AEA R88 mk2 - Stereo Ribbon Microphone

• AVAILABILITY/DELIVERY: On Order/usually 7-14 days

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Overview

There is no easier way to track natural stereo than by using a stereo mic. From drum overheads to live concert recordings, the R88 is convenient to use and aesthetically pleasing. The natural soundstage and character of the R88’s Blumlein Stereo makes it a great main mic. An excellent orchestral and choral recording microphone, it shines on applications such as horn sections and drum overheads.

The R88 accurately recordscomplex tones such as woodwinds, strings and cymbals. The heart of the R88 are two matched native pressure-gradient ribbon transducers tuned to 16.5 Hz. They are 1.8 micron (7/100,000 inch) thin and match the air’s acoustical impedance within 1 dB. This is a Pure Ribbontm minimum path design. Only black technical-fabric and stainless steel separate the ribbons from the music
AEA Big Ribbons^tm deliver extended highs and fast transient response without the high-frequency, high-Q resonances characteristic of tightly stretched condenser. They are native fi gure-8s with exceptional imaging, transient response, and sense of space. The fi gure-8 pattern is highly useful for controlling bleed and room tone.

Appreciated for What You Hear Is What you Get, Blumlein stereo is the most three dimensional coincident recording system. The ribbons are 90 degrees to each other for convenient Blumlein and Mid/Side (M/S) stereo. M/S is an excellent technique for solo instruments and situations needing post-production stereo width control.

Your AEA R88 Blumlein Stereo ribbon mic is unlike any other coincident stereo microphone.

1. Polar patterns are consistent at all frequencies whereas directional condenser mics become omnidirectional at lower frequencies.
2. Low frequency response extends down to 20 Hz whereas directional condenser capsules and shorter ribbons roll off and/or eliminate lower frequencies.
3. Blumlein intensity stereo delivers a solid, stable and in-phase soundstage from their front and rear quadrants, with an excellent sense of depth.
4. A properly positioned Blumlein pair also conveys a strong sense of spaciousness, reminiscent of spaced omnis, which we attribute to the left and right and left quadrants being out-of-phase.

The Blumlein Stereo “sweet spot” is the 90 degree angle between the principal axis of channels “1” and “2”. Instruments in this front region are in-phase and in-polarity. When placing the R88, try to position it so that instruments in front are + or - 45 degrees from the centerline. The rear “sweet spot” of an R88 is the rear 90 degree quadrant, ie + or - 45 degrees from the rear centerline.

Sounds arriving from the right and left 90 degree quadrants are out-of-phase in the stereo image. Prominent early reflections from these regions can cause an ill-defined and inaccurate stereo image. But this out-of-phase low frequency material from the left and right quadrants is also responsible for the sense of spaciousness, reminiescent of spaced omnidirectional mics, that good Blumlein Stereo is known for.

In the horizontal plane, the off-axis frequency response is quite consistent. In the vertical plane, the high frequency response is progressively atttenuated as it moves away from the horizontal plane. Try to keep all instruments within + or - 30 degrees of the horizontal plane for best high frequency response.

The R88’s extended and natural bass response is due to the very low resonance frequency (16.5 Hz) to which our Big Ribbonstm are tuned. Such bass response can also pickup subsonic “rumble” from air conditioning systems, subways, passing trucks, etc. All AEA ribbons have integrated shockmounts to mechanically isolate them from structure borne vibration. Some “rumbly” sounds extend into the audio band. So it can be helpful to use a high-pass (also called a low-cut) filter. Tuneable filters, as in the AEA RPQ preamp, allow retaining useful bass content, while taming intrusive lows.

The R88 is a passive ribbon design and the 1:28 transformer between the .2 Ohm ribbon and the mic line is its main electronics component. The R88 operates with very low distortion over a huge dynamic and frequency range. Its SPL capability at 1kHz and above is greater than 165 dB SPL. This passive design yields spectacular headroom bu also needs an appropriate preamp to achieve best overall performance. High gain, low noise preamps that sound good at their highest gain settings are ideal. Here are some mic preamp charcteristics that we consider suitable:

- Abundant gain. You need at least 60dB of clean gain, and quiet material may require more than 70dB. AEA’s TRP and RPQ mic preamps give you at least 80 dB of clean gain.
- Low noise (EIN -127dB or better)
- High input impedance (at least 1.2 k Ohm for adequate bass performance, higher is better).

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FEATURES

• Matched pair of Large Ribbon Geometry figure-eight mics for Blumlein or MS stereo
• 20 hz to 20 kHz response
• Built in shock mount, and captive 4 meter cable to two A3M connectors
• Supplied with a locking angle adapter for flexible positioning
• Designed to fly overhead for large venue installations
• Three pounds plus the cable weight
• 2.5" diameter and 14" tall
• Black stealth finish
• Sturdy zippered case

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SPECIFICATIONS
for stereo ribbon microphone AEA R88 mk2

Operating Principle: Pressure Gradient

• Frequency Response: 20 Hz to 20 kHz
• Maximum SPL: 165 + dB SPL above 1 kHz for 1% third harmonic
• Output Sensitivity: -52 dBv/Pa
• Output Impedance: 270 ohms nominal
• Recommended Load: 1.2 K ohm or greater
• Powering: Not required or recommended
• Polarity: Pin 2 and 4 high
• Connector: XLR-5M connector
• Includes custom hard case with padded interior for storage and shipping and 4-meter breakout cable to 2 XLR-3M connectors
• Operating manual for proper care and usage.

Off Axis Response:

• Polar Pattern: Native bi-directional
• Horizontal: Level changes with angle, frequency response is consistent, –35 dB null at 90 / 270 degrees
• Vertical: Level changes with angle, reduced HF response above and below 0 / 180 degree axis, null at 90 / 270 degrees

Transducer element

• Ribbon Thickness: 1.8 microns ( .0000018 meter ) of pure aluminum
• Ribbon Width: 4.7 mm
• Ribbon Length: 59.7 mm

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Professional User Opinions
for ribbon microphone AEA R84

"When I showed the producer and arranger what the 88 sounded like all by itself, they were shocked...They were hard-pressed to believe that one mic could make a sound that big." more...
– Lynn Fuston, 3D Audio Inc., Franklin, Tennessee, (link)

"The R88 is beyond belief! It makes every room in my house like a perfect room...A really joyous mike!"
– Pete Townshend, The Who, London

"There's no other ribbon that duplicates what the R88 does for bass, drums, percussion, brass and mallet instruments. It imparts warmth, has an appealing way of dealing with transients and, most importantly, has a knack for making things sound incredibly "real." At this price, it's a no-brainer."
– Mix Magazine

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DOWNLOADS
for ribbon microphone AEA R84

• AEA R84 user manual
  

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