The AEA R84: Figure of Eight, Ribbon Mic.

Ribbon microphones are notoriously known for being excellent on guitar cabinets, drum overheads, room mics, and vocals. Classic vintage ribbon mics like Coles and RCA are getting harder and harder to find, and when buying vintage, you are taking a chance on the mic's condition, ribbon condition, and perhaps the added cost of restoration and/or maintenance. The popularity of ribbon mics like the Royer R-121 and most certainly the new Wes Dooley AEA R84 has caused a resurgence of interest in the newest generation of ribbon microphones. With the added benefit of warranty and service available, new is definitely the way to go for a lot of us engineers. Sonics and reliability of new ribbon mics like the AEA, Coles, and Royer provides a multitude of options for today's working engineers. There are many engineers that may have never used or owned a ribbon microphone, but nonetheless there seems to be a mystique about ribbon mics. The concensus is that a ribbon microphone can add something special to a source, analogous to the way that analog tape imparts something "better than" reality.

When "in the trenches", my inclination is to always mic the guitar cabinet with 2 mics, because two different mics usually yeild more sonic information. Except when you use two similar mics, I've heard many people use SM57s with 421's on cabs, but these in particular are similar enough that they are not getting a substantial sonic benefit from such a small difference between those mics, at least that is my experience with them. As an alternative to the basic SM57 and 421 combo. When using a small diaphragm condenser mic or dynamic mic for one of the guitar mics, try a ribbon for the other mic. For example, the R84 combining it with a Schoeps CMC6/MK4, Neumann KM184, or Josephson C42. A good condenser, for highs, needs to be blended with the R84 which on guitar cabinets is my favorite mic primarily for lows and mids. Also, try combining the R84 with a Sennheiser e609 (deserves it's own review BTW) for almost what I would consider an ultimate recording combo on guitar. I use mine in conjunction with a small diaphragm condenser or dynamic. Both capsules coincident, usually angled halfway between dead center and the outer edge of the cone.

I recommend that for quiet sources that you use a preamp that will provide at least 60dB of gain. If you are not recording a quiet source, 35-50 dB should be more than sufficient to gain the R84. For gargantuan lows and lots of color try the Vintech 1272 (60dB mod is standard from Atlas Pro Audio) or Old School Audio MP1-L3 and the R84. For the most clean signal path with an R84, try the Buzz Audio MA2.2 or SSA1.1 transformerless outputs. If you don't want a lot of color, just a subtle amount, use the Buzz Audio MA2.2 and SSA 1.1 Sowter transformer outputs or the Old School Audio MP1-L.

With any ribbon mic, in any application, you should use a pop filter, it's a very good habit to get into, even if you think you don't need it, a re-ribbon can cost $300 on average. I specifically recommend Stedman Pop Filters; they will sonically stay out of the way. It is a common myth that high SPL (i.e. loudness) will damage a ribbon; but it's the wind, not the spl from my experience that stretches the ribbon, like the air from a close mic'ed singer, the air coming off the speaker in front of a guitar cab. The backside of the R84 is supposed to be more durable as well, more screening which means you can basically use the back for extra protection with a Stedman pop, a good tip for guitar cab mic'ing.

I often get asked about the differences between the Royer R-121 and the AEA R84; they are very different mics. Depending on how your amp sounds, I would use the mic that complements the amp...i.e. not accentuating more of what's already there. So if your amp is mellow, use a 121. If your amp is bright use an R84. Simple, but it works.

The easiest difference to pin point are their frequency curves -

Royer 121 - more mid/high mids, between 1k-4k to my ears. Made slightly brighter to my ears by a rolloff below 40hz. Relatively slow transient response. The 121 is a more modern upfront and brighter sound.

AEA R84 - Greater low frequency boost (and it is not just proximity effect either). Flatter, much less bright high mids than the R121. Faster transients. The R84 is fuller/fatter with a more mellow high mid.

So in general if you want things to come off as thicker and have the mic shave off the harsher top-mid, the R84 is the way to go. If you want a somewhat more present in your face sound, the R121 is a better choice. Also, it seems the Royer SF-1 is often overlooked. This is quite the incredible sounding ribbon, it's like an "accurate" version of the R84 (to put it in basic terms), where the R84 is presenting something that is 'larger than real life'.

The R84 is a fine piece of craftsmanship on the part of Wes Dooley and AEA. The build quality is superb. It's very affordable for a quality ribbon microphone, it comes with a nice fitted cushioned hanging bag (for upright storage). The flexibility of this mic puts it in the "workhorse" category. The richness and luxuriousness of the tone of this mic is what I would term "neoclassic".

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Best Regards
Nathan Eldred
atlasproaudio.com