A "Must-Have" Mic for any collection!

I originally bought the mic to record kick and upright bass and it has NOT disappointed in those areas. This mic has a "true" sound, meaning it will pickup your sound just as it is. For drummers that know how to tune your drums, this mic is for you.

This mic also excels at vocals. Recently I was recording an artist who's voice was warm, yet powerful. I tried the U-87 and the C-414 but the producer wasn't happy with the results. Before I reached for my ribbon mic, I pulled the RE-20 out and was blown away. This mic does it all!

One side note...Mic needs gobs of gain. I strongly recommend a nice preamp or a Cloud lifter to boost gain.

Dynamic mics all the way!!!!

After months of research I have finally found the vocal mic with the sound that I have longed for. Personally I prefer the RE-20 and the Shure SM7B over many of the hi-end condensors, which is really saying something. I also own the Blue Bottle with B6 and B7 capsules, but I was shocked to hear that I prefered the vocal takes with the RE-20 over the Blue Bottle! (WTF!!!!!!!!!)
The sound has very smooth highs and mojo warmth that sits inside the mix, without the annoying sibilance that I tend to get with alot of condensors.
The RE-20 has excellent noise rejection, which makes it perfect to record pro results without having to leave my computer screen, it sits right next to me while I work. Bonus.
RE-20 or SM7B, Pacifica, SSL XL 9000 K dynamics. EQ not needed = BLISS

Astounding Clarity & Presence

We just put this mic up (through 1073>Pultec>LA-3) next to an original 251 (through 1073>LA-2A) for a low male vocalist, and there was NO comparison. The presence and power of the RE20 made the vocal sound bigger than life (especially in the intimately quite parts); my new favorite vocal chain!

An incredible sounding microphone

I recently started using this microphone at one of my jobs and have found that it sounds incredible for use with any full range miking situation, especially with it's warm and smooth low end. It sounds great on kick drum, low toms, bass amp, and broadcasting vocals. My only problem is that it is somewhat awkward and unbalanced as it sits in it's clip so I have to tighten everything up a lot more than for something like a 57. It sounds incredible though and I am very pleased with it.

The standard "must have" double bass microphone.

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.

Nice Mic

I like it a lot. I also own the SM7B (the original model) and it was close to a coin flip between the two. Testing with my own voice (male, somewhat bassy), this is what I ended up liking:

For dialog, I liked the SM7B with the presence boost and the RE 20 flat for dialog, both pretty close to the mic. To my ears, the RE 20 was a little more smooth. It seemed to have a bit more core and a nice air on top. The SM7B was a bit more articulate and a bit less flattering. I think I would prefer the RE20 with my voice unless I was concerned about projecting over other sounds.

For singing, I liked the RE20 flat at more of a distance (around 4 inches), and the SM7B flat and pretty close. I preferred the RE20 for what I was singing, but I can see how the SM7B would work better for more punchy vocals.

I think it would depend on the voice and the material which one I would prefer, but if I had to have only one of the two mics I would probably go with the RE20.

great value

great addition to our mic closet handles transients well multi kick drum mic

Bass drum resident

This mic now lives inside my bass drum. Its as good as I have recorded with so far.

Kick Drum

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.