Okay, so I'd intended to get an E609, but then found a really good deal on an RE20, couldn't pass it up, and decided I'll see whether I'm really still itching for what Sennheiser is laying down once I put the RE20 to the test. I've heard a lot about it being used for miking bass cabs, kick drums, floor toms, voice overs, and vocals; however, I've seen very little specific info regarding it's use for miking guitar cabs. Doing a rudimentary search on this site, and through Google, I do find some examples, mostly of placement. A lot of sites just say "oh yeah, we used an RE20 and a <insert other mic here> on the guitar cab" but none of these articles seem to really get into what kind of sound is produced. Granted, a lot of this would have to do with the guitar, cab, and f/x chain in question, as well as many other variables (room size, pre-amps used, etc.) but--I'm just looking for some basic description of how good/bad the RE20 sounds on guitar.

The following will be my mic list to date (though I've also got a bid in on an Oktava ML52 right now. If I don't win that auction, I s'pose I'll start pinching pennies towards picking up a Royer R-121):

(3) Shure SM-57's
(1) Shure Beta 52
(2) Samson C01's
(1) AT4033sm
(1) Oktava MK 319
(1) EV RE20
(3) Sennheiser E604's

Now I just need to upgrade my preamp situation. Those stock Mackie pre's and my ART MP isn't really going to cut it.

i wouldn't bother spending the money on a royer ribbon microphone. for the price you'll pay for 1 royer, you can get almost 3 different RCA ribbon microphones that all will have their place and sound completely different from each other.

id look into a rca bk5 [the best microphone ever created, personal opinion], rca mi-6203, and even a rca 74b jr.

the bk5 is the most versatile and in general has a more transparent sound then the mi-6203. they're going on ebay sometimes for under $400, which is an absolute steal. last summer they were going for $800. even if you need to get it re-ribboned, you can send it to someone like stephen sank and get it fixed up for $125 + shipping. also these things were designed to record the sound of gun shots in the field so they can handle a very high SPL level.

the mi-6203 is an extremely underrated microphone. ive seen them go for under $300, and they sound excellent. i got 2 of these last year for around $225. very nice on electric guitar.

the 74b jr is definitely not for everything. its rather harsh in the midrange, but at times it can be a very cool sounding mic. i believe they still go for around $300.

Okay, so after some more housecleaning, I did a bit more shopping...

The mic list is now as follows:

(2 or 3--I honestly don't remember) Shure SM-57's
(1) Shure Beta 52
(3) Sennheiser E604's
(2) Samson C01's
(1) Beyer M201
(1) AT4033
(1) Oktava MK319
(1) EV RE20

I'm debating on replacing the C01's with a pair of Oktava 012's, picking up a Sennheiser MD421, and I've been trying to pick up an Oktava ML-52.

(id look into a rca bk5 [the best microphone ever created, personal opinion], rca mi-6203, and even a rca 74b jr. )

thanks for the RCA ribbon mic info--I'm gonna start looking into those as well. Good stuff.

My question--I get okay sound outta the toms with the E604's--but I'm trying to find something that will really capture the warmth I'm looking for, while preserving the high end necessary to keep the toms from becoming muddy. I was wondering if anyone could suggest some better options to check out? I am going to experiment with the RE20, having heard some good things with that, though I'd really got that for bass cab, guitar amps, and maybe some kick drum?

I'm also going to play around with the M201 on the snare, as opposed to the SM57. I might put one on top/one on the bottom, and then flip flop and see which one I like.

Of course, it's gonna take a lot of experimentation, as my roomie is a drummer, and we've got a rack full of snares to play with--varying depths, makes, models, etc.

I know I still need a good mic pre--and that will be addressed at some future point--currently just upgrading the mic setup. Maybe by the fall, I'll be ready to upgrade the pre-amp section of my setup. Damn, I wish I could afford everything right now--I really wanna step up my production quality.

Well, still waiting on my M201 to arrive, but in the meantime, I finally pulled the trigger on the purchase of an Oktava ML-52, therefore, my "new and improved" setup will include:

(2) Shure SM-57's
(1) Shure Beta-52
(3) Sennheiser E604's
(1) EV RE20
(1) Beyerdynamic M201
(2) Samson C01's
(1) AT4033
(1) Oktava ML52
(1) Oktava MK319

I know that the Samson condensers probably won't cut it in the long run, but for now, they're doing an okay job as drum overheads. If I really get happy with the EV RE20 on kick, I may also get rid of the Beta 52, or reserve it for "road" use.

I'll second the recommendation on an EV 635A (also known as a PL-5). I have three of them and I paid $25, $15, and $0 for them. They are an omnidirectional dynamic, so you can't use them everywhere, but when they're good they're great.

Also, I'm a big fan of the Royer R-121 which was already mentioned.
I've had several electric guitar players come into the control room for a listen and comment that their guitar never sounded so "real". Plus they make great drum overhead and room mics.

TheSlack64 wrote:Okay, so I'd intended to get an E609, but then found a really good deal on an RE20, couldn't pass it up

I might still recomend picking up an E609, simply for ease. They are good on guitar, but I've also had good results on a rack tom. A big factor is that you can get one for $99 which shouldn't be out of anyones price range.

I'm SO happy that I picked up an EV RE-20!!! Damn, I'm really impressed with the sound it gets on the kick drum. Still playing with placement. I've also found it to be quite useful for acoustic guitar, electric guitar and bass guitar cab miking, and I'm banking I'll find more uses over time.

My other purchase I'm extremely happy with so far is a Beyer M201. That thing f'n rocks. Primarily used (thus far) on the bottom head of the snare. Want to try flip-flopping w/my SM-57--I almost always double mic the snare. I tend to use the 201 track blended w/the 57, though the 201 is mUCh more prominently mixed.

The one purchase I have yet to really be able to remark about: an ML-52. It was DOA, and I'm trying to contact them (as they have some manufacturer's warranty to protect 'gainst this, or so says the packaging)--just sucks. I got the mic in, didn't even have time to test it--was planning on using it for a session. Was very careful to keep it free from phantom power, I didn't let ANYONE near it, handle it, breathe on it, touch it, etc. I was very careful never to bump it around, etc. Only out of it's foam-padded, hardshell case one time. DOA!!!

Man, I hope that's not what I can expect to deal with when I try and send it back!!!