- AEA R92 Ribbon Microphone
AEA R92 Ribbon Microphone
Passive studio ribbon for close-up use
- Same Big Ribbon™, tuning, and transformer as the R44 series
- For closer applications and louder sources
- Compact design with different front and back tonality
- Versatile for close-up and ambient mic applications
Particularly well suited for electric guitar, electric bass, and drums
"I hate you guys! Now I have to buy them. I used the R92 on Al's Di Meola's guitar amp, and the 84's about a foot away, Fantastic!!!"
– Paul Antonell, New York
The Up-Close and Personal Ribbon
Building on the success of AEA’s acclaimed R84 ribbon microphone, Wes Dooley and AEA’s team of engineers set out to once again expand the sonic possibilities of ribbon microphones with the R92 model. Reduced proximity bass boost and excellent wind blast protection make it suitable for close miking of guitar and bass amps, drums, and vocals. At half the distance to the source, the R92 delivers a similar bass-to-treble balance as the R84. In addition, the integrated shockmount and swivel allow for easy setup and positioning in tight spaces. The smooth high frequency response of the R88 and R84 transducers has been further extended in the R92, making it a unique voice in the world of ribbon mics.
Two Voicings - Endless Possibilities
AEA has designed the R92 to have slightly different tones on the front and rear pickup lobes of the bidirectional microphone. The front lobe of the R92 is the "crisp" side, offering exceptionally clean and realistic high end detail. The rear lobe is the "smooth" side, which has a bit of classic ribbon high end roll-off reminiscent of the iconic 44 that can help to handle harsh transients in a very refined and flattering way. The bass reproduction of the R92 is very solid and extends to the lowest audible bass frequencies.
A Guitar Player’s Favorite
Like all figure-of-8 microphones the R44 or R84 ribbons are subject to proximity effect - the increase in bass as you move the microphone closer to the source. While this effect can be particularly flattering for singers and to create a “larger than life” sound, it can get too much and overpowering in some recording situations. The guitar players on our staff asked for a ribbon microphone that captured an authentic and balanced electric guitar tone when put right onto the grill of his Fender amp. Thanks to its purely passive signal path and Wes’ bag of acoustic tricks, the R92 not only handles the SPL levels of a high-gain amp with ease, but it also translates all the gritty details of the distortion that you’ve been tweaking so carefully.
Specifications and Curves
Operating Principle: Pressure gradient microphone
Directional Pattern: Bidirectional (Figure-of-8)
Frequency Range: 20 Hz to 20 kHz
Maximum SPL: 165+ dBSPL (1% third harmonic > 1 kHz)
Output Sensitivity: 1.8 mV/Pa (-55 dBV) into unloaded circuit
Output Impedance: 270 Ω nominal
Recommended Load Impedance: 1.2 kΩ or greater
Powering: Not required or recommended
Polarity: Pin 2 high for positive pressure on front of microphone.
Connector: XLR-3M wired to a 3 m captive cable
Off Axis Response:
Polar Pattern: Native bi-directional pattern
Horizontal: Level changes with angle, frequency response is consistent, –35 dB null at 90° / 270°
Vertical: Level changes with angle, reduced HF response above and below 0° / 180° axis, –35 dB null at 90° / 270°
Ribbon Thickness: 1.8 μ (0.0000018 m) of pure aluminum
Ribbon Width: 0.185” (4.7 mm)
Ribbon Length: 2.35” (59.7 mm)
Custom storage / shipping case, manual
One year parts and labor, shipping not included. Three year extended warranty if the product is registered.
Weight with Cable: 2 lbs (0.9 kg)
Weight with case: 7.5” (19.1 cm)
Height: 7.5” (19.1 cm)
Width: 2.9” (7.4 cm)
Depth: 2.5” (6.4 cm)
AEA engineer Julian David produced and recorded the German band aVid* at their own studio Schau & Horch, and the band has been so kind to provide a couple of guitar tracks of this session. Guitarist Stephan Marten played a Telecaster guitar through a vintage Fender Twin Reverb amp courtesy of Thomas Hannes. AEA would also like to thank Digital Audio Service in Hamburg, Germany for kindly providing the BAE 1028 preamp. Several different guitar tracks were recorded for the song "Deep Breath", which can be heard in this list of sound samples. The first set of samples is a clean funky guitar lick, the second one an overdriven rhythm guitar. The Fender combo amp was recorded with an AEA R92 ribbon microphone and a Shure SM57 at the same time. The R92 was positioned about 1-2 inches away from the grill of the amp, while the SM57 was a little further back to line up its capsule to the ribbon of the R92. It is important to pay attention to the phase relationship between the two microphone to avoid comb filtering when blending them together. Find out more about this topic at www.fixitinthemic.com Go to http://www.ribbonmic.com/aea/listeningroom.html for more information and to access the session files. Links: http://www.ribbonmics.com http://www.youtube.com/avidmusic http://www.avid-music.com http://www.juliandavid.org http://www.schauundhorch.de http://www.fixitinthemic.com
AEA & aVid* El...AEA engineer Julian David produced and recorded the German ban...
One year parts and labor, shipping not included.
Three year extended warranty if the product is registered.