This is the simplest, most incredible-sounding mic setup I have ever used, ever. ![]() Without the 176 compressor, my RE-20 sounded so quiet it was like having noise-canceling headphones on. It was a trip back in time to that little college radio station in 1976. Red light for 48v power to the Cloudlifter, blue light for the headphones, orange lights for Vintage and the magical 76 Compressor, and green lights for the VU meter. So many choices! Thankfully, a salesman at my locally owned music production shop steered me away from my first choice, a little red box that worked pretty well for me in the past, and pointed me right to the little unit I now have lighting up my small recording space like a Christmas tree (I love all the colored lights!): the Volt 176. Now I just needed something to connect all that analog goodness to my Mac. I chose a Cloudlifter to boost the RE-20 signal. Work sent me a new-in-2022, 16" M1 MacBook Pro - science fiction made real. Mic cables? Short, gold-coated Mogami XLRs. My mic of choice? The good old RE-20, unchanged since my fond memories of 1996: effortless, warm, flat profile with no need for a pop screen and tough enough to pound nails into a board (look it up). I was a reporter in radio and TV for nearly 20 years, and I know how to do my research. It was a fun time.įast-forward 30 years, and now I'm trying to build a professional-sounding setup for my new, remote job requiring voiceovers. Speaking into the classic Electrovoice RE-20 with its unique, greenish-brownish-gray gills, for about 4 minutes I got to sound just like I was in the room with Bob Edwards in Washington, DC. I still remember jumping bleary-eyed into the booth with 30 seconds to air, popping on the cans and waiting for the signal from my producer. ![]() Back in the mid-1990s, I had the opportunity to broadcast the early morning local cut-ins for National Public Radio in a college town.
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