the shure sm7b is very popular also

There are lots of mics I'd like to have(I do voiceover), but #1, first buy, would be the EV RE-20. Well, #1 MIGHT be the KH edition Brauner..? But at $10,000(US), I'd go for the slightly lower-priced(But no less "pro") EV, first... At some future time, when you KNOW which one(!), DO consider a fine condenser, as well...(You'll still use the dynamic -- alot!)

Others like(For basically the same reasons) the Sennheiser 421, the Beyerdynamic M99, the Shure SM7(I believe it's the "7").

All just excellent, undeniably professional, dynamic mics. You could make no mistake having any of them.

As a ham(Amateur Radio Operator) I recognize the Heil, name, for their "ham/communications" type mics. That's all I know them for..?

With ANY mic, make sure to pick-up a good "shock-mount"(All of the above offer them for their own models.)...

Ted -- KA3BHQ

Thanks. Sounds like I should grab an EV RE20 or RE27 anyhow. I wonder how it is for recording Tenor Sax? I've heard ribbon mics are good for recording sax, does anyone have any tips on a decent yet affordable ribbon mic? Are they hard to work with?

I use the RE-20 for VO's AND saxes, especially tenor and bari. I personally like the RE-20 over the 27 because it is not quite as bright as the 27. I also think that a Sennheiser 441 is real good on both, but in the States, they ain't cheap. The E-V is a real deal here.
Teddy makes a very good point about a shock mount. The RE-20 has one available that allows you to use removeable popper-stoppers so that each VO artist has his/her own filter. Hard to go wrong with that set-up.
BTW, I don't know what you think "affordable" is for a ribbon, but I bought an Apex (Yorkville Sound), which I hear is another version of the Nady series. Not too bad. I have used it on alto sax (not bad), fiddle (OK), trumpet (didn't like it), as a room mic on amps and drums (useable), and some vocals (hit or miss). It's no pro mic,IMHO. Stick with the E-V.

FWIW, Pro Audio Review did a review of the PR-40 a few months ago. It is probably up on their website. I think the review is also on the Heil website, too.

Thanks. Excellent tips moonbaby, much appreciated. I have a 441 here but the little plastic collar broke where the cord meets the mic and it seems to be absolutely impossible to get them fixed or order one in. The official Sennheiser repair people here have a back waiting list a mile long and wouldn't even allow me to check the mic in. :)

We use RE-20's at our station because most of our DJ's have no idea what prox effect is. And unfortunately they still don't thanks to the design of the EV.

And trying to expalin the rolloff switch leaves them pretty confused. I'm sure our Orban handles most of the anomalies pre trans, but the 20 helps with those sitting in an untreated studio who want to swallow the mic.

They are also very tough. Pull the popfilter off any of ours and they look like they went ten rounds with Floyd Mayweather Jr. They still sound fine after more than ten years of abuse by hundreds of people.

If I am tracking VO or vocals with inexperienced talent in my project studio booth, I always borrow a spare 20 from the station to save me some headaches. It always sounds consistant.

If I have the time and the talent has patience, I'll coach them on proper technique with a LDC to get more detailed results though.

The RE-20 does sound the best with my bari sax though. If I couldn't borrow one, I would buy one.

I see Mancow slobbering and slamming around with what I believe is the SM7 on FoxNews in the morning. Looks tough and sounds okay to me. I would be tempted to try one against the RE-20 and one of the Rode broadcast mics.

I've heard mixed reviews on the Neumann broadcast mic (probably because everyone is comparing it to other Neumann mics) but never had the pleasure. I sure wouldn't use a mic that nice in a radio station.

I see Mancow slobbering and slamming around with what I believe is the SM7 on FoxNews in the morning.

[shudder] :lol:

My personal experiences with the SM7 vs. the RE-20 have been that the 20 was MUCH tougher to break. The Shures always seemed to have issues with the friggin' windscreen coming apart. And they are a germ-magnet as well. Ever since I saw Lou Burroughs hammering nails into a 2x4 with his RE-20, I was sold!
Hey, Calgary, you wanna sell that 441?

I'm going to take one more whack at finding someone who can fix it. Seems like it shouldn't be that hard, it's just that little plastic collar where the cord meets the mic but for some reason it's a hell of a thing to find... If I can't find someone to fix it I'll post it in the buy and sell forum. 8-)

Mix Magazine also reviewed the PR-40 this month. I'd probably opt for a used RE-20...

:cool: