The coolest thing I think I did today..

[mixsit]

..besides not making any fu**-ups as far as I can tell on today's session
Singer was having some trouble keeping things even as far as level' into his mic - This BTW is 'live with the band in and around the place RE20 up close makes for the best voc-to-noise track, but between playing guitar at the same time and a few 'turning to the lyric sheets.. not goot!
I was thinking a pop shield set an inch off' would do it but, too big bulky and in the way.

Ding
A foam shield over the mic -but pulled off to leave a gap of about an inch behind it.
The level differences 'up on it or a little 'off mic go way down I like it! Now the bit of compression gets to do what it's good at- just shaving off the hot spots.
Sacrificed a little on the bleed' end, but was well worth it.

 

[RawDepth]

As far as isolating the background noise, the RE20 was a good choice. However, as far as level control, the RE20 was probably the worst choice. It apparently solved one problem, but caused a new one.

Dynamic mics have an extremely sensitive proximity zone of about 6" or less where volume drops off rapidly. Varying the distance of the singer within that tiny zone makes quite a noticeable difference to the level and frequency response.

Depending on polar pattern, condenser and ribbon mics have a much larger working zone where volume and frequency stays more consistent, perhaps up to 18" or so.

Perhaps the best approach to the problem would have been to reduce background noise and teach the singer proper mic technique.

At any rate, if you got the job done well, then good for you.

 

[mixsit]

As far as isolating the background noise, the RE20 was a good choice. However, as far as level control, the RE20 was probably the worst choice. It apparently solved one problem, but caused a new one.

Dynamic mics have an extremely sensitive proximity zone of about 6" or less where volume drops off rapidly. Varying the distance of the singer within that tiny zone makes quite a noticeable difference to the level and frequency response.

Depending on polar pattern, condenser and ribbon mics have a much larger working zone where volume and frequency stays more consistent, perhaps up to 18" or so. ...

After reading that, even let it set for a bit really I'm not sure what you're trying to say here.
On one hand as far as 'isolation, the RE20 isn't the tightest pattern around. Nor probably similar to the SM7 (though going by specs' not experience on that one), does it allow one to get extremely close to the capsule.
And strikingly obvious difference singing on the RE' mics is the lack of having the proximity tone lift' effect.
In my experience that's quite a unique trait and can be a real blessing.
.. Or fairly disconcerting if you're expecting to work the tone of the mic. Sometimes (maybe more often than not) when I sing into a mic it's almost ingrained that it should get 'bigger when you work it.

Anywho, maybe all you're talking about is (other) mics that are balanced to sound big' several inches to a few feet out?
Suffice to say I think they all get sensitive to small changes up close.
This here was 'sounding good up pretty close, and striking a balance.

 

[RawDepth]

No, no, I was not talking about polar pattern. I was making reference to a microphone's sensitivity at great distance. I was pointing out that condenser mics seem to pickup far-off noises better than dynamics. Thus, using a dynamic such as the RE20 would have helped with the "turning of the lyric sheets" problem. But at the same time, dynamics generally cause more of a problem with small movements while up close. That's it.

 

[mixsit]

No, no, I was not talking about polar pattern. I was making reference to a microphone's sensitivity at great distance. I was pointing out that condenser mics seem to pickup far-off noises better than dynamics. Thus, using a dynamic such as the RE20 would have helped with the "turning of the lyric sheets" problem. But at the same time, dynamics generally cause more of a problem with small movements while up close. That's it.

I see the problem now. That was 'turning to the lyric sheets' -i.e. he was getting a little off mic.

But I'm still of the camp that says (that is until I hear of a better explanation ) if 'dynamic' mics have more problem with small movements it's because we use them up close. Not because of the element type.