Used for vocals on Villains, as stated by co-producer and engineer Mark Rankin in this October 26, 2017 AudioTechnology interview.

When it came time to record Homme’s final vocals, Rankin said there were three different schools of thought: “One was the upfront, clean condenser — a Sanken CU51; a ribbon for a bit of character — an RCA 44; and sometimes an old dynamic like an Electro-Voice. The Sanken has two capsules. United had one and it was insanely good; I wanted to use it for everything. The RCA44 ribbon also sounded fantastic. United have copies that have been there since they bought them new, and they’re really well looked after. Sometimes we’d use an Electro-Voice dynamic, purposely trying to get a harder, harsh sound.”

He would put either an Eventide 910 or 949 Harmonizer in the chain. “It’s a favourite,” said Rankin. “A little bit of delay and a little bit of pitch gives that really good fake room sound.” That balance between dryness and space was pretty critical. “A lot of times we’re letting the low end of the drums or the bass be the big thing and keeping guitars small. We’d have a the 949 on the vocal a lot, and then the guitars will be out wide. If we got to the point where it felt like we needed some space, we would just send something out into the room at United and record the room. It’s like the Ocean Way plug-in on UAD. Because the rooms sounds so good, you’ll fire something out on the PA, record it back on the ambient mics and all of a sudden it works.”

At 4:30 he shows the mic and says it's a 44B but the 44Bs were black so I suppose it's a 44BX because they were finished in umber grey. They are more or less the same mics anyway.

In this picture Presley is using a RCA Type 44-BX.

Mix engineer Tommaso Colliva on recording Drones : "We had a few mono room mics, like the Neumann U47, an amazing RCA 44, and a couple of PZMs that we moved around."

Studio 1 is a bit different though. It has this bizarre little chamber room hidden behind a wall panel right off the control room. Once you crack it open, you’ve got this small chamber shaped like a long rectangle which sounds pretty radical. I put a drummer in there once with a weird little partial kit. If memory serves, I believe that person was pretty bummed to be in there because it’s super smelly, dank, and claustrophobic. I got a good sound though. One mic, an RCA 44.

Used for "Brown Sugar", as stated by mix engineer Jimmy Johnson in this September 21, 2018 ProSoundWeb interview.

(...) Did you have a mic on the bass amp?

Yes, the bass guitar mic was an RCA 44. We didn’t have direct back in those days.

(This article)[https://www.mixonline.com/recording/daniel-lanois-shines-alone-365055], describing Lanois' studio setup. "For microphones, he’s fairly set in his ways: He says he hasn’t seen any improvement in the technology over the years. He listed these time-tested models as favorites: Sony C37A, Neumann U47 and U48, RCA 77 and 44 ribbons, and the more modern Sony 800-T. He also likes dynamic mics such as the Shure Beta 57 and 58, and the Sennheiser 409 and 421"

Used on as a room mic for some of Only by the Night, particularly on "Sex on Fire", 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."

The ribbon microphone list for Blackbird Studios, where Only by the Night was recorded, specifies a 44-BX.

Visible in this photo of Sinatra.

Used on No Better Than This, as stated in this August 17, 2010 Music Angle (now Analog Planet) article archived on Mellencamp's official website.

Equipped with John Mellencamp's then recently acquired vintage 1/4" reel-to-reel 1955 Ampex 601 mono tape recorder and a pair of iconic 50's era RCA ribbon microphones ( a 77 DX and 44 used singly) presumably supplied by producer T-Bone Burnett, the duo, accompanied by Mellencamp's wife Elaine, who shot the album's cover photo, hit the road during a break in last summer's Bob Dylan-John Mellencamp-Willie Nelson tour to record thirteen freshly penned songs Mr. Mellencamp had written over thirteen prolific days.

In this October 9, 2012 Instagram post, Yorn shows off his RCA Type 44-BX.

Used for vocals on Chet Baker Sings, as can be seen in this photo that became the album cover, this other photo from the same session and this alternate album cover from another session.