- In this video, I'll show you the ultimate settings
for the Electro Voice RE20 and the RODECaster Pro II.
So stick around, right the way through to the end,
so we can hear the improvements made to this microphone,
just by tweaking a few settings
on your RODECaster Pro II.
♪ Check the mic and make sure it sound right, boys ♪
♪ It sound right, boy ♪
- Now before I even get into the settings
on the RODECaster Pro II,
I will say a few words about this microphone.
This microphone, I have recently put into my studio chain
and I love it.
Just as it comes right outside the box
with a simple attachment for a boom arm,
it works supremely well.
In fact, so much so,
I've thrown out my old condenser
and I'm now working on this dynamic microphone.
So what do I really like about it?
Well, you're presently hearing it naturally,
without much processing from the RODECaster Pro II
and it sounds pretty good.
It's got FM quality broadcast sound,
so great for podcasting, YouTubeing, online creation.
It's also got these grates around it,
which I discovered are to help with
someone who goes off microphone a lot.
So if you've got a guest who goes over here and over there,
and over here and all of that,
it helps with the proximity effect
and to keep those frequencies in the voice,
that you'd otherwise lose when people go off mic.
So that's another really good feature.
Now, one caveat to this mic, is it's super, super sensitive.
So the shorter your cable run on the microphone the better.
Meaning, if you can have a very short XLR
between this and the actual RODECaster Pro II,
that is a benefit.
If you're running it through boom arms
and around the back of your setup,
around a load of electrical outlets
you are probably gonna pick up a little bit of hum.
It may not be noticeable to everyone,
but if you're doing voiceovers on this,
definitely watch out for that.
With that all said, let's hop into the RODECaster Pro II,
and take a look at exactly what's going on
with this microphone.
So I'm going to just go ahead now,
and show you exactly what I got going on here.
I'm in on channel four at the moment for this microphone
and you'll see that it's actually selected as a PodMic,
which in fact is incorrect.
So I immediately need to swipe that across to Dynamic.
When I do that,
it will select a dynamic microphone as my thing.
Now it will take a few seconds just to
recognize it's a dynamic and change the sound,
and you might hear the sound's changed a little bit.
Now I can go ahead and look at this volume bar
and just make sure my audio is well
within that green railway track.
It is.
I could probably push this up a few dB like so,
50 dB still gives me a nice range
and I'm going nowhere near the red.
So I'm gonna stay at 50 dB
on the dynamic microphone setting.
So with all that done,
we've got a pretty good basic Processing Rack.
You'll see the RODECaster adds Depth, Sparkle and Punch,
and of course, I can select any of these and increase them
so I've got more Depth, more kind of bass in my voice
or I can reduce that right down,
and I kinda roll off the low end there.
The Sparkle, of course is well,
the opposite to the Depth.
It's adding a little bit of extra high end
or taking it away and making my voice very flat.
So again, I'll leave that at default.
And then you've got Punch over here.
Up here it's nice and big and boomy and punchy
and down here it's softer, easier spoken.
Say if you're doing a podcast,
where you don't need to sound like a radio host,
you might wanna back that off a little bit.
With all of that said, that's pretty great,
but we are here for the real advanced stuff.
And I can go into there by simply clicking over to Advanced.
And now, I get all of my Advanced Effects
that I can really place on this microphone.
Including of course, let's start with the HIGH-PASS FILTER,
which is the ability to roll off low end frequencies
in this microphone.
This microphone is really good,
but I can of course, increase that Frequency
and you'll hear a lot of the bass in my voice drop off
and then I can put it back down again,
and you've got lots of boomy bass,
especially when I go right the way down.
So a good place to set this as a starting point
is around the 65 or 66 hertz frequency range.
That's what I'd say is pretty good for the HIGH-PASS FILTER.
Now, if we're looking at the DE-ESSER,
you'll see that as I say things,
it's coming in pretty well
and everything is working pretty perfectly there.
So I'd leave it pretty much as is.
And you can see every time I send an S word,
that red highlight is coming up on the DE-ESSER
and doing its job perfectly.
Now, just to be sure that's right,
we can click Frequency here,
and we can just play with that,
while we say, "She sells sea shells,"
or something like that.
She sells sea shells,
sea shells, sea cell, shell, shell, sea cell.
Okay.
(loudly hissing)
And we'll see where that peak is the biggest.
(shushing loudly)
So right about where it was there,
let's bring that back to where it was.
Hello.
(loudly hissing)
We're gonna stick at around about sticking at 4,000 Hertz,
seems like the best place around 4,000 hertz,
for my voice is pretty good on the DE-ESSER.
So not much to change there.
NOISE GATE is pretty good.
I'm really happy with the way this is set up.
If we've got a quiet room, we can leave it as is,
but if your room is a little noisier,
you might wanna click on Threshold over here.
And see, that's already selected.
So we're working with Threshold there.
And I can bring that down
and that gives me a very true sound,
without any NOISE GATE whatsoever on the mic.
If I bring it up, you'll hear.
Oh, it's trying to quiet me down quite a lot.
So we need to go somewhere in between,
around the minus 24 dB is a good place to have it
for the Electro Voice.
But as it's such a great microphone
that reduces a lot of the noise already,
we don't need to go too crazy on a NOISE GATE here.
Let's go across now and look at the COMPRESSOR.
We've already got a bit of compression,
a bit of Gain Reduction going on.
Ratio is two-to-one, that's pretty nice.
I might increase that just a little bit.
So let's go on the Ratio and maybe nudge that up
to three-to-one to get like a nicer Ratio there,
bit of a punchier kind of processing on my microphone.
If I still want it punchier further,
I can reduce that Threshold down a little bit more,
so I'm getting more Gain Reduction.
And that's probably a little too much.
Minus 35 is about the lowest I'd go on the COMPRESSOR there.
And we've got EQUALIZER.
We've already got a nice EQ curve on here.
We can of course, if we want it crispier,
turn up the High Gain there
and we get that Sparkle added on,
as we did with the Basic Effects from the RODECaster.
But notice too much, adds in a bit more Sibilance,
so I'll just back that off a tiny bit.
Mid Gain, again, sounding pretty good.
We can boost this right up
and hear what frequency it's working on.
And we might choose to move that along
and actually work on a higher end frequency,
so somewhere around the 1,500 mark,
and then just bring that down a little bit
and keep it boosted by maybe about a decibel
or decibel and a half.
And that gives a real vocal presence there.
The Low Bell is pretty good.
I mean, again, we could use this here,
just to work on the low end frequencies
by boosting them up and then maybe pushing
that Low Bell up a little bit,
so we work on the higher end, low frequencies,
and just boost that by a couple of dB.
And now, I think we've got what is sounding
like a pretty decent microphone.
Got the EXCITER here, the BIG BOTTOM and the AURAL EXCITER.
They seem to be set pretty well
for this wonderful microphone.
And we've also got PANNING,
which we don't really need as well.
So once we are pretty happy with the setup,
we've done enough setting up there on the RODECaster Pro II,
as long as we have selected a Dynamic microphone,
We've made sure that the frequency of our voice,
the amplitude of our voice
is falling right within the railway tracks,
when we're setting up the initial Volume Gain.
Then we can go through and tweak those Advance Settings
to our heart's desire.
But I really think this microphone is so good,
that it really doesn't need that much processing
on it to start with.
And it's great for podcasting,
for YouTubeing, online creation.
What I really like is I can actually put it
right down there out of the way
and have it pick up my voice nice and clearly.
So it's much better than having like a condenser mic
right in front of my face.
I'm feeling much more comfortable with this kind of setup.
And of course, because it's a dynamic microphone,
the Gain is not so high on it.
But the high-end revolution preamps,
on the RODECaster Pro II,
really do a great job of boosting up the signal.
So no need for analog gear like, you know,
anything like a DBX or one of those beautiful things
like the Cloudlifter that you would've plugged in,
in the olden days when you're working
a little more analog.
Here, it's all digital.
It's a very clean signal and I really like it.
So I hope this has helped you figure out
the Electro Voice RE20 settings
for your RODECaster Pro II.
And do feel free to post any questions you have
in the comments down below.
If you've not done so already,
check out Musicradiocreative.com.
This is where my team of 200 plus audio professionals
can help you with Voiceovers, Radio Jingles,
DJ Drops, Podcast Intros, Music, Ads, and much, much more.
(upbeat music)
♪ Thumbs up ♪
♪ Subscribe for more ♪
♪ Music Radio Creative ♪
♪ Dot com ♪
(upbeat music ending)