[This article on the making of Marr's 2018 *Call the Comet* album by MixOnline.com](https://www.mixonline.com/recording/johnny-marr-finds-his-voice-on-call-the-comet) touches on some of the gear used during the recording process. "The bass, played by Iwan Gronow, goes through a Fender Bassman 100 or 300 through an 8x10 speaker. When not going DI, either an Electro-Voice RE20 or Neumann TLM 103 or beyerdynamic m380 microphone is used." (While the engineer is providing this feedback, the gear is housed in Marr's own Crazy Face studios, which contains gear he's collected over his decades in the music industry.)more
Used "occasionally" on John Mayer's *Continuum*, as stated by recording engineer Chad Franscoviak in this October 1, 2006 *Mix Online* interview. > To capture Palladino's bass, his instrument typically went into either an Ampeg SVT or B-15 into an Avalon U5 mono instrument preamp and DI. “I took the throughput into his amplifier and usually put a FET 47 close up, and on occasion an RE20. Then I almost always put an NS-10 on his bass cabinet to get the ultralow stuff,” Franscoviak explains. “I would compress the DI and the FET 47 lightly, not in any way that would effect the dynamics of his performance, only for tonal reasons. I would never put a compressor on the NS-10.”more
“For a pretty long time I’ve used an Electro-voice RE-20,” he said. “It’s the best microphone I own by a pretty long way. The diaphragm is pretty far in it so you don’t really have to use a pop filter. You can get a really in-your-ear, straight-up, true sound. I use one for kick drums too so it’s a good combo mic. It’s got similarities with a Shure SM7, but the SM7s are more bass-heavy, they sound more like modern radio whereas the RE-20 sounds like ’70s radio.”more
Used on the bass drum for some of *Only by the Night*, as stated by producer Jacques King in this December 2008 *Sound on Sound* interview. > "The microphones on the drums changed a lot from song to song. On the kick it could be a Beta 52, sometimes it was an RE20, or a [Sennheiser] 421, or a [Neumann] FET 47, or an NS10 [i.e. the driver from a Yamaha NS10 monitor used as a mic], or a combination. It depends on what I was trying to achieve. The mics were usually in front of the kick, or just barely inside. On one song, 'Crawl', I did put a U87 on the batter side of the kick, next to the pedal, which gives a very attack-orientated sound, with a Led Zeppelin-ish quality. On 'Sex On Fire' I used the 52, FET 47 and NS10 on the kick. I had all the kick mics on a Neve BCM10 sidecar and I'd submix them and run them through a GML EQ and then to one track on the tape. I didn't want to keep them separate. It was a matter of get the sound, make the decision, and move on."more
Used on the bass drum for John Mayer's *Continuum*, as stated by recording engineer Chad Franscoviak in this October 1, 2006 *Mix Online* interview. > Jordan's assortment of drums — which seemed to be *endless*, Franscoviak says with a laugh — were miked fairly conventionally: an AKG D 112, an RE20, a 421 or a Beyer M88 on the kick; snares got 57s on top and bottom; M88s on the toms; an AKG 451 on hi-hats; and on overheads, he either used a U67 or U87. > The only trick that Franscoviak used, which he fully admits stealing from Joe Ferla, was putting a Coles 4038 ribbon mic directly over the center of the kit, parallel to the ground and as close in as possible without impeding Jordan's playing. “I generally compressed the snot out of that and I would run it through a Fairchild,” he says. “That's a really interesting trick because you have all of your tight sounds, but you add that 4038 and it makes everything more exciting.” > He also put a U47 about 18 inches off the ground and four to seven feet in front of the kick drum for a very specific sound. “At some point, we were going to hit that low-end waveform just right and it was going to fill that kick drum out,” Franscoviak explains. “I would compress it a lot with an 1176, a lot harder than the overhead, because I wanted that low end to be there for every hit.”more
Used for the bass drum on "Get On Your Boots", as stated by producer Declan Gaffney. > "Most of 'Get On Your Boots' was recorded in Dublin by Richard Rainey, and the basic backing tracks were done live, by the whole band together. There was an [Electro-Voice] RE20 inside the bass drum, with an SE Electronics Titan on the outside, a [Shure] 57 underneath the snare, and Richard had his own Heil mic on top, which he alternated with a Beyer M201; the toms were [Sennheiser] 421, overheads Coles 4038; ride cymbal was sometimes a 57, sometimes a [AKG] 451. Everything went through the Neve 1091 or 1093 mic pres."more
"I don't ever use dynamic mics on a drum kit if I can help it: it'll either be ribbons or condensers. The exception would be an [Electro?voice] RE20 inside the kick, but I tend to try to use a [Neumann] U87 or 47 outside, and a Yamaha NS10 driver on the bottom. I try to line them up equidistant, so that theoretically it would always phase?align. I'll use [Neumann] KM84s on snare, top and bottom."more
Phil Wickham performed five songs for his 2016 album, "Children of God." During these acoustic sessions Phil was seen with two microphones. One for his voice and the other for his guitar. The one he sang through was an Electro-Voice RE20 Dynamic Cardioid Microphone, or a broadcast microphone.more
Used on "Linger", as mentioned by producer Stephen Street in this March 2019 *Sound on Sound* interview. >"I might have used a [Neumann] U47 FET inside the bass drum." (...) Similarly, Mike Hogan's bass rig was very much of its era. "He was using a Wal bass at the time," Noel remembers. "He had bought it from a guy here in Ireland who'd got all the parts from Wal and built it himself. He had an Ampeg [SVT] cab at the time. That was pretty standard for the '90s. If you got a bit of money, it was a no?brainer." > "We definitely would've taken a DI," says Street. "But then it would've also been an [Electro-Voice] RE-20 and U47 on the cab and then play around until it felt right in terms of the phase and so on. But relatively close to the cab."more
Fifth update from Trama Estúdio in São Paulo. Recording vocals with Derrick Green. Video shows a preview of Sep's version for Ministry's "Just one fix". Derrick talks about the collaboration with Les Tambours du Bronx. Derrick can be seen using an Electro Voice RE20 0:21 into the video.more
Used as a room mic for Donald Fagen's *Morph the Cat*, as stated by mix engineer Elliott Scheiner in this August 2006 *Sound on Sound* interview. > According to Elliott Scheiner, the following mics were used on the Morph The Cat recording sessions. > * Kick drum: AKG D112. > * Snare: SM57 (only on top). >* Hi-hat: Neumann KM81 or 84. > * Toms: Audio-Technica ATM25. > * Overheads: Neumann U67. > * Room mics: Electrovoice RE20. > * Electric guitar: Shure SM57 right on speaker cone. > * Piano: 2x AKG C12 mics, about 12 inches from the strings. > * Trumpet and trombone: Coles ribbon. > * Tenor sax: Neumann U67. > * Baritone sax: Neumann FET47.more
Great on vocals, has a really clear sibilant sound. Other mics I've tried before this, like the SM57 and AKG 214 sound a little bit dull to me, and I always felt a bit unsatisfied with the sound quality. This one leaves me feeling more unsatisfied with my own performance, because the microphone is great. It really shines on layering vocals. On your first take it might only sound 5% better than any other mic, but once you double your vocals, it sounds really professional and great.
For the sibilant sound I'm talking about, check out Christian Henson Music of Spitfire audio on youtube, he uses this microphone all the time in his videos, and you'll get a really good feel for it right away through his videos.