aea r84a review

Q. Now is the perfect time to get the gear you want with simple, promotional financing. The bass response is naturally enhanced by the proximity effect when close-miking, but because this is the intended role for the R84, the amount of boost is moderate and practical. It was interesting to note that the sheer size and style of the R84 created quite an impact with the vocalists, and seemed to encourage good performances all on its own! One other aspect of the R84's construction which affects its tonal quality is the use of two layers of grille cloth on the rear side of the mic, while there is only one on the front. 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. The added phantom power inside the R84A really did the trick. The sound was never harsh or unpleasant, regardless of the source — the R84 seems to flatter everything in a very musical way. Although ribbons generally have low output levels, the R84's isn't too bad. As a result, this is a seriously large (and heavy) microphone. Happy customers, one piece of gear at a time! Capacitor mics certainly have their strengths, and for most people most of the time they provide the best combination of price, performance and practicality. The R84A is an active version of the passive R84 that allows compatibility with a wider range of preamplifiers. 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. The end mounting arrangement of the ribbon gives a very low-Q resonant frequency around 50Hz, whereas the circular clamping and tensioning of a condenser mic's diaphragm tends to give high-Q resonances around 10kHz, which can lend a rather 'tizzy' quality to the sound — something which is entirely absent from the R84 and which becomes glaringly obvious in comparison! So turning off the phantom power is a wise precaution, just in case — not strictly necessary, but sensible. Re: Can I get a level meter plugin that goes below -60d... Why does Liam Gallagher's vocals sound shit? This R84 is one of my prized microphones. Many thanks to Nick Huskins for helping me swap this out and get exactly what I needed! Everything you love about Sweetwater in the palm of your hand. Any air blasts are dangerous, including the thump when plugging a guitar into an amp if the mic is near the speaker. All contents copyright © SOS Publications Group and/or its licensors, 1985-2020. 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. 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. The handbook encourages users to make use of both sides of the mic, to take advantage of this tonal shaping. This website uses cookies to improve your experience. AEA suggest that the sound quality is related to the diaphragm resonance. Exclusive deals, delivered straight to your inbox. When mounted on a stand, the carrying bag can be placed over the mic when it is not being used, in order to provide some further protection. Sweetwater's Sales Engineers are regarded as the most experienced and knowledgeable professionals in the music industry, with extensive music backgrounds and intense training on the latest products and technologies. However, if the mic cable is damaged (shorting pin two or three to ground), or if the phantom supply is seriously unbalanced, then the resulting current flowing through the diaphragm will be sufficient to make it jump forward or back with enough force to snap it in half. To learn more about our cookie policy, please check our Privacy Policy. Its nominal sensitivity is -54dBu or 2mV/Pa. With close-miked vocalists I found a pop screen to be necessary, but the integral shockmount was adequate at controlling vibrations through the stand. Phone Hours | 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. These characteristics can be used creatively to tailor the sound by altering the horizontal and vertical angles between mic and source. This mic always sounded smooth and mellow, but still managed to convey detail and precision in a very natural and appealing way. Mounted with relatively low tension, and being just two microns thick, the light pleated aluminium diaphragm boasts a quick transient response. They weren't specifically matched for stereo applications, although matched pairs can be supplied if required. However, a side-effect of the diaphragm geometry is that, whereas most microphones show a falling high-frequency response as the source moves off axis in the horizontal plane, the R84's HF response actually increases. It is warm, easy on the ears, and a beauty to look at too. The R84 is certainly on a par with capacitor mics of a similar price, but it delivers a very different kind of sound which can become quite addictive, and makes a very worthy addition to a well-stocked mic cupboard. *apologies if I've submitted this twice! Sweetwater Sound Many of the great recordings of the '40s, '50s and '60s owe their sound to the distinctively smooth and natural quality of ribbon mics. American recording engineer Wes Dooley set up Audio Engineering Associates (AEA) in Pasedena, California, and provides a wide range of audio equipment and services — including, apparently, a lot of forensic work. By arranging the two R84s in front of two vocalists, with the mics mounted one above the other at 90 degrees to each other (like an X-Y configuration, but with the outputs panned as if for dual-mono miking), I achieved over 18dB of separation, even though the vocalists were only a metre apart. I discovered that my UA 4-710d preamp didn't have the gain to power, so I exchanged the R84 for the R84A. Especially with strings, it really take the edge off the scrappy harshness that gets picked up with condensers and dynamics. Very pleased with the support from both Brian, and AEA as well when I pondered it initially. I am a bit of a fan of figure-of-eight patterns. It also usefully points out that brass instruments and voices tend to deliver more energy in the positive (compression) half of the wave, and that if you are using the rear side of the mic it is advisable to switch the phase of the mic's output at the console to preserve absolute polarity. 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. 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. 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. All rights reserved. However, other microphone types are available, and ribbon mics have been making something of a comeback in recent years. Speaking of etching, you can apparently (at extra cost) have a logo or name of your choice engraved on the metal band at the top of the mic, should you wish. However, despite the shape of the response, the mic doesn't sound dull at all; it sounds detailed and precise, but smooth and remarkably natural. So although the R84 requires a good preamplifier, it is not as demanding as some models, and because it is intended for close-miking applications the levels should be quite workable in practice. 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. Mastering Essentials Part 4 - Mastering EQ: Balance, Don’t Match. This mic is very NATURAL sounding, and took some eq to get it adjusted for my voice, but very worth the journey! Learn More. The DJV option gives it a silky top and a creamy bottom reminiscent of a vintage 47. Re: Why does Liam Gallagher's vocals sound shit? Forssell or AEA comes to mind, as well as the Avedis Audio MA5, Aurora Audio GTP1 or BAE 1073, just to name a few. A Sweetwater Sales Engineer will get back to you shortly. 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. 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. Like most ribbon mics, the R84 has a bidirectional or figure-of-eight polar pattern, and it has been designed to provide a very wide bandwidth with a good transient response. Keeping the mic upright prevents the long ribbon element from sagging. AEA R84A Active Ribbon Microphone Reviews. 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.

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