Is there any advantage to using a RE20 instead of a SM7b for miking the kick drum? I'm just curious because I've read about Electrical sometimes miking the kick with a RE20. Higher SPL handling?

They are different.

Use accordingly.

They both handle high sound pressure levels pretty well. The RE-20 avoids close-proximity bass frequency boosts, which can be a nice thing. I don't believe the SM7 has that feature.

The other differences are largely subjective.

stephensolo wrote: The RE-20 avoids close-proximity bass frequency boosts, which can be a nice thing. I don't believe the SM7 has that feature.

What?

What what? Am I wrong about that with the Sm7? I might be...

m.koren wrote:

stephensolo wrote: The RE-20 avoids close-proximity bass frequency boosts, which can be a nice thing. I don't believe the SM7 has that feature.

What?

Yeah, the RE-20 is vented is some way to eliminate proximity effects although I can't remember exactly how this works.

Isn't the easiest way to avoid proximity bass boost to just back the mic off an inch or two? Or three? And the SM7 has a low-frequency rolloff switch right on it, so that's another way to take out the low end.

Not sure why one would try and not capture the low end of a kick drum, but if it works for Lars...

scott wrote:Isn't the easiest way to avoid proximity bass boost to just back the mic off an inch or two? Or three? And the SM7 has a low-frequency rolloff switch right on it, so that's another way to take out the low end.

Not sure why one would try and not capture the low end of a kick drum, but if it works for Lars...

:)

I would say in most cases it works against Lars...

There's a difference between capturing low end and artificially boosting it, which proximity effect does.

I use RE-20s on bass cabs and kick drums (vocals, too) precisely because they don't boost bass frequencies. If I want/need a frequency boost, I'll do it in the EQ stage.

Yeah, just look at frequency response curves. Especially the really good ones that have multiple curves illustrating response at various distances. If you like how something sounds put a mic with a fairly flat response curve on it. Otherwise pick something to 'hype' it with.

My studio has a sliding scale of kick drum styles (sometimes used in combination):

RE20: No hype
D112: Some hype
Audix kick mic: All hype. I hate it, but some people are going for that processed heavy metal sound. I love when they hear this thing with heavy compression and say 'wow that sounds as awesome as a triggered kick'.