Electro-Voice - RE92HW
370 €
excl VAT
including eco-part : 0,07 €
In Stock
Usually ships within 10 days
+infos
Guarantee 3
years
Anais
Tristan
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Static Microphone
Electro-Voice RE92HW White miniature condenser microphone with cardioid polar pattern, low-cut filter, in-line electronic module and transformerless output. Ideal for recording choirs, worship services, plays, conferences and all applications requiring discreet, high-quality recording. The 7.6 m cable is terminated with a male 3-pin XLR connector.
ARTICLE N° 87386
Presentation
The Electro-Voice RE92H is a miniature cardioid condenser microphone of professional quality.
It is designed specifically for applications where the microphone needs to be suspended above the source to be picked up, such as above a stage, a choir or the ceiling of a meeting room.
The RE92 HW has a uniform cardioid pick-up pattern for high gain-before-feedback, and its exceptionally high-sensitivity condenser capsule provides clear, natural sound reproduction.
The technicians at SonoVente.com recommend the RE92HW for remote miking, in any application where a small, high-quality microphone needs to be discreet but highly effective.
The microphone is available in two colours, RE92H (black) and RE92HW (white). The built-in wire director can be easily shaped to the appropriate angle so that the microphone points at the desired sound source.
The RE92HW is supplied with 7.6 metres of cable. The cable is fixed to the In-line module by means of screw terminals, so that if necessary, the cable can be easily shortened.
It is designed specifically for applications where the microphone needs to be suspended above the source to be picked up, such as above a stage, a choir or the ceiling of a meeting room.
The RE92 HW has a uniform cardioid pick-up pattern for high gain-before-feedback, and its exceptionally high-sensitivity condenser capsule provides clear, natural sound reproduction.
The technicians at SonoVente.com recommend the RE92HW for remote miking, in any application where a small, high-quality microphone needs to be discreet but highly effective.
The microphone is available in two colours, RE92H (black) and RE92HW (white). The built-in wire director can be easily shaped to the appropriate angle so that the microphone points at the desired sound source.
The RE92HW is supplied with 7.6 metres of cable. The cable is fixed to the In-line module by means of screw terminals, so that if necessary, the cable can be easily shortened.
Other features
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Electro-Voice RE92HW
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Miniature microphone
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Condenser, back Electret
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2 micron thick gold-sputtered diaphragm
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Suspended microphone
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Wide band
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Cardioid polar pattern
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Frequency response 40Hz to 20kHz
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Sensitivity 5.6mV/Pa
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Max sound pressure level > 135dB SPL
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Self-noise: 30dB SPL A-weighted
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Dynamic range > 105dB
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Output impedance @ 1kHz: 250 Ohm
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Requires 24-52V phantom powering
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RFI/GSM radio frequency protection
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Integrated preamp
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7.6 metre shielded white solid-state cable
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3-pin male XLR output connector
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Microphone dimensions: 32.1mm x Ø 10.5mm
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Electronics module dimensions: 135.9mm Ø 22.2mm
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Net weight: 250g
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Colour: white
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Also available in black under reference RE92H
To find out more...
When suspending one or more microphones to provide full coverage for a choir, instrumental group or theatre, the best microphone position for sound quality and feedback control depends on many factors: the characteristics of the sound system, the construction of the auditorium or theatre, and the size and nature of the group performing.
The first rule is to hang the microphone about 80cm in front of the first row of performers and 60 to 80cm higher than the head of the performers in the last row. The microphones should be oriented so that they point towards the last row of performers.
The second rule, the 3-to-1 rule, should be applied when more than one microphone is required and their outputs are combined (as with a mixer). The 3-to-1 rule helps to avoid the deep voids and dips in frequency response that occur when two or more microphones 'see' the same signal at slightly different distances.
The 3-to-1 rule is as follows: when using several microphones, place them at least three times further apart than one of them is from the nearest sound source.
The RE92HW can also be used to provide optimum coverage for live theatre. Most of the action takes place at centre stage, so the microphone should be positioned above and pointed towards the centre of the stage.
The first rule is to hang the microphone about 80cm in front of the first row of performers and 60 to 80cm higher than the head of the performers in the last row. The microphones should be oriented so that they point towards the last row of performers.
The second rule, the 3-to-1 rule, should be applied when more than one microphone is required and their outputs are combined (as with a mixer). The 3-to-1 rule helps to avoid the deep voids and dips in frequency response that occur when two or more microphones 'see' the same signal at slightly different distances.
The 3-to-1 rule is as follows: when using several microphones, place them at least three times further apart than one of them is from the nearest sound source.
The RE92HW can also be used to provide optimum coverage for live theatre. Most of the action takes place at centre stage, so the microphone should be positioned above and pointed towards the centre of the stage.
