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Electro-Voice RE520

Electro-Voice RE520

3.9 3.9 out of 5, based on 2 Reviews

Amazing sounding vocal microphone, detailed and warm. Love it.

17th August 2019

Electro-Voice RE520 by Deemanonice

  • Sound Quality 5 out of 5
  • Ease of use 4 out of 5
  • Features 5 out of 5
  • Bang for buck 5 out of 5
  • Overall: 4.75
Electro-Voice RE520

After 25 years of working in my studio and no live performances, I decided it was time to go back on stage. I needed a new vocal microphone and did not want to settle on the usual suspects. After some research, I ended up purchasing a brand new Electro Voice RE520. First, let me say that I have always been an Electro Voice kind of guy. Most of my microphones in the 70s and 80s consisted of EV microphones and to this day I still have several (RE55’s, RE15’s, RE20, PL9 ….) in my mic locker.

First Impressions
The RE520 is a supercardioid condenser microphone and requires 48 volt phantom power to operate.
The first thing that impressed me when I took it out of the box was its weight. This mic feels solid and very well built. It is made out of metal (not Plastic) and it looks like it can take a real beating without breaking. Classic Electro Voice! After all these years they are still manufacturing microphones that are built to last you a lifetime. Love it!

Sound and Features
The RE520’s sound is very clear and detailed. If I had to describe the sound in simple terms, I would say it sounds smooth and silky, with a detailed quality to it.
The mic has a frequency boost in the upper mid-range to enhance the clarity of the vocals. The lows are warm but not overbearing. Even when your lips are right on the grille, pop noise and proximity effect are well controlled. If you still feel the need to reduce the low frequency content, you can engage a high-pass filter that attenuates below 150 Hz. The switch is located under the grille. Having the high-pass switch on the outside of the microphone would have been more practical, but then the RE520 is a live vocal microphone so how many times do you really need to get to the high-pass filter? To engage the HPF you have to unscrew the grille and flip a switch. This is an easy step, and the switch is large enough to be flipped with your fingers.
In addition, the microphone has a vibration-absorbing internal shock mount, so in handheld operation the handling noise is very well-controlled.

I’ve been able to test the RE520 now for several months and can’t come up with anything that I don’t like about this microphone. My one complaint about the high-pass switch not being accessible from the outside is a minor detail. Let’s be honest, most vocal microphones don’t even offer this kind of feature. The RE520 is a rock solid-vocal microphone that is built like a tank and, best of all, it sounds absolutely fantastic.

In Conclusion
The Electro Voice RE520 is an exceptional live-performer in the rehearsal room and on stage. I have had no problems with feedback and my vocals are now always cutting through the live mix.
If you are planing on buying a new vocal microphone, the Electro Voice RE520 is well worth considering. It is one fantastic-sounding microphone and, with its well-built quality, it should withstand even the most demanding on-stage conditions.

Last edited by Deemanonice; 17th August 2019 at 01:04 AM.. Reason: Trying to upload Header image with no success

  • 1
2 weeks ago

Electro-Voice RE520 by FabN

  • Sound Quality 2 out of 5
  • Ease of use 5 out of 5
  • Features 3 out of 5
  • Bang for buck 2 out of 5
  • Overall: 3
Electro-Voice RE520

Please find below a second feedback about the EV RE520.
IMO the best dynamic mic for vocals on stage ever build is the Shure beta 58.
An alternative may be the EV N/D767a that brings a little more lows than its counterpart by Shure.
All that is to say that because I enjoy this brandname, I bought the RE520.
I'm quite disapointed by this made in China mic.

In use
Tested for 1 month, with my spoken voice in my bedroom studio, paired with over 25 differents types of mic pre (most of them in the 500 form factor),
here is my opinion:
#1 Low cut filter is tuned too high, so I set it off.
It may be ok to leave space in the lows while being on stage for later mixing process, but part of the "body" of my voice disappeared.
#2 The permanent biased capsule is quite noisy. I often get some hum, probably coming from the poorly designed switching PSU feeding my rack.
To be honest, I tested many differents mics before this one (dynamics, ribbons, statics) and never came accross this kind of PSU issue before!
Again, should be fine for pop music captured on stage.
#3 This mic's sound is very mic preamp dependant.
With cheap mic pre, made with all in one chipset for example, mediums will be as detailed as public address speakers (no details at all!)!
#4 No bottom end. Lows mid are often muddy, even once fixed by a four band eq.
Mids can be fine, opened, oily and detailed with the right couple mic-pre & eq (Tonelux MP5a & EQ5p).
Highs are almost always not fine: Too airy, harsh, with too many transients. Most of the time, catches sibilants and "sh" sounds.
Hard post processing required!
#5 The good news may be directivity: this mic forgives positions mistakes:
as singer is getting away for the mic, the feeling of focus remains quite nicely at the price of getting a roomy sound.
#6 The mic is well build, with the capsule nicely physicaly insulated from the mic's body. Given its price, doesn't look or feel cheap.

Bought 300€ in France last may 2020, this mic is not cheap for a self-biased condenser.
It is not my go to mic for vocals, but should be ok for pop backing vocals, live guitars or percussions like drums.
IMO this mic is intended to beginners, with short budget, requiring a tough mic.
If demanding musicians, this mic require time and means to mix their tunes!


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