To prove the point, I rigged the mic up to a Yamaha DM1000 digital console and switched a pair of input channels to handle the M&S outputs directly. Q. An included mic-stand adaptor allows the microphone to be angled as required.Photo: Mark EwingFor the more adventurous, the mic could be rotated 45 degrees to the left and used as an M&S pair, with output two providing the Middle channel and output one the Sides channel. The passive version, the R84, is preamp dependent while the active R84A has 48-volt powered internal electronics with the same JFET technology used in our preamps, making it preamp flexible. The distance difference is due to each microphone’s optimum treble-to-bass ratio. Price is no object? The AEA R84 is supplied in a complete system that includes a shock mount, 10-foot mic cable and sturdy foam-lined carrying case. Regardless of the model you choose, each model is astonishingly close to what your ears hear when you’re actually standing in the studio. A brief experiment with the mic inside the piano (about 12 inches away from the hammers and looking down onto the strings from about eight inches) provided a typically 'pop' sound, but without the fierceness than can mar this technique when using some capacitor mics. This small tonal variation might influence me to mic up solo instruments within a nice acoustic space using the M&S configuration rather than the left-right mode — but that would be being very picky! Q. Called the R84A, it sounds the same as an R84, but uses a custom Lehle transformer and JFET electronics to produce 12 dB more output. 2,112 313. Sometimes artists want extra bass to make a kick drum sound huge. hank alrich. Achetez votre AEA R84 Ribbon Single sur SonoVente.com, Homestudio à un prix à couper le souffle ! The R44, R84, and R84A all share a big, 2.35-inch by 0.185-inch by two-micron pure aluminum low-tension ribbon element. First, it has an insane amount of proximity effect that kicks in at six feet (1.8 meters) away from the source. The output cable is fixed to the bottom of the mic body, and extends for four metres before breaking out to a pair of Switchcraft male three-pin XLRs (pin two is hot). 2,112 313. The R88's output impedance is surprisingly high at 270Ω, and it requires a minimum load impedance of 1.5kΩ, which isn't likely to prove a problem. For greater flexibility, we make an active version of the R84. As you would expect, there was a small difference in tonality from the conventional left-right configuration due to the frequency-response variation with incident angle — in the left-right mode, central sources are picked up by the edges of the diaphragms' polar patterns, whereas in the M&S mode, they are picked up directly on-axis to the Middle mic. This new monster mic incorporates two separate ribbon diaphragms, allowing you to use either Blumlein or M&S stereo recording configurations. AEA R84 Ribbon Microphone Features: It’s just as versatile as an R44, flattering voice, strings, brass and drums alike. This may seem counterintuitive to those unfamiliar with M&S practice: most would probably assume output one to be the Middle channel and output two the Sides channel. Mastering Essentials Part 4 - Mastering EQ: Balance, Don’t Match. The R84 has equal treble and bass up to ten feet (3 meters) away. As a result, this is a seriously large (and heavy) microphone. The views expressed are those of the contributors and not necessarily those of the publishers. The R88A retains the same sonic character of the R84 but offers an additional 12dB of output and a stable impedance that allows flexibility when recording quiet sources through any preamp. The relatively long ribbon means that the vertical acceptance angle is slightly narrower than usual — especially at high frequencies — spanning maybe ±30 degrees. hank alrich. The XLR plugs are undifferentiated, but the wires themselves are clearly numbered to identify the two capsule outputs. As AEA’s first original design, many users have questions about its lineage and connection to the R44. Internally, the dual-aluminium-diaphragm design is unique to the R88, but is similar to that of the R84 — being tweaked slightly to improve the off-axis frequency response. Re: Can I get a level meter plugin that goes below -60d... Re: One Synth Challenge V - The Filter Strikes Back! There is a substantial difference in price. Given the size and weight of this mic, a robust stand is mandatory, and I preferred to use a stand without a boom arm for most applications, employing the supplied angle bracket when I needed to tilt the microphone. This is a very important difference between the two mics because the further away they are positioned from the source, the bass response will change and the more room tone will be captured. Relative to 200Hz, the mic is about 2dB down at 1kHz, 5dB down by 8kHz, and 10dB down by 20kHz — a rather steeper response tilt than that of the R84, although it doesn't sound 'dull' in use. No question, the 44. One of the more prominent names associated with ribbon microphones is Audio Engineering Associates (AEA), an American company owned and run by Wes Dooley, a highly regarded recording engineer with an exhaustive knowledge of ribbon microphones old and new. The sound was very natural, with a coherent tone and impressive transient dynamics, and the bass extension was not far short of my usual omni capacitor mics. Amateur string orchestras would normally fill me with dread, but the R88 managed to capture a well-rounded and natural string tone with plenty of body and detail, minimising the 'screechy' artefacts that many condenser mics would have emphasised. The two ribbons are mounted at 90 degrees to each other in the classic Blumlein manner, and cannot be adjusted at all. 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