Mic's need a preamp. Your mixer has preamps. It should work.

Your problem very well could be the room. It is a common problem to have to deal with. A different mic or mic type (dynamic), or even a great mic doesn't fix the problem with the room. If you like the RE-20, go ahead and buy it, as it is a great mic to own. But address or fix the problems with the room the best you can or find a different room, otherwise you'll be constantly wasting time on something that can usually be fixed or least controlled.

Ok, thats fair enough.
Uhm, I was just reading from some other people that they say it takes quite a bit of power to run the Re20, so I just didnt know whether my board would do it without lots of noise, like hiss and stuff. Thanks.

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Thanks.

How is the Shure mic that you have, because that is the other mic that I was looking at for my voice over stuff. Is it good for leaving out the "room?"

And..what are you using to preamp your Shure?

Thanks.

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Would you mind sending me or posting a sample of your voiceover work to get an idea of the sound? Thanks

It's really hard to go wrong with an RE-20 and it is a very versatile tool to have. But, as was previously stated by AG, you need to make the acoustic environment the best you can FIRST.
As for a preamp/voice processor recommendation, I've used an RE-20 through a dbx 286a with pretty good results, and it's a real bargain at under $200 ('street'). The pre is OK, and the dynamics section is very effective and easy to operate. Screw the EQ, the de-esser and the downward expander are worth it alone. I also have Valley Audio, Drawmer, and Symetrix VP's but the 286a is the best value.

I often record vocals at home with my sm7b (with grace 101 preamp, looovely sound) first of all because it sounds good, but also because i hear less of the room with a dynamic, it's not a 100% solution, but does help..
I recently purchased a SE electronics reflexion filter, wich is just perfect with a sm7...

sorry guys but room acoustics although should b spot on all the time, plz try and remember the re 20 is a dynamic mic! designed for use in close proximity (which is why it is also great on kicks)
to b fair all depending on how close u will b workin on the mic although voiceovers work great with a little bit of proximity effect

I would sugest a good reasonably cheap pre if ya want to push it a bit
8)

AG's right - get the room right first.

Second, a HUGE PET PEEVE of mine. Please to not "TEXT type" in here. The word "Be" is spelled "B" "E", not 'b'. And so on.

It's hard enough reading peoples' piss-poor grammar in here all the time, it compounds the problem with this text-message typing.

Back on topic - the EV is a great mic for VO. In combination with an SE filter, you'd probably be just fine. If you're compressing to the point where you raise the noise floor to where it's interfering with the track, you're compressing too much - even with an Alesis board.

sorry for the grammar
:oops:
but maybe its just me but we are talking about a DYNAMIC mic which nearly all the time is used in close proximity! which can handle high spl's
and is not very sensitive (1.5mv/pa)
:shock:
I agree on room acoustics being controlled if you want a cheap solution for vocal work of any sort then get an se reflection filter £200
I know the MD from sonic who are in partership with the company
and it took 2 years to design but it works a charm.

not wanting too annoy anyone by disagreeing but i use my re 20 on a day to day basis and i know the mic better than my gfriends arse!
and like all ev stuff it tightens the proximity effect making it ideal for voiceover work
which we all know people want a detailed rich sound well in this case
(which is very rare)
you can eat the mic :lol:

dscott wrote: sorry for the grammar
:oops:

No big...
It's a rampant problem, you just happened to be the guy who I snapped at...(I'll probably do it to countless others).

I'm sure you may know the mic better than your girlfriend's arse (that just means you seriously need to play with her arse some more!), but room acoustics are always a necessity, even with close proximity microphones. Granted, it's *less* of a concern, but bear in mind, your voice interacts with the room quite significantly even at close proximity.

Try the extreme - go to a room that is absolutely dead and use a close proximity mic then do the same thing in a gymnasium. You'll hear a difference.

fair point
but my studio used too be totally "dead" for vocals
But for dynamics (certain ones) close proximity (pretty much direct from source)
I never usually bother cos it just is not an issue I have to wory about. and we can be talking Boxy Laminated standing wave central and the mic still does its job

Hey but at the end of the day thats what makes all us engineers different
but lets all agree def buy an re20 because it's a must have in any setup
(my opinion)
:lol:
and wheather your using a sensitive mic or not or a good room or not
EXPERIMENT! and come to your own conclusions on things
:)