Lol. What? Just back away.
I'm guessing such a mic would be designed to attenuate the low mids, like an SM57 that is optimized for close micing. Problem is, you're stuck with that attenuation. For home recording, why not just back away as Greg_L said?
It shouldn't sound especially thin or weird, but you wont get pronounced bass up close.
If that's a feature you normally make use of then you'll want to stick with a conventional cardioid mic.
I have an re11 that I've literally never used. I'll check it out tomorrow if I get time.
It's a well respected mic. I went buck-daft buying electrovoice mics a few years ago and never use any of them.
I bought an old tape recorder on ebay because I spied that electrovoice/battleship grey in the background of the picture.
It turned out to be 4 (unmentioned) mint do54s. I sold the tape player on it's for more than I paid and kept the mics.
I did a 'live vocal mics test' for a few friends last week looking to pick one out they liked (in their house w/ pa etc- acoustic electric so not a loud band.those re-11s have doubled in price in just a few years i think it's message boards like this. i got mine years ago cheap and now they sell for like $100 each.
i really love the re-11 but it wasn't working for me tonight.
Another perspective,,
For 'live in the studio, or just a good all rounder for many recording things, the RE-20's are my flat out go-to's. It works very well in that it's fairly neutral -which means ok for most voices**, can work up on (good for isolation) or off a bit w/o the tone getting too weird or changing much like most mics.
For my vocal 'live gig experience -RE16, it was ok, but I went back to normal mics (currently 767, 967, or OM5's).
I hate the over blown low freq crap that can be had (often heard) of these typical type live voc mics, but that can be mitigated by simply setting sensible pa/tone balancing. So for me that was the full circle- have the proximity effect, but keep the low end in check.
**..no mic is 'great' for all voices.
The RE20 has a bit of odd top 'crinkle tone to it (8k or so?), but not the typical 5-6k peaky' rise of a lot of mics.
So that's how AKG did that! I was aware of some of theirs having dual caps but didn't get that one was set back- or for that reason.For a mic. without proximity effect - use an omni, they don't have any proximity effect.
The cardioid AKG D202, D222 and D224 had virtually no proximity effect - they had a separate capsule for the bass and rear entry slots and the bass capsule was so far away from the source there was almost no proximity effect.