As the UHF band grows more crowded with devices of every type, finding clear frequencies for a wireless mic (or several) can be a challenge in some locales. Interference, dropouts and “ghost” audio are just a few of the problems that can crop up when a wireless mic is competing with RF noise.
The affordable Electro-Voice RE2 UHF microphone system uses a clever scanning process to identify and avoid frequencies plagued with potentially problematic levels of RF noise. EV’s ClearScan technology scans channel groups, individual channels or even specific frequencies, ranking them from squeaky clean to unusable. In the simplest mode, the receiver automatically selects the best group and channel after scanning. Set the transmitter to the same group and channel, and you’re all but guaranteed clean audio.
Once ClearScan has done its magic and located a safe slice of the UHF spectrum, this nifty feature will likely go unused for a long time in most permanent installs. So how is the RE-2 for regular day-in, day-out use? Read on.
Features
As with many comparable wireless setups, the RE-2 system can be outfitted with a variety of transmitters and accessories. Transmitter options include a handheld mic with several different “heads” (elements) to choose from, or a versatile bodypack. Handheld elements include the Electro-Voice N/DYM 267a dynamic cardioid, N/DYM 767a dynamic supercardioid and RE410 cardioid condenser (tested here). Bodypack options include directional and omnidirectional lavalier mics for vocal and instrument applications, two headsets and a guitar cord. A switchable guitar mode optimizes the RE-2 bodypack for guitar applications.
Both handheld and bodypack systems offer the same basic user interface, consisting of a small LCD display and three buttons. The transmitter’s three buttons (SET, UP and DOWN) are used to adjust the transmitter’s group and channel for coarse frequency control. In frequency mode, fine adjustments are possible in 25 kHz steps. Holding down all three buttons for three seconds engages power lock out mode, forcing the mic to stay on regardless of the setting of the unit’s small power switch. The last transmitter control is an audio gain knob used to set the transmitter’s sensitivity to match the strength of the voice or instrument. The RE-2 transmitter has no mute/standby mode, nor does it offer a high-pass filter to eliminate bass rumble or breath “pop” noise.
The transmitter’s LCD has three different display modes: group and channel, battery capacity in percent (25% increments) and frequency. In addition, a small red LED functions as a low battery indicator, glowing solid when the battery is nearly depleted. The mic remembers the display mode it was in when powered down, which is handy since the battery percentage remaining display is clearly the most relevant for regular use.
The RE-2 receiver is a compact, half-rackspace enclosure with two detachable antennas. A true diversity system allows the RE-2 to avoid many dropouts by silently switching to whichever antenna is picking up the strongest signal. Outputs include an unbalanced 1/4-inch line and balanced XLR jack; the latter is switchable between line or mic level. A small knob on the back panel controls output level for the line output(s), assuring optimum level matching when connecting the receiver to a mixer or recorder.
Out front, the RE-2 receiver sports a large backlit LCD panel flanked by four buttons — POWER, SET, UP and DOWN. Displayed are RF and audio levels; group and channel; active antenna; guitar mode; and transmitter battery strength. This last display ranks up there with the greatest “why didn’t they do this a long time ago” features of all time. Four segments show battery strength, and the display flashes when battery level gets dangerously low. Once you use a wireless system with this feature, you’ll wonder how you ever lived without it.
To the Test
Setting up the RE-2 system is simple indeed: connect receiver to mixer, initiate a ClearScan to find the cleanest group and channel, and then set the transmitter to the same frequency. Dial in a few levels, and you’re essentially done. Even placing a 9-volt battery in the handheld transmitter is a no-brainer: stick the battery in either way, and the RE-2’s electronics automatically sense the polarity – very convenient when a tech needs to perform an emergency battery replacement in near-dark lighting conditions.
Range and RF noise resistance of the RE-2 system is on-par with comparable systems. As with any wireless mic system, a line-of-sight path between mic and receiver is best. Walls and other obstructions can knock wireless range down considerably. Even in challenging settings, however, the RE-2’s adjustable squelch circuit handles signal dropouts gracefully. The receiver is equally well-behaved when the mic is powered off or on, emitting no pops or bursts of noise.
Sonically, the condenser RE410 element delivers a very natural, un-hyped sound. In close micing applications, this flat response makes for a dark, somewhat uninspiring vocal tone if not perked up with EQ at the mixer. On a male vocalist, for example, I found a treble boost of about 6 dB to give the clarity and crispness the vocal needed.
It may seem counter-intuitive that the EV’s condenser element would be least crisp of the bunch, but it is. Both the dynamic elements have a rising treble response that helps open up the sound, especially in close-micing applications. If you want a crisp, “cut-through-the-mix” sound with minimal EQ, steer towards one of the N/DYM dynamic elements. If you want a flat, accurate sound, the RE410 condenser element is the best choice.
Resistance to handling noise is important with any handheld mic, and the RE-2 puts in a good showing in this area. Typical knocks, bumps and finger taps were virtually inaudible in testing. Any handling noise picked up is mostly of the less-distracting midrange variety instead of deep bass. Where the RE-2 does dish up some serious low-frequency noise is in the area of breath plosives (pops). With no high-pass filter, blasts of air hitting the RE410 capsule often result in very loud, rumbling pops. Engage a filter at the mixer if possible, or help your vocalists practice good mic technique.
On the user interface front, the RE-2 handheld mic benefits from a clear, contrasty LCD display that’s easy to read in all but the worst lighting. The receiver’s display is similarly easy on the eyes. Where the RE- 2’s interface could use some refinement is in its button control scheme. Several functions of the receiver and transmitter require two or more buttons to be pressed at once, or one button to be held down, or two buttons to be held...
Adjusting squelch on the receiver, for example, requires pushing and holding the UP button. Pressing and holding both UP and DOWN buttons toggles the edit lock on and off. Who is going to remember that? The combinations of buttons are unintuitive (and the receiver’s graphics offer no help), making these operations a guessing game unless you have the manual handy.
Bang for the Buck
These concerns pale in light of the RE-2’s value. With a street price of under $500, the American-made Electro-Voice system delivers a great deal of performance and flexibility for the money. Its wireless electronics appear to be very well engineered, and a selection of mic types, elements and accessories allow you to configure the RE-2 with the sound and features you want. Finally, the RE-2 receiver’s battery strength indicator more than atones for a few clunky buttons.
Loren Alldrin is a regular contributor to Church Production Magazine.
