Shure SM7B vs. Electro-Voice RE20: Which Broadcast Mic for a Radio Show?
Ask what microphone radio hosts use and two names come up over and over: the Shure SM7B and the Electro-Voice RE20. Both are large dynamic microphones built specifically for spoken-word broadcast, both have been in studios for decades, and both will do the job well. But they are not the same microphone, and the differences matter more than the spec sheets suggest.
If you haven't already settled on a dynamic mic, it's worth reading our overview of dynamic vs. condenser microphones for broadcasting first — both of these are dynamics, which is a big part of why they work in ordinary, untreated rooms.
What they have in common
Both are cardioid dynamic microphones, meaning they pick up mostly from the front and reject sound from behind. Both have internal pop filtering to tame plosives, so you can work close without an external screen. Both connect over XLR and need a proper audio interface or mixer — neither is a plug-into-your-laptop device, which is the trade-off discussed in USB vs. XLR microphones. And both are forgiving of the less-than-perfect rooms most home broadcasters actually have.
Where the SM7B stands out
The Shure SM7B has a smooth, flat, wide-range frequency response and includes switchable bass roll-off and presence-boost settings, so you can shape the voice at the microphone before it ever hits your mixer. It also has effective internal shock isolation, which helps when your mic arm gets bumped mid-show.
The practical catch is gain. The SM7B produces a relatively low output signal, so it needs a preamp with plenty of clean gain. Pair it with a weak preamp and you'll find yourself cranking the knob and hearing hiss. If you're budgeting, treat the SM7B and a capable preamp or inline booster as a package, not just the mic price alone.
Where the RE20 stands out
The Electro-Voice RE20 is the archetypal radio announcer's microphone, and its signature feature is Variable-D — a design that reduces proximity effect, the bass buildup that happens when you get very close to most directional mics. In plain terms: with the RE20, your tone stays more consistent whether you're two inches from the grille or six. That's a real advantage for hosts who move around, lean back, or turn to read from notes.
With an SM7B, distance changes your sound more noticeably; that can be used deliberately for a warmer, closer tone, but it demands more discipline. Our guide to radio mic technique and working distance covers why this matters on air.
How to choose
- Pick the SM7B if you like the modern, slightly darker broadcast sound, you want onboard tone switches, and you already have (or will buy) a preamp with generous gain.
- Pick the RE20 if you value consistency above all — a mic that sounds the same even when your technique slips — and you like the classic AM/FM announcer sound.
- Pick neither if you're just starting out on a tight budget. Plenty of cheaper dynamics deliver most of the benefit; see our broader guide to choosing a broadcast microphone for options at every level.
Professional voice coaches and audio engineers tend to agree on one thing, echoed in NPR's training guide to choosing microphones: the differences between good microphones are smaller than the difference technique makes. Either of these mics, used well, sounds like radio. Neither one, used badly, will save a show.