is also marketed for instrument miking, which it does
justice too. If you’re still heavily relying on the SM57 as a general
instrument mic, perhaps it’s time to reconsider your recording
arsenal and add some heavyweight toys such as RE320. This mic
excels at recording wind and brass instruments like sax, trombone
/ trumpet and especially their bass counterparts. It is capable of
producing a clean sound with remarkable clarity white also
retaining the lows. Works great for kick drum and toms as well, for
which it has a special EQ mode that scoops out the boxy sound
and keeps the unhyped oomph plus the attack.
FREQUENCY:

The frequency
contour in this switch
position is
engineered
specifically for kick
drum, delivering
rock-solid tone,
punch and point.
The frequency contour
in this switch position
is engineered
specifically for voice,
acoustic instruments
and amplified
instruments

The microphone shall be a cardioid type with integral blast

filter protecting all acoustic openings. The blast filter shall also
serve as a shock mount for the internal microphone element.
The microphone shall have an integral passive filter network
allowing two separate voicing contours to become alternately
engaged via a two-position switch. The left hand position of this
switch shall engage a curve allowing a throughput band pass
of 30-18,000 Hz with a rise peaking at 125Hz, a -4.5dB
attenuation centered at 380 Hz, with additional peaks at 2,800 Hz,
4,200 Hz and 7,200 Hz to achieve popular kick drum response.
The right hand position of this switch shall engage a more
linear curve allowing a throughput band pass of 45-18,000 Hz
where the response is virtually flat to 4,000 Hz, down 2 dB at
4,200 Hz, with a gradual rise to +4 dB at 5,000 Hz, flattening at
7,200 Hz, and an additional +4 dB rise centered at 10,000 Hz.
The microphone shall incorporate a hum-bucking coil to arrest
electromagnetic noise. Output level shall be 2.5mV/Pascal.
Nominal impedance shall be 150 ohms. Response at any
angular position away from the major axis shall be essentially
similar to the response on the major axis, but attenuated
uniformly at all frequencies by an amount appropriate to that
angular position. Rear attenuation at frequencies from 45-10,000
Hz (refer to major axis signal value) shall exceed 15 dB from
major axis in any plane. Rear attenuation above 10,000 Hz
shall exceed 10 dB. Polar characteristics shall be sufficiently
uniform in all planes so that it is, effectively, a cardioid of
revolution. There shall be a filter to prevent dust particles from
reaching the diaphragm. The case shall be made of steel. The
microphone shall have a maximum diameter of 54.4 mm (2.14
in.), a body diameter of 49.2 mm (1.94 in.) and a length of 216.7
mm (8.53 in.). Finish shall be a semi-gloss black. A stand adapter
shall be supplied. The Electro-Voice RE320 is specified.

DIMENSION DRAWING:
POLAR RESPONSE: