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AEA R84 Ribbon Microphone Demo/Open Box  From AEA

Perhaps their most popular modern ribbon mic, the R84 is well known and loved for its smooth and natural representation, iconic visual style, and source flexibility.

AEA

What We Think

There aren’t too many ribbon mics that exhibit the source flexibility of the R84 - mostly due to its more balanced, neutral frequency response when compared to the typical dark and warm ribbon tone. Not to say those classic ribbon tones aren’t flexible, however the additional openness and frequency balance allows the R84 to perform exceptionally well on applications like vocals, acoustic guitars, and strings in addition to the more typically sources you’d find ribbons (electric guitars, brass instruments, overheads, etc.) In our studio we often use our R84s to capture the smooth warmth of our Leslie cabinet with our Hammond B3 (be sure to check the video to hear it in action). We’ll also grab the R84 over other ribbons for electric guitar when we’re looking to capture the tone of the amp without much additional color but with the natural smoothness that a ribbon provides. Its striking physical design and classic AEA logo certainly catch the eye, and is certain to impress those clients.

Ribbon Microphone Shootout

This blind Ribbon Microphone shootout features the Shure KSM 313, Royer R121, Coles 4038, and AEA R84 - all four of which are eligible for our three-year extended warranty. In addition to providing audio clips of each microphone, we explain the importance of mic placement during more precise A/B comparisons. If you'd like the results of the shootout and full length hi-res audio clips, want to set up a demo period with one of the mics, or just want to talk more about gear or plan your next studio upgrade, feel free to shoot us a quick email at mics@soundpure.com or give us a call at anytime. Thanks for watching!

Manufacturer's Description from AEA

The AEA R84 is an affordable Large Ribbon Geometry (LRG) microphone suitable for use by the most demanding audio professional or hobbyist. This "R84 Zone" is for you and other users to share your experiences. We expect to expand this area with practical illustrations, guides to tracking situations, and actual recording experiences. Our intention is to encourage and support your success and satisfaction as you become familiar with this mic's unique features. Drop us an e-mail to share your experiences, or if you want to be informed when we post new, practical information here.

If you are new to ribbons, you are in for a treat! Experienced users have discovered the R84 is an outstanding general-purpose microphone, ideally suited for solo and accent work. It is hard to find an application where this mic does not shine. It is a fine example of the natural sound and figure-8 directional sensitivity a quality ribbon mic delivers.

Pure natural sound, just as you hear it when you're placing your mic in the studio. Quick smooth transients that capture the feeling of being there without sounding like a recording. Extended bass and treble that captures the details without shoving anything in your face.

A figure-eight pattern that focuses your recording on the sound you want. We believe you will enjoy the confidence this mic inspires. It's a forgiving tool that makes your recording work easier, as it literally sounds good on everything. Try it first and you'll usually like it and find it sits well in the mix. When time is scarce and quality necessary, put the R84 to the test. Our users' experience is that you'll use it more and more (in pairs too!). Then it will start to really grow on you.

AEA

About Manufacturer

Wes Dooley's longtime passion for audio has infused his company, Audio Engineering Associates (AEA), with a well balanced blend of creativity and technical expertise for forty years. At the core of AEA is a genuine interest in the art and science of audio. From areas as diverse as forensic audio and microphone design, Wes' passion for audio has led him all over the world, from recording experiences in Europe, Africa, and New Zealand, to the courtrooms of Los Angeles as a forensic audio and video expert witness. Such experiences have led Wes to design products which help resolve problems commonly encountered by recording engineers. His portable recording tools including, multi-channel microphone arrays, MS stereo processors, stereo phase displays and very tall microphone stands, have all made on-site recording far more feasible. Despite his contributions to on-location recording, Wes is best known for his pursuit of excellence in ribbon microphone technology. After two decades of representing and servicing the BBC 4038 in the United States, he began to experiment with his own ribbon microphones. During the last decade Wes became aware of the increasing scarcity of R44's and other ribbon microphones. In 1998, responding to this need, Wes re-introduced the 44 much to the thrill of many in the recording industry. Les Paul told Wes that AEA's R44 is his favorite microphone and engineer/producers such as Bruce Swedien, Kevin Bacon, and Shawn Murphy routinely use AEA's R44. Even without such critical acclaim the numbers speak for themselves. Over half of the movies scored in Los Angeles have a 44 somewhere on the scoring stage. Building off of his successful reintroduction of the R44, in 2002 Wes designed and began producing an original ribbon mic, the AEA R84. His groundbreaking work with ribbon microphones helped him to secure the Audio Engineering Society (AES) Silver Medal Award in the fall of 2003. This award, established by the AES in 1971, in honor of audio pioneers Alexander Graham Bell, Emile Berliner, and Thomas A. Edison, is given in recognition of outstanding development or achievement in the field of audio engineering. Wes has also co-authored two AES Journal articles about stereo microphone techniques, chaired workshops on mic techniques and mixing strategies for compatible multiple releases for cinema, broadcast and home video, and has presented section meetings on stereo techniques and forensic audio. He is involved with AES standards work and currently serves on the SC-03-12 Working Group on Forensic Audio and SC-04-04 Working Group on Microphone Measurement and Characterization.

Specifications


*Polar Pattern: Native Bidirectional (figure-eight)

*Frequency Response: 20Hz to above 20Khz

*Maximun SPL: 165 dB SPL Above 1Khz

*Output Sensitivity: -52 dBv/Pa

*Output Impedence: 270 Ohms Nominal

*Recommended Load: 1.2 k Ohm Load or better

*Powering:Not required or recommended

*Polarity:Pin 2 High

*Connector: XLR-3M wired to a 2 meter captive cable

* Includes durable plastic case with foam interior

* Operating manual for proper care and usage.

Tranducer Element

* Ribbon Thickness: 1.8 microns ( .0000018 meter ) of pure aluminum

* Ribbon Width: 4.7 mm

* Ribbon Length: 59.7 mm

*Limited Warranty: One year parts and labor, shipping not included.

Sound Clips