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AEA R92 Ribbon Microphone Stereo Matched Pair From AEA

Large Ribbon Geometry Microphone built more for instruments and close mic'ing in the studio (Factory Matched Pair)

$2,298.00

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What We Think

Check out the New R92 Sound Clip Below from the Recent Ribbon Microphone Shoot Out!

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Talk with a Specialist

AEA R92 Ribbon Microphone

In this video, Sound Pure Pro Audio specialist David Barrett discusses the AEA R92 Ribbon Microphone and we hear a sample of this mic in action on electric guitar.

Signal Chain
- AEA R92 Ribbon Microphone Stereo Matched Pair
- AEA R92 Ribbon Microphone
- AEA RPQ2 Stereo Mic Preamp
- Carr Amplifiers Rambler 28W 1x12 Combo Amp - Black
- Comins GCS-1 Autumn Burst Semi-Hollow Electric #112164

Manufacturer's Description from AEA

In the past few years AEA's acclaimed R84 Ribbon Microphone has become a new studio standard. Now AEA has once again expanded the sonic possibilities of ribbon mics with the R92 Ribbon Microphone. Reduced proximity bass boost and excellent wind blast protection make it suitable for close micing (6-12 inches) of guitar amps, vocals, percussion, etc. In addition, the smooth high frequency response of the R88 transducer has been further extended in the R92, making the R92 a unique voice in the world of ribbon mics.

AEA has designed the R92 to have slightly different tones on the front and rear pickup lobes of the 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 rolloff that can help to handle harsh transients in a very refined and flattering way. Just like its bigger brothers in AEA's LRGTM microphone series, the bass reproduction of the R92 is very solid and extended to the lowest audible bass frequencies.

The R92 is designed with an integral elastic shock mount, featuring a unique mounting system that allows excellent flexibility of mic positioning. The mic ships with a two meter cable and a durable plastic carrying case.

AEA?s Matt Ashman comments about the R92: 'We designed it to have a very full range sound, and to capture it all with a minimum of resonance artifacts for the ultimate in realism. It's perfect for getting FAT guitar sounds with a present and clean high end."

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: 20 Hz to 18 kHz (+/- 3 dB)

* Maximum SPL: >115 dB SPL (C-weighted fast)

* Output Sensitivity: > -55 dBv/Pa

* Output Impedance: 270 ohms nominal

* Recommended Load: 1.2 K ohm or greater

* 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.

Transducer 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

rapido arpeggio electric guitar position 5 pickup

1. Nash S-57 Black - SOLD! 2. Fargen Blackbird 20W Guitar Amplifier Combo 3. Sennheiser MD 421 II Cardioid Dynamic Microphone 4. Vintech Audio X73i Pre/EQ 5. AEA R92 Ribbon Microphone 6. A Designs Pacifica Stereo Preamp 7. Apogee Digital Rosetta 800 8 Channel A/D/A

Nash S-57 electric guitar (position 5) played into Fargen Blackbird 20W(volume 9am, reverb 11am, treble 1pm, mid 4pm, bass 10am) mic'd with Sennheiser MD 421 II (22 degrees on axis) into Vintech-Audio X73i preamp & mic'd with AEA R92 6 inch off speaker) into A designs Pacifica preamp feeding Apogee Rosetta 800.

hyped up electric guitar position 4 pickup

Nash S-57 electric guitar (position 4) played into Fargen Blackbird 20W(volume 12pm, reverb 11am, treble 1pm, mid 4pm, bass 10am) mic'd with Sennheiser MD 421 II (22 degrees on axis) into Vintech-Audio X73i preamp & mic'd with AEA R92 6 inch off speaker) into A designs Pacifica preamp feeding Apogee Rosetta 800.

mad max electric guitar position 2 pickup

Nash S-57 electric guitar (position 2) played into Fargen Blackbird 20W(volume max, reverb 11am, treble 1pm, mid 4pm, bass 10am) mic'd with Sennheiser MD 421 II (22 degrees on axis) into Vintech-Audio X73i preamp & mic'd with AEA R92 6 inch off speaker) into A designs Pacifica preamp feeding Apogee Rosetta 800.

hyped up electric guitar position 5 pickup

Nash S-57 electric guitar (position 5) played into Fargen Blackbird 20W(volume 12pm, reverb 11am, treble 1pm, mid 4pm, bass 10am) mic'd with Sennheiser MD 421 II (22 degrees on axis) into Vintech-Audio X73i preamp & mic'd with AEA R92 6 inch off speaker) into A designs Pacifica preamp feeding Apogee Rosetta 800.

mad max electric guitar position 1 pickup

Nash S-57 electric guitar (position 1) played into Fargen Blackbird 20W(volume max, reverb 11am, treble 1pm, mid 4pm, bass 10am) mic'd with Sennheiser MD 421 II (22 degrees on axis) into Vintech-Audio X73i preamp & mic'd with AEA R92 6 inch off speaker) into A designs Pacifica preamp feeding Apogee Rosetta 800.

mad max electric guitar position 5 & 4 pickups

Nash S-57 electric guitar (position 5 & 4) played into Fargen Blackbird 20W(volume max, reverb 11am, treble 1pm, mid 4pm, bass 10am) mic'd with Sennheiser MD 421 II (22 degrees on axis) into Vintech-Audio X73i preamp & mic'd with AEA R92 6 inch off speaker) into A designs Pacifica preamp feeding Apogee Rosetta 800.

ace of distortion electric guitar position 4 pickup

Nash S-57 electric guitar (position 4) played into Fargen Blackbird 20W(volume 3pm, reverb 11am, treble 1pm, mid 4pm, bass 10am) mic'd with Sennheiser MD 421 II (22 degrees on axis) into Vintech-Audio X73i preamp & mic'd with AEA R92 6 inch off speaker) into A designs Pacifica preamp feeding Apogee Rosetta 800.

mellow harmonix electric guitar position 4 pickup

Nash S-57 electric guitar (position 4) played into Fargen Blackbird 20W(volume 9am, reverb 11am, treble 1pm, mid 4pm, bass 10am) mic'd with Sennheiser MD 421 II (22 degrees on axis) into Vintech-Audio X73i preamp & mic'd with AEA R92 6 inch off speaker) into A designs Pacifica preamp feeding Apogee Rosetta 800.

ace of distortion electric guitar position 2 pickup

Nash S-57 electric guitar (position 2) played into Fargen Blackbird 20W(volume 3pm, reverb 11am, treble 1pm, mid 4pm, bass 10am) mic'd with Sennheiser MD 421 II (22 degrees on axis) into Vintech-Audio X73i preamp & mic'd with AEA R92 6 inch off speaker) into A designs Pacifica preamp feeding Apogee Rosetta 800.

hyped up electric guitar position 2 pickup

Nash S-57 electric guitar (position 2) played into Fargen Blackbird 20W(volume 12pm, reverb 11am, treble 1pm, mid 4pm, bass 10am) mic'd with Sennheiser MD 421 II (22 degrees on axis) into Vintech-Audio X73i preamp & mic'd with AEA R92 6 inch off speaker) into A designs Pacifica preamp feeding Apogee Rosetta 800.

ace of distortion electric guitar position 3 pickup

Nash S-57 electric guitar (position 3) played into Fargen Blackbird 20W(volume 3pm, reverb 11am, treble 1pm, mid 4pm, bass 10am) mic'd with Sennheiser MD 421 II (22 degrees on axis) into Vintech-Audio X73i preamp & mic'd with AEA R92 6 inch off speaker) into A designs Pacifica preamp feeding Apogee Rosetta 800.

hyped up electric guitar position 3 pickup

Nash S-57 electric guitar (position 3) played into Fargen Blackbird 20W(volume 12pm, reverb 11am, treble 1pm, mid 4pm, bass 10am) mic'd with Sennheiser MD 421 II (22 degrees on axis) into Vintech-Audio X73i preamp & mic'd with AEA R92 6 inch off speaker) into A designs Pacifica preamp feeding Apogee Rosetta 800.

mad max electric guitar position 3 pickup

Nash S-57 electric guitar (position 3) played into Fargen Blackbird 20W(volume max, reverb 11am, treble 1pm, mid 4pm, bass 10am) mic'd with Sennheiser MD 421 II (22 degrees on axis) into Vintech-Audio X73i preamp & mic'd with AEA R92 6 inch off speaker) into A designs Pacifica preamp feeding Apogee Rosetta 800.

ace of distortion electric guitar position 5 pickup

Nash S-57 electric guitar (position 5) played into Fargen Blackbird 20W(volume 3pm, reverb 11am, treble 1pm, mid 4pm, bass 10am) mic'd with Sennheiser MD 421 II (22 degrees on axis) into Vintech-Audio X73i preamp & mic'd with AEA R92 6 inch off speaker) into A designs Pacifica preamp feeding Apogee Rosetta 800.

friendly devil electric guitar position 2 pickup

Nash S-57 electric guitar (position 2) played into Fargen Blackbird 20W(volume 9am, reverb 11am, treble 1pm, mid 4pm, bass 10am) mic'd with Sennheiser MD 421 II (22 degrees on axis) into Vintech-Audio X73i preamp & mic'd with AEA R92 6 inch off speaker) into A designs Pacifica preamp feeding Apogee Rosetta 800.

ace of distortion electric guitar position 1 pickup

Nash S-57 electric guitar (position 1) played into Fargen Blackbird 20W(volume 3pm, reverb 11am, treble 1pm, mid 4pm, bass 10am) mic'd with Sennheiser MD 421 II (22 degrees on axis) into Vintech-Audio X73i preamp & mic'd with AEA R92 6 inch off speaker) into A designs Pacifica preamp feeding Apogee Rosetta 800.

hyped up electric guitar position 1 pickup

Nash S-57 electric guitar (position 1) played into Fargen Blackbird 20W(volume 12pm, reverb 11am, treble 1pm, mid 4pm, bass 10am) mic'd with Sennheiser MD 421 II (22 degrees on axis) into Vintech-Audio X73i preamp & mic'd with AEA R92 6 inch off speaker) into A designs Pacifica preamp feeding Apogee Rosetta 800.

rapido arpeggio electric guitar position 5 pickup

1. Nash S-57 Black - SOLD! 2. Fargen Blackbird 20W Guitar Amplifier Combo 3. AEA R92 Ribbon Microphone 4. A Designs Pacifica Stereo Preamp 5. Apogee Digital Rosetta 800 8 Channel A/D/A

Nash S-57 electric guitar (position 5 pickup) played into Fargen Blackbird 20W(volume 9am, reverb 11am, treble 12pm, mid 3pm, bass 1pm) mic'd with AEA R92 (6 inch off speaker) into A designs Pacifica preamp feeding Apogee Rosetta 800.

swelling blues electric guitar

Trussart Steelcaster Deluxe electric guitar played into Mojave Ampworks Sidewinder Head(tone 10, bass volume 5, treble volume 8 mid off) to Mojave Ampworks 2x12 Cabinet Ceramic mic'd with AEA R92 into Vintech-Audio X73i preamp feeding Apogee Rosetta 800. (view less)

riff raff electric guitar neck & bridge pickup

1. Zion Fifty Electric Guitar 2. Mojave Ampworks PLexi 45 2X12 Guitar Combo Amplifier 3. Heil PR-40 Microphone 4. Vintech Audio X73i Pre/EQ 5. AEA R92 Ribbon Microphone 6. A Designs EM Red 500-Series Preamp 7. Apogee Digital Rosetta 800 8 Channel A/D/A

Zion 50 electric guitar (neck & bridge pickup) played into Mojave Plexi 45 2X12 ceramic combo(presence 4 bass 2, mid 8, treble 5, tone volume 2) & mic'd with Heil PR-40 into Vintech X73i & AEA R92 into A Designs EM RED preamp feeding Apogee Rosetta 800.

speed blues electric guitar bridge pickup

Zion 50 electric guitar (bridge pickup) played into Mojave Plexi 45 2X12 ceramic combo(presence 6 bass 2, mid 10, treble 6, tone volume 5) & mic'd with Heil PR-40 into Vintech X73i & AEA R92 into A Designs EM RED preamp feeding Apogee Rosetta 800.

speed blues electric guitar neck & bridge pickup

Zion 50 electric guitar (neck & bridge pickup) played into Mojave Plexi 45 2X12 ceramic combo(presence 6 bass 2, mid 10, treble 6, tone volume 5) & mic'd with Heil PR-40 into Vintech X73i & AEA R92 into A Designs EM RED preamp feeding Apogee Rosetta 800.

riff raff electric guitar bridge pickup

Zion 50 electric guitar (bridge pickup) played into Mojave Plexi 45 2X12 ceramic combo(presence 4 bass 2, mid 8, treble 5, tone volume 2) & mic'd with Heil PR-40 into Vintech X73i & AEA R92 into A Designs EM RED preamp feeding Apogee Rosetta 800.

riff raff electric guitar neck pickup

Zion 50 electric guitar (neck pickup) played into Mojave Plexi 45 2X12 ceramic combo(presence 4 bass 2, mid 8, treble 5, tone volume 2) & mic'd with Heil PR-40 into Vintech X73i & AEA R92 into A Designs EM RED preamp feeding Apogee Rosetta 800.

swelling blues electric guitar

1. Trussart Steelcaster Deluxe sn 06207 SOLD!!! 2. Mojave Ampworks Scorpion Head Guitar Amplifier 3. Mojave Ampworks 2x12 Guitar Speaker Cabinet Ceramic 4. AEA R92 Ribbon Microphone 5. Vintech Audio X73i Pre/EQ 6. Heil PR-40 Microphone 7. A Designs Pacifica Stereo Preamp 8. Neumann U87ai Microphone w/ Peluso Shockmount 9. A Designs EM Red 500-Series Preamp 10. Apogee Digital Rosetta 800 8 Channel A/D/A

Trussart Steelcaster Deluxe electric guitar played into Mojave Ampworks Sidewinder Head(tone 8, bass volume 4, treble volume 8 mid on, High sensitivity on) to Mojave Ampworks 2x12 Cabinet Ceramic mic'd with AEA R92 into Vintech-Audio X73i preamp & mic'd with Heil PR 40 into A Designs Pacifica preamp & mic'd with Neumann U87ai into A Designs Red preamp feeding Apogee Rosetta 800.

crunchy blues electric guitar

hottest tone electric guitar neck pickup

1. Duesenberg Carl Carlton 2-Tone Sunburst 074858 Electric Guitar 2. Bad Cat Cub II 2x10 Grn/Crm Guitar Amplifier Combo 3. Heil PR-40 Microphone 4. Chandler Limited TG2 Abbey Road SE Stereo Pre 5. Neumann U87ai Microphone w/ Peluso Shockmount 6. A Designs EM Gold 500-Series Preamp 7. AEA R92 Ribbon Microphone 8. A Designs Pacifica Stereo Preamp 9. Apogee Digital Rosetta 800 8 Channel A/D/A

Duesenberg Carl Carlton 2-Tone Sunburst (neck pickup) played into Bad Cat Cub II(volume noon, tone 5) mic'd with Heil PR-40( close on the back of amp, panned 50%,right) into Chandler TG2 Preamp & Neumann U87ai(5 feet off, panned 50%, left) into A Designs Gold Mic Preamp & AEA R92 Mic (6 inches off, panned center) into A Designs Pacifica feeding Apogee Rosetta 800.

hot tone electric guitar neck pickup

Duesenberg Carl Carlton 2-Tone Sunburst (neck pickup) played into Bad Cat Cub II(volume noon, tone 3) mic'd with Heil PR-40( close on the back of amp, panned 50%,right) into Chandler TG2 Preamp & Neumann U87ai(5 feet off, panned 50%, left) into A Designs Gold Mic Preamp & AEA R92 Mic (6 inches off, panned center) into A Designs Pacifica feeding Apogee Rosetta 800.

quick tone electric guitar neck & bridge pickup

Duesenberg Carl Carlton 2-Tone Sunburst (bridge pickup) played into Bad Cat Cub II(volume noon, tone 3) mic'd with Heil PR-40( close on the back of amp, panned 50%,right) into Chandler TG2 Preamp & Neumann U87ai(5 feet off, panned 50%, left) into A Designs Gold Mic Preamp & AEA R92 Mic (6 inches off, panned center) into A Designs Pacifica feeding Apogee Rosetta 800.

medium tone electric guitar neck pickup

Duesenberg Carl Carlton 2-Tone Sunburst (neck pickup) played into Bad Cat Cub II(volume noon, tone 2) mic'd with Heil PR-40( close on the back of amp, panned 50%,right) into Chandler TG2 Preamp & Neumann U87ai(5 feet off, panned 50%, left) into A Designs Gold Mic Preamp & AEA R92 Mic (6 inches off, panned center) into A Designs Pacifica feeding Apogee Rosetta 800.