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AEA R92 Ribbon Microphone - Used  From AEA

Large Ribbon Geometry Microphone built off of the great sound of the R84 but with less proximity effect for close micing applications!

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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."

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

Specifications:

* Polar Pattern: Native bidirectional (figure-eight)

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

* Maximum SPL: >135 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.