Electro-Voice RE90H Specifications

Description and Application
The RE90H and RE90WH of the Architec-
tural Microphone Series are back-electret
condenser hanging microphones providing
an extended, flat frequency response with a
controlled cardioid polar pattern for high-
quality sound reinforcement. The RE90H is
specifically designed for live pickup of
choirs, instrumental and vocal groups, and
theater. The size and color of the transducer
and cable allow the microphone to blend in
with its surroundings.
The RE90H's low self-noise and high-out-
put signal level combine to produce low-
noise, sound-reinforcement and recording.
Exceptionally high sensitivity, a uniform car-
dioid polar response, and smooth frequency
response make the RE90H ideally suited for
distant sound pick-up. The cardioid polar
pattern is precisely controlled and is highly
effective in suppressing feedback without
coloration of sound. Power for the RE90H
is obtained from any phantom source sup-
plying 9 to 52 volts.
The RE90H is furnished with 25 feet of black
(RE90H) or white (RE90WH) miniature
braided shielded cable. The design of the
cable ensures the microphone's horizontal
position will be held stable without the need
for fish-line tethering.
The RE90H is easily aimed at the perfor-
mance with the supplied steel wire hanger
and holding nut. The wire hanger attached
to the microphone element and cable can be
bent to aim the microphone in the vertical
plane. To position the microphone on the
horizontal plane, loosen the holding nut on
the back of the microphone and slightly twist
the microphone on the wire holder (clock-
wise rotation rotates the RE90H to the left;
counterclockwise rotation rotates the RE90H
to the right). Secure this position by tight-
ening the holding nut.
Note: For fixed installations, allow the mi-
crophone cable to hang for at least 24 hours
so the cable can completely relax and estab-
lish a set. This allows the microphone to be
accurately positioned over a choir, stage or
orchestra.
Application Notes
When hanging one or more microphones to
provide coverage for a choir, instrumental
or theater group, the best microphone posi-
tion for optimum sound quality and feedback
control depends on many factors–sound sys-
tem characteristics, construction of the au-
RE90H
RE90WH
Condenser Cardioid
Hanging Microphone
• Non-reflecting black (RE90H) or
low-gloss white (RE90WH) with
matching cable.
• Shielded pre-amp is highly-resistant
to electrical noise and radio frequency
interference.
• 25-ft. braided, shielded cable maintains
microphone's position (not rotation)
• Cardioid polar pattern
• Three-pin male XLR-type output connec-
tor fits with female bulkhead XLR-type
connector
ditorium or theater, and the size and nature
of the performing group. Two general rules
to observe for the best sound coverage are
(1) microphone position and (2) the "3-to-1
rule."
The first rule is to suspend the microphone
approximately two to three feet in front of
the first row of performers and two to three
feet higher than the heads of the last row of
performers. The microphones are usually
aimed to point at the last row of performers
(see Figure 3).
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). Following the 3-to-1 rule
avoids the deep voids and dips in frequency
response that occur when two or more mi-
crophones "see" the same signal from
slightly different distances. The 3-to-1 rule
is as follows: when multiple microphones are
used, place them at least three times as far
apart as any one of them is from the nearest
sound source. Figure 4 shows a proper ap-
plication of the 3-to-1 rule.
The RE90H may also be used to provide cov-
erage for live theater applications (Figure 5).
Most of the action occurs at center stage, so
the microphone should be positioned above