Billie Joe Armstrong used the Josephson e22S microphone while recording "Love Is For Losers," as seen in his Instagram post.

Mix engineer Tommaso Colliva on recording Drones : "For the final takes [we used a] Sennheiser 421 and Josephson e22s on the modded Marshall 1959HW or Ampeg V4 with Mills cab."

video recorded at Electrical Audio, Steve Albini's studio, item shown at 4:10

Used on the toms on 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.

"The snare was recorded in similar fashion to the kick. I had the option of various mics that all went through a BCM10 and were submixed, through a GML 580 EQ, then a [Empirical Labs] Distressor, just to give it some control and make sure the snare hit the tape at the right level. On the track sheet a transformerless Shure SM57 is indicated. It was something I read about a couple of years ago, and it's a really good thing. It gives a nicer, more transparent, usable sound that requires less EQ. You lose a bit of level, but typically the things that you record with a 57 are so loud anyway that it doesn't matter. So I asked the people at Blackbird to take the transformer out of one of their 57s and they were gracious enough to do this. After recording I also ran the snare and kick through an Eventide DSP4000 on a Big Muff setting, and recorded that in Pro Tools during the transfer to the computer.

"The toms were recorded with three Josephson E22S mics, which are a modern type, and they're fantastic on the toms. There were a rack of toms plus two floor toms, and I also submixed the tom mics via a BCM10 to a stereo pair, panning the toms as was appropriate for the track. The overheads were recorded with a Telefunken Elam 251 going through a Neve 1081 preamp/EQ, then an Urei 1176, and then to tape. The ride cymbal and the hi-hat were recorded with RCA77 ribbon mics, the ones that David Letterman used to have on his show. When I use a mono overhead, as I did in this case, I like using ribbons, for a good stereo spread between ride and cymbal.

"I had half a dozen mics up for the room sound: a Neumann U67, M49, AKG C12, RCA 44, and/or a Royer SF12 in the echo chamber. I'd leave the door to the echo chamber open so the sound of the drums was happening in there as well, and I'd move the room mics around to get the sound that I wanted for a particular song. I would then bus different combinations to the two room tracks, depending on the song. In the case of 'Sex On Fire' I used a U67 and an RCA 44 for Room 1, and an RCA4 4 and an SF12 for Room 2. Some of these mics went through Neve preamps, some through an old RCA tube mic that Blackbird customised. The combination of room mics was bussed through a Fairchild 670."

In the descrition, Matt states that he uses Josephson E22S' on his toms.

In the YouTube video titled "ニラジ・カジャンチ『プロのバンド・レコーディング全公開』前編" by SoundRecordingJP, Neeraj Khajanchi is shown using the Josephson e22S condenser microphone for professional band recording. The microphone features a cardioid directional pattern, a frequency response of 20-20,000 Hz ±2 dB, and a sensitivity of 3.0 mV/Pa, making it suitable for capturing high-quality audio in studio settings.

Used for the toms on Why'd I Try, as stated by bandmate Michael Kirsch in this self-written October 5, 2010 SonicScoop article.

Drums (Kentucky)

Bass Drum Front: Beyer M380 -> 1176 Limiter Slow Release, 20:1

Bass Drum Batter: Shure SM98

Snare: Sony C37e -> NTI EQ

Rack Tom: Josephson E22s Top and Bottom

Floor Tom: Josephson E22s Top and Bottom

Overheads: Royer 122 (L&R) -> 1178 Limiter -> GML EQ + 678k + 3726k

M-S Stereo: AKG C24 M.S (0 + ?) -> Electrical M-S Matrix

Room Ambience: Neumann CMV563 + N55k Capsules (L&R) -> 20ms Stereo Delay

Rimshot: Shure SM98 -> GML Limiter

Used on Why'd I Try, as stated by bandmate Michael Kirsch in this self-written October 5, 2010 SonicScoop article and as visible in this photo from the article captioned "1966 Fender Bassman miked with a Beyer M380 (low) and Josephson E22 (high)".

Bass Guitar (Alcatraz)

Low: Beyer M380 -> Urei LA12 Limiter “Auto” – 3dB

High: Josephson E22s -> John Hardy M2 Preamp -> HPF 280Hz