aea r84a review

The R84A is an active version of the passive R84 that allows compatibility with a wider range of preamplifiers. This website uses cookies to improve your experience. Provided care is taken to control reflections into the rear of the mics, this is a very effective technique indeed. No warning, no second chances, just one very dead mic. This small difference imparts a subtle but useful character change on sounds presented to the front and rear, particularly affecting harmonics in the 6-12kHz area. However, the ribbon mic has a character and tonality all its own, and the R84 is a very good example of just what this technology has to offer. The -3dB point at the high end is around 4kHz and the response continues to fall smoothly to around -6dB at 20kHz, with a slope of roughly 2dB/octave. Q. The ribbon has a sonic character all its own, and one which is extremely seductive and flattering with pretty much any source. It is warm, easy on the ears, and a beauty to look at too. The AEA R88 is, in rather simplistic terms, two R84 figure-of-eight mics mounted one above the other in a common housing. In fact, AEA have been working with high-performance ribbon microphones for over 20 years, and the subject of this review is another 'large ribbon geometry' microphone, called the R84 — but this time the mic has been designed from the ground up for the modern studio, rather than being a recreation of a vintage model. Any air blasts are dangerous, including the thump when plugging a guitar into an amp if the mic is near the speaker. Q. The AEA R84A uses a big, 2.35" by 0.185" by 2 micron pure aluminum low-tension ribbon element just like the classic R44. Ribbon mics generally have a very low output, which places huge demands on the preamplifier, but technological advances now mean that there are a large number of preamps available which can provide sufficient gain without detracting from the inherently low noise floor of a ribbon microphone. There are also vintage-style microphones which turn out to be table lamps, or empty shells designed to house modern microphones for use on TV chat-show presenters' desks! This translates into quite wide usable areas in front and behind the mic capsule. And this kind of damage is not covered by the warranty! This mic is very NATURAL sounding, and took some eq to get it adjusted for my voice, but very worth the journey! The big magnets can attract any stray ferrous particles from surfaces, which will gradually clog the gap between diaphragm and magnet pole pieces. With such a microphone … Happy customers, one piece of gear at a time! The air pressure from blowing into a ribbon mic can cause the pleats to open and stretch, altering the tension across the diaphragm and thus the sound quality. 5501 U.S. Hwy 30 W, Fort Wayne, IN 46818 Bidirectional Ribbon Microphone The R84A is an active ribbon microphone, formerly called the “A840.” It is AEA’s R84 ribbon, coupled to a custom Lehle step-up transformer, plus a transformerless output circuit. The dead side of each mic was aimed at the unwanted vocalist, with the wanted vocalist exactly on axis. You can also call us toll free at (800) 222-4700, Mon-Thu 9-9, Fri 9-8, and Sat 9-7 Eastern. The added phantom power inside the R84A really did the trick. This R84 is one of my prized microphones. The user's handbook provides a lot of interesting information and advice, starting on the front cover, with three warnings: don't blow into the mic; phantom power can be dangerous; and keep the mic covered when not in use. More seriously, the company also produces a range of hand-built ribbon microphones, including the R44C, an authentic recreation of the original 1936 RCA 44 mic — a classic design which is highly regarded and sought after today — reviewed in SOS June 2002. The mic is supplied in a padded nylon bag complete with a webbing pocket to stow the XLR plug at the end of the integral three-metre star-quad mic cable. Should you be in any doubt as to the polarity of each face of the R84, markings on the top of the casing will set you straight.Photo: Mike CameronThe overall frequency response of the R84 is 'humped', for want of a better description. A large-geometry ribbon mic optimised specifically for close-miking applications, which is able to compete effectively on quality terms with capacitor mics in the same price bracket. Consequently, it has a proximity effect (a characteristic which is often a tad overpowering in ribbon mics intended for more distant placements) which is unusually well-controlled. This ribbon microphone design uses an exceptionally large transducer for high-quality performance in the modern studio. I used them in conjunction with my GML preamps (which provide up to 75dB of gain), to mic up an acoustic guitar, a Hammond and Leslie combination, and a couple of voices. Re: Can I get a level meter plugin that goes below -60d... Why does Liam Gallagher's vocals sound shit? The front of the mic is marked by the AEA label, and the cable exits from the rear side, but just to make it even more obvious, a polar pattern is etched into the top of the mic showing the positive and negative pickup lobes. R84 series ribbon microphones deliver the classic tonality of the legendary R44, with extended top-end and reduced proximity effect for mid-range and close-range recording. This new mic is also a lot more affordable than its big brothers, costing about a third as much as the R44C in the UK, although many would still categorise it as an expensive high-end microphone. Even though they weren't specifically matched as a stereo pair, I found they worked remarkably well, both in X-Y and M&S arrangements, as well as in spaced arrangements. *apologies if I've submitted this twice! The company's catalogue makes fascinating reading, as it contains, amongst other things, intriguing accessories for stereo and surround recording, elaborate studio booms and stands, Decca trees, M&S decoders, and phase monitors. Especially with strings, it really take the edge off the scrappy harshness that gets picked up with condensers and dynamics. The advantages are said to include greater headroom (over 165dB SPL above 1kHz for one percent THD) and a smoother response at the frequency extremes. First, thanks to Brian Kerns for some in depth detail and knowledge on this when I asked for input prior to purchasing. The ribbon itself is the same size as that used in the R44, measuring 60 x 4.7mm (2.35 x 0.185 inches), and it is claimed to be twice the size of the elements employed in many other modern ribbon mics. No sales hype at all from anyone...just good info on how to make it work best for my application. All contents copyright © SOS Publications Group and/or its licensors, 1985-2020. Learn More. Also, if the mic is covered, strong draughts — such as when a door is opened — won't be able to get in and stretch the diaphragm. A Sweetwater Sales Engineer will get back to you shortly. In fact, the R84 was far better suited for this kind of close miking application than the venerable Coles 4038, which tends to 'suffer' from a rather overblown bottom end when used in this way. AEA suggest that the sound quality is related to the diaphragm resonance. I am a bit of a fan of figure-of-eight patterns. Mastering Essentials Part 3 - How loud should I master? , The idea behind keeping the mic covered is to maximise its life, something which applies equally to all microphones, in fact, but is particularly important with ribbons.

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