#Electro-Voice

[musicmags]

[lisamarie-vee]

[guitarbomb]

Jen Ritter Encore $40k Tube Amp

This Jen Ritter Encore tube amp offers a stylish look and a striking finish. The design is reminiscent of 50s-60s futurism. However, it will set you back $40k and may not be a very practical amp to move around. Jen Ritter Encore If you are in the market for a unique, stylish tube amp then the Jen Ritter Encore may be the answer you have been looking for. It combines modern sleek design, with a…

[sporadicstrawberrytrash]

https://electro-voice.dynamicmicrophones.biz/

Electro-Voice RE27N/D Dynamic Cardioid Microphone 

[atomiumamps]

Guide to Vintage Electro-Voice Dynamics or, Get Yourself an RE15 for Cheap(er)

Above, bottom to top: RE15 (late 70s), two 664As modified into 660s (early 80s), RE16 (modern), DS35 (early 80s), PL95A (late 80s). All had been re-foamed with WindTech Sonicfoam before testing.

The RE15 is a legendary dynamic mic. Its lack of proximity effect and mostly flat frequency response made it great for all sorts of things: acoustic guitar, electric guitar cabs, toms, snare, horns... Elvis used it as a vocal mic. 20 years ago, you could get them for about $30 on Ebay or in pawn shops. Now, they rarely go for less than $300. The thing is, the RE15 isn’t unique in the pantheon of vintage E-V mics, and there are much cheaper substitutes available that will get you to the same place.

These mics all share the same capsule with the RE15: RE10, RE11, PL11, RE16, RE18, 660/660A, 664A, 419, and PL6. There may be more, but these are the ones I know of. (Contrary to what you read online, and to its resemblance to the RE16, the DS35/PL95A does not have the same capsule as the aforementioned mics. It’s a completely different design, for a different application.)

The RE10 is identical to the RE15, but had looser unit-to-unit capsule tolerances. The RE16 is an RE15 but with a different headbasket wrapped in tons of foam to get rid of plosives. The RE11 and PL11 are the same, and similarly are just RE16s with looser capsule QC. The 660/660A and PL6 are the same, and identical to the RE15 except for a wider/tapered barrel (cast zinc instead of steel), no low-cut switch, and an optional high-impedance output via a transformer. The 664A (not the original 664!) is identical to the 660 but with a pivoting base & on-off switch. Confused yet?

All of these mics have the same capsule, same ‘supercardioid’ pattern with the same smoothly-sloping off-axis response, the same Variable-D venting to reduce proximity effect, and the same ‘nested’ construction with the same side vents. They also all have the same resonator in front of the capsule, except for the RE16, which is slightly different (to support the foam/headbasket).

So, if you’re interested in an RE15 but don’t have $300 to spend, what are your options? Some people get RE16s and remove the foam to make them more like an RE15. I tried that, but I found that you can get closer by grabbing a 660, PL6, or 664A, and removing the transformer. (Note that the original 664 has a different capsule/resonator and rolls off a lot of low end. The 664A looks like a 660 on a 664 base, because that’s what it is. The 419 is a 664A with a momentary-switch base.) You can remove the base of the 664A and install its XLR plug into the handle, making it a 660. Cut out the transformer and wire the capsule directly to the XLR plug (red to pin 2, white to pin 3, case/chassis to pin 1) and you’ve basically got a funny-shaped RE15 with no low-cut switch. Check out this FR plot of a distorted guitar cab, re-amped:

(enlarge)

Notice how incredibly close all these mics are to each other, but more than that, how the modified 664A is closer to the RE15 than either the stock RE16 or the foam-less RE16! The 660/PL6 will perform equally well, just be sure that the transformer is removed or you’ve wired them for low-Z mode. In this test, the RE15 had just a hair more low end than the other mics, but it’s within a dB or two. In other words, you’re likely to find as much difference between any two RE15s of different ages as you will between the average RE15 and the average 660/PL6/664A/419.

I regularly see 660s go for around $100-120, and 664As for less than $100. At that price, they’re a steal. Even better, they fit in a tapered SM57-style clip (the RE15/16 don’t).

I bring up the DS35/PL95A here because I like them a lot, and they’re still cheap, but they seem to be mostly unknown and subject to a lot of misinformation online. I frequently see people saying they have the same capsule as the RE15/16. The DS35/PL95A (same mic, different paint) look like an RE16, but they are a different design with a different capsule. The intended application was as a handheld ‘runway’ mic, where the main priorities were side rejection and resistance to handling noise and plosives. It does not have Variable-D venting, and the capsule is loose in the headbasket and sits in a pneumatic shockmount. Despite being a ‘cardioid’ mic, its pattern is in fact much narrower than the RE15/16 and derivatives, and its handling noise is orders of magnitude lower. It’s also brighter, and basically immune to plosives. It’s a sleeper vocal mic for sure, but beware that its sensitivity is much lower, around 0.8mV/Pa (although this varies unit to unit). You might need a Cloudlifter for vocal use. I also like it on snare, hi-hat, and guitar cabs. Check out the DS35′s response versus the RE15/16:

(enlarge)

Definitely a family resemblance, but a little flatter and more restrained through the low-mids, and with more presence and top octave. But the big difference is the pattern. Without Variable-D venting, proximity ramps up quickly when you get closer than 2″ from the source, giving voices an ‘FM radio’ tonality. Kind of splits the difference between an RE16 and an SM57, in my mind.

[vinylkillsmp3]

[tdalbright-blog]

AVWeek 439: Pew Pew

AVWeek 439: Draper names a new President, working with architects on projects, and building educational partnerships to build up the AV workforce.

Evangelizing AV

No matter the weather, we are here to dish out some of the most important news topics coming out of the commercial side of the AV industry.

Draper names their new President, Chris Broome, the cousin of former President John Pidgeon. Taking a look at succession plans and how the hierarchy stands the test of time.

The Royal Institute of British Architects (RIBA) installs…

[ourwitching]

Evaluating two new condenser vocal microphones. New RE420 and RE...

[mic18me]

EV (Electro-Voice) Archives - 香港 Hong Kong Pro Audio 音響工程

[lisamarie-vee]

[analogpusherrecordingnow]

U.S.A. microphones set:

1 Astatic M350 - Omni - harmonica - harp - overhead -  wind instruments

2 Astatic GM178 Bullet - drums - tom - snare - harp - harmonica - guitar cab

2 Calrad DM88 Cardioid - snare - tom - trumpet - vocal

1 Electro-Voice 647 Cardioid - vocal - guitar - percussions

2 Shure CA45B ceramic mics - overhead - any purpose 

feel free to ask, we are in #Utrecht 

[soundmsk]

Звуковой комплект для кафе, ресторана, магазина и салона красоты. Заказать с доставкой по Москве Тел.: +7(495)642-50-19 E-mail: info@ex-sound.ru #акустика #звуковой #комплект #electrovoice #evids44 #озвучивание

[atomiumamps]

I finally did a controlled, recorded comparison of a vintage EVM-12L (Series II, probably 1985 manufacture) and an Eminence EM12, in a ported TL-806 1x12 cabinet. I’ve discussed these speakers quite a bit in the past. As you can see above, they don’t sound quite the same. What’s maybe not obvious from the frequency response plot is how much better the EM12 sounds when recorded.

Out in the room there’s really not a huge difference, but with a mic on the speaker, the EM12 is much easier to deal with. For this comparison I used an ultra-flat omni condenser mic, the Avenson STO-2, about 3″ back from the grill. That way, there’s no proximity effect, it picks up the whole cone and the port, and it’s flat 20Hz-20kHz.

The EVM has a pretty gnarly peak up around 5.5kHz, which is almost certainly a cone breakup mode. That can add a lot of ‘zing’ to guitar tracks, but it’s so sharp as to almost sound like a ‘whistling’ noise (you can hear it clearly in this YouTube comparison, on the distorted EVM clips). Every EVM I’ve ever used has had this (I’ve owned 6 of them at various points), which forces you to mic off-axis and very close. It clutters the lower treble and in a mix it can mask details in snare drum and cymbals, as well as reduce intelligibility in vocals. That may be why it’s known as a “lead guitar speaker” (*eye roll*). Positioning has always been finicky when recording. The EVM also has a bump around 500Hz that is definitely artificial.

The EM12, on the other hand, sounds a touch darker when you’re standing in front of the cab (which means it’s more ‘beamy’ in the treble, I think), but the recorded tone is much more natural, and works better across a wide variety of positions on the speaker -- on axis, off axis, close, far, whatever. It’s just a very ‘finished’ sound right out of the box, without anything weird or annoying happening. It has a little more upper mids than the EVM, which helps it to cut through, but the treble roll off is smoother. It rolls off earlier than the EVM, but more gradually -- it’s -10dB vs the EVM at 5.5kHz, but +10dB at 7kHz!

Low end in this cabinet is comparable between the two speakers, which is to be expected given how similar their T-S parameters are.

A caveat here is that EVMs of different eras are really all over the place in terms of sound -- that said, the new-manufacture “Classic” model has even more treble peakiness than the vintage ones. The EM12 is also 1dB less sensitive than the EVM12L - the graph above was normalized to 1kHz for comparison purposes.

If you want an EVM-type sound and your main use is for recording, the EM12 is no-brainer. It’s also literally half the price of the EVM.

Here’s the audio of the EVM, and here’s the audio of the EM12. These are not level-matched -- but they are gain matched, so you hear the slight difference in overall efficiency between the two speakers. Don’t evaluate these files on laptop speakers! Use decent headphones or monitors.

[ourwitching]

Evaluating two new condenser vocal microphones. New RE420 and RE...

[mic18me]

Electro-Voice ELX112P 12" Live X兩分頻有源揚聲器 (active speaker) - 香港 Hong Kong Pro Audio 音響工程 Buy Electro-Voice ELX112P 12" Live X兩分頻有源揚聲器 (active speaker) in Hong Kong for reasonable price - 香港 Hong Kong Pro Audio 音響工程 提供價錢與購買方法

[uniquesquared]

Electro-Voice ETX Loudspeakers and Subwoofers Review

Eletro-Voice has a very long and interesting history. If you are audio gear aficionado, you might know that EV won the very first Academy Award for a music product back in 1963. The product that won was their legendary shotgun studio microphone, the 642 Cardiline. In the years that followed, EV began making lots of popular microphones, loudspeakers, and they also designed of the first commercial system for matrix four channel stereo. Fast forward to 2014 and EV have introduced the world to its new line of loudspeakers dubbed ETX. There are four powered loudspeakers in the line: the ETX-10P, ETX-12p, ETX-15P, and ETX-35P. There are also two subwoofers in the line: the ETX-15SP and the ETX-18SP. In the video above we highlight the ETX-10P loudspeaker and the ETX-15SP subwoofer. All of the loudspeakers and subwoofers carry the same or similar technology, so let's take a look at the features that stand out within the Electro-Voice ETX line.

FIR Drive and DSP

The two big features to note with the new ETX line are the Finite Impulse Response drive (FIR) and the digital signal processing (DSP). The FIR-Drive is the name given to the system designs that integrate advance signal processing for filtering, optimization, system protection, as well as the design process that goes into creating the algorithms and measuring the loudspeakers. Traditional loudspeakers with built in DSP, including things like a 3-Band EQ, utilize Infinite Impulse Response filter (IIR), which is used to emulate analog filters. With FIR you can create any filter type or shape to achieve proper optimization of the loudspeaker in the cabinet. The EQ is much more precise than with IIR where a boost or a cut on a particular frequency can effect other frequencies in the signal path. The takeaway here is the precision of control you can achieve from these ETX speakers with FIR drive. In addition to the frequency control, the FIR drive utilizes peak anticipation limiting which protects against mechanical failure. You also have a thermal limiter which protects against heat failures. The FIR Drive is optimized for performance and customization. On the back of every ETX loudspeaker and subwoofer is a single-knob interface for controlling the internal DSP of the speaker. The knob rests next to a bright LCD screen which provides visual feedback for all of your internal signal processing selections. The setup for all of the functions on an ETX speaker are quick and easy. There are presets you can select depending on the location of your speaker and the application it is performing. For example there is a preset for when your speaker is on a tripod or stand as well as a preset for speech to best optimize the speaker for its location and application. In addition to presets, you also have full control over the 3-Band EQ, input level, master volume control, delay control, polarity adjustment, and multiple high-pass crossover points. Unique to the subwoofers is a DSP preset for true cardioid configuration. This setting works to correct phasing issues in addition to optimizing the low frequency fidelity depending on your particular application. Lastly there is a lockout mode which helps prevent other users from adjusting your finely tuned settings.

Construction/Design

The ETX loudspeakers have a unique waveguide design called Signal Synchronized Transducers (SST). Through advanced simulation software and proprietary algorithms, EV were able to develop a waveguide that helps to physically time-align the low frequency and high frequency transducers. This minimizes the need for latency correction as well as to give the speaker precise control and the lowest level of distortion. The ETX line has some serious power under the hood. The ETX line are built like tanks. The smallest loudspeaker in the line, the ETX-10P weighs nearly 45 lbs. and the smallest subwoofer, the ETX-15SP weighs nearly 92 lbs. This is great in terms of durability, but it should also be something to note if you are planning on doing a lot of your own setup and breakdown. The speaker's cabinet is built with compact 18‑mm, 13‑ply birch plywood enclosures and finished with Electro-Voices own EVCoat. The loudspeakers have a total of 8 mounting or "fly" points that allow for ceiling and other permanent installation configurations. The pole cups, handles, and hardware are all made of die-cast aluminum which does help cut back on weight while still providing resilient construction. The subwoofers have wheels installed on the bottom which are a great addition for this beefy subwoofer. If the wheels aren't your thing, they can be easily removed. One great thing I found was that the subwoofers were designed with two sturdy bars in front of the speaker, but behind the grill. It seems like a great way to throw your loudspeakers on top of your subs grill when in transit, all while keeping your subwoofer looking pretty. The wheels make it easy to carry around the ETX subs and loudspeakers.

Review

These speakers sound great and can put out some serious volume, even with the smallest model in the ETX line. As you go up in size so does the maximum SPL which means more volume for your buck. It's always difficult to be completely objective when it comes to a loudspeaker review as there are so many factors that can contribute to a speaker's quality of sound whether that be good or bad. While the price point might make you hesitant on grabbing an ETX package, I would encourage you to think of the money you will save when those bargain loudspeakers meet their maker. Think of the ETX line like an investment in your live sound. While it might be an initial big purchase, you can be assured that you wont need to upgrade anytime soon after buying an ETX package. Also these are incredibly durable loudspeakers and subwoofers. This makes them great for long term gigging and prolonged used for a band or even a permanent install in a club or house of worship. The ETX line from Electro-Voice bears the stamp of, "You Get What You Pay for." You are paying for all the great construction and internal technology, as well as the peace of mind that these speakers will last well past anything with these specifications. As mentioned earlier, these speakers are heavy. The smallest speaker, the ETX-10P, is 45lbs. You will obviously need two so now you are lugging around 90 lbs of loudspeaker, and these are the smallest in the line. The bright side to this is that these are built like tanks and can withstand even aggressive abuse from loading, placement, and any other hypothetical gig hazard. If you want a PA system with serious volume, great fidelity, strong construction, and you are willing to shell out the necessary bucks, there are few options that can compare to the Electro-Voice ETX line of loudspeakers and subwoofers. Be sure to watch the video above to get a closer look at the Electro-Voice ETX line and let us know if you have any questions or comments below. If you are looking to grab some ETX loudspeakers and subwoofers for yourself, head on over to UniqueSquared.com SLAM!! Transcript

The ETX line is the latest in Powered Loudspeaker and subwoofer design from Electro-Voice. There are three different two-way models with 10, 12, and 15 inch subwoofers and for more Bass, EV provides a 15 inch and 18 inch powered subwoofer. We will be taking a look at the ETX-10P Loudspeaker and the ETX 15SP subwoofer. Every speaker and subwoofer in the line has the same technology installed. All of the loudspeakers in the ETX line have 2000 watts of class-D power. The real power of these speakers is in the Dynamic Range Output. Both the ETX-10P loudspeaker and the ETX-15SP have a 134 decibel peak sound pressure level or SPL. The ETX line has an advanced filter technology dubbed Finite Impulse Response or FIR for short. The FIR Drive is the name given to the advanced functions of filtering, optimization, and system protection. The FIR Drive optimizes transducer linearity while providing peak and thermal transducer protection. On the back of the loudspeakers, you have two XLR/TRS combo jacks, and one XLR link output. You also have knobs to control the level of each input. You have full control over the internal DSP with a single knob on the back of the ETX loudspeakers and subwoofers. Here you will find controls for EQ presets, limiter status, input level controls, master volume control, and an EQ for more precise configuration. The ETX loudspeakers have EQ presets that you can set up depending on the location and function of your ETX speakers. Lockout mode helps prevent casual users from changing your settings. One DSP feature unique to the Subwoofer is the cardioid preset. The Subwoofers can be setup on a cardioid array pattern which allows you to limit excessive amounts of bass in undesired locations. The speakers themselves are enclosed in a lightweight but durable birch plywood and finished with a rugged EVcoat. The subwoofers and the loudspeakers have rubber feet, and the ETX-10P also has rubber rails on the side when being used as a stage monitor. Both the Handles and the pole cups are a die-cast aluminum making them both durable and reliable. The loudspeakers have eight mounting points for permanent installations. For more information on the EV ETX line of speakers, including more technical information on the installed technology, visit the UniqueSquared blog linked below this video. To pick the ETX-10p and the ETX-15SP or any other speakers from Electro-Voice, click the links in the description below the video. You’re watching UniqueSquared.com.