AEA R88 MK2 Stereo Ribbon Microphone
The AEA R88 mk2 is optimized for recording instruments and ensembles in stereo. The R88 uses the large ribbon configuration of the classic RCA 44 series mics, which gives the mic solid 20Hz bass response and a smooth high end which is flattering to complex tones.
There is no easier way to track in stereo than with a stereo microphone with two configured transducers in a single sleek package. A stereo microphone is highly useful in recording situations in which it is more convenient or aesthetically pleasing to have a single housing for both capsules, such as for drum overheads or live concert recordings.
The AEA R88mk2 Stereo Ribbon Mic has a natural sound because it is the pure sound of two undamped long ribbons. If the basic characteristics of a transducer element are in accordance with a few primary physical laws, it will sound good without requiring any extra acrobatics. The simpler the physics, the less adulterated the sound of a transducer will be because it will introduce fewer artifacts into the electrical signal that were not part of the original airborne sound signal. An undamped long ribbon is a good example of just such a transducer.
The AEA R88 has been optimized to produce the most natural stereo pickup possible with ribbon transducers. The R88 has two figure-8 ribbons angled at 90 degrees to each other (Blumlein configuration). It has a uniform polar frequency response and excellent off-axis frequency response. The high quality passive electronics ensure a large dynamic range with minimal distortion. The R88 will sound best with a preamp that has at least 60dB of clean gain, a low noise floor (-127dB EIN or better) and input impedance of at least 1.5 kOhm.
The AEA R88 has a well-defined center image, because of the phase characteristics of a coincident arrangement. In other words, the stereo effect comes primarily from level differences between the channels, with only minimal phase effect. This means that anywhere in the front quadrant of the microphone, will be recreated with a strong three dimensional sense; the location of instruments in the soundstage is easily and very precisely perceived. Recording in front of the center line on the caps will produce a solid and stable center image when played back over monitor speakers, with a sense of space and ambience that reflects the acoustic quality of the recording environment.
The AEA R88 is minimally protected from wind blasts for the most natural sound quality possible, so a pop filter should be used when making close vocal recordings. The R88 may be used for both Blumlein stereo and M-S Stereo recording techniques. The mic is finished in Stealth black to reduce visibility in live recording situations, and features an integral shock suspension to reduce noise coupled through the mic stand.
The natural sound of the R88 makes it a great choice for the main mic that forms the backbone of your mix. The R88 is an excellent orchestral, chamber, and choral recording microphone, and shines on studio applications such as horn sections and stereo piano pickup. The R88 also flatters complex tones such as woodwinds, strings and cymbals.
AEA R88 Product Features:
- Dual matched long ribbon transducers
- Solid bass and smooth treble response
- Fast, accurate transient reproduction
- Low self noise and high SPL capability
- Precise imaging and uniform soundstage
- Excellent off-axis frequency response
- Wide-band response from 20Hz to 20 KHz
- Big Ribbon™ Blumlein (XY) and MS stereo ribbon mic
- Pure Ribbon™ design with open and natural sound
- Used in many Grammy Award winning projects
- Great foundation for main or sectional pickup
How Is An AEA R88 Different from TwoAEA R84’s in Stereo?
The R88’s LRGTM motor has been modified for improved off-axis frequency response and tonal purity. The design approach is minimalist, and the tonal quality can be described as an updated version of the “classic” ribbon sound. The R88 captures a sound that is accurate yet flattering to instruments and voice as well as free from harsh condenser diaphragm resonances and unnatural coloration. For the recording engineer who regularly records in stereo, we believe the R88 provides sonic excellence as well as a convenient alternative to multiple-mic arrangments.
AEA R88 mk, Being There in Stereo
In the 1930s, EMI engineer Alan Blumlein invented stereo recording by demonstrating the natural reproduction of the soundstage at one of the Abbey Road studios in London, UK. Still today, his coincident recording technique using two figure-of-8 ribbons is the benchmark for producing an authentic representation of a performance in a room. The R88 mk2 stereo microphone is a true Blumlein recording system optimized for recording instruments and ensembles in stereo. It utilizes two of AEA’s signature Big RibbonTM elements angled at 90 degrees and mounted in close proximity to each other along the vertical axis of the microphone. The natural soundstage and character of the R88’s Blumlein stereo make it a great main mic. As an alternative to the Blumlein (XY) technique, the microphone can also be used for MS stereo, providing excellent mono compatibility and full control over the width of the stereo image. An excellent orchestral and choral recording microphone, it also shines on applications such as horn sections and drum overheads, thanks to the pure sound of two undamped long ribbons and the passive circuit without the headroom limitations of active electronics. The R88 accurately records complex tones such as woodwinds, strings and cymbals.Whether it’s at Abbey Road or in your home studio, the R88 mk2 puts the listener right there with the performers in the recording room.
AEA R88 mk, The Grammy-Winning Package
The list of Grammy and Academy Award winning projects recorded with the help of the R88 mk2 microphone is long and keeps growing: Turtle Island String Quartet, Los Tigres Del Norte, Juanes MTV Unplugged, Life Of Pi soundtrack to name but a few. The matched Blumlein pair of ribbons packaged in a sleek black shell designed for quick setup delivers a great sound right off the bat, making it an excellent choice for remote recording setups. As a drum overhead or room pick-up microphone, it instantly captures a punchy, “larger than life” image that is particularly well suited for rock, roots, Americana, and jazz genres. Seasoned engineers like Joe Chiccarelli, Chuck Ainlay or Vance Powell trust the AEA R88 mk2 so much that Nashville’s world-class Blackbird Studios now has an R88 available for every single room in their facility.
AEA R88 mk, A Big Ribbon for a Big Sound
At the heart of the AEA R88 are two big, 2.35″ by 0.185″ by 2 micron pure aluminum low-tension ribbon elements just like the one used in the classic R44. Many ribbon mic manufacturers choose shorter ribbons that are easier to install, but AEA’s Large Ribbon Geometry TM design offers important advantages. Ribbon microphones operate linearly above their resonant frequency, unlike condenser or moving-coil transducers, so the resonant frequency of a good ribbon microphone design should be as low as possible. The longer the ribbon, the lower the resonant frequency will be. The ribbon has to move twice as far for every drop in octave as it vibrates within the magnetic gap, thus a longer ribbon will allow for further movement back and forth. This results in the ribbon handling louder sound sources and more sound pressure level (SPL). Most AEA ribbons are tuned to just 16.5 Hz, and because the R88 shares the same Big Ribbon™ as the rest of AEA’s product line, you will achieve a sound that is smooth, natural and free from any of the uncomfortable resonances that shorter ribbons and condensers can exhibit. The result is a sound that many engineers say is astonishingly close to what their ears hear when they are actually standing in the studio.
Specifications and Curves
- Operating Principle: Pressure gradient microphone
- Directional Pattern: Bidirectional (Figure-of-8)
- Frequency Range: 20 Hz to 20 kHz
- Maximum SPL: 165+ dBSPL (1% third harmonic > 1 kHz)
- Output Sensitivity: 2.5 mV/Pa (-52 dBV) into unloaded circuit
- Output Impedance: 270 Ω nominal
- Recommended Load Impedance: 1.2 kΩ or greater
- Powering: Not required or recommended
- Polarity: Pin 2 and 4 high for positive pressure on front of microphone.
- Connector: XLR-5M connector, includes breakout cable to 2x XLR-3M
Off Axis Response:
- Polar Pattern: Native bi-directional pattern
- Horizontal: Level changes with angle, frequency response is consistent, –35 dB null at 90° / 270°
- Vertical: Level changes with angle, reduced HF response above and below 0° / 180° axis, –35 dB null at 90° / 270°
Transducer element:
- Ribbon Thickness: 1.8 μ (0.0000018 m) of pure aluminum
- Ribbon Width: 0.185” (4.7 mm)
- Ribbon Length: 2.35” (59.7 mm)
Accessories:
- Included: Custom storage / shipping case, manual, 12-foot breakout cable, swivel
- Optional: Any length cable, inquire for price and delivery.
- Limited Warranty: One year parts and labor, shipping not included. Three year extended warranty if the product is registered.
- Weight with Cable: 5 lb 3 oz (2.36 kg)
- Height: 15” (38.1 cm)
- Width: 3”