The standard "must have" double bass microphone. 
by Mischa from Knoxville, TN USA, January 2008
Music Background:  Pro Musician, Recording/Live Sound Engineer

Being a professional double bassist and recording engineer, I am constantly crafting my tone, from both sides of the microphone. After years of consultation and experimentation, the RE20 has proven to be the ideal recording/live sound microphone for the double bass. Placed near the upper f-hole and combined with a signal from a pickup (Realist, Underwood, Fullcircle), one can capture a true acoustic bass timbre that is very accurate and consistent. The pickup just adds a little clarity and growl incase one is going for that Ron Carter/Eddie Gomez sound. I recently recorded the great bassist John Clayton for The Knoxville jazz Orchestra's latest album. The album was a combination of a live performance and a studio session. Sure enough, Mr. Clayton shows up from LA with his OWN RE20, NO pickup and says that's all he needs. I also know that Edgar Meyer carries an his RE20 when on tour. The proof is in the pudding. I also use an AMT S25B. With this config., I move the RE20 to the lower f-hole. Depending on the instrument and live PA, consider using the low-cut on the RE20 to reduce excessive bottom end boom. The mic of course sounds great on vocals, reeds and brass. The RE20 is definitely one of my "Desert Island" picks.

  Kick Drum 
by Joe S from NJ, October 2006
Music Background:  home recordist

This is my go-to kick drum mic. I don't like to use the "specialty" kick drum mics, I'd rather use a nice dynamic like this and eq to taste. I also own the shockmount which is very high quality. I use the RE20 close in, and a condenser mic further out to get my kick sound. I have tried this on vocals, but if I want to use a dynamic, I prefer a Sennheiser 441 or a Shure SM7. However, for bass cab and kick drum, this is my go-to piece.

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