Ribbonmics Aea r92 User manual

ribbonmics & preamps since 1964

www.ribbonmics.com | tel: +1-626-798-9128 | fax: +1-626-798-2378

CLASSIC PASSIVE RIBBON FOR UP-CLOSE

{OWNER’S MANUAL }

aea r92

{WELCOME}

Congratulations on your purchase of the AEA R92 ribbon microphone

and welcome to the AEA family. Building on the success of the

acclaimed R84 ribbon microphone, AEA’s team of engineers set out

once again to expand the sonic possibilities of ribbon microphones

with the R92 model. Reduced proximity bass boost and excellent wind

blast protection make it suitable for close miking of guitar and bass

amps, drums and vocals. At half the distance to the source, the R92

delivers a similar bass-to-treble balance as the R84. In addition, the

integrated shock mount and swivel allow for easy setup and positioning

in tight spaces. Utilizing the R92’s option of contrasting ‘crisp’ front and

‘traditional’ back lobe make the microphone a great tool to implement in

the studio and live.

Your R92 microphone is 100% handcrafted in Pasadena, CA. AEA is a

family owned company with a small crew of skilled technicians – most

of them being musicians themselves. Proudly independent, we still

manufacture all our ribbon microphones and preamps by hand from

locally sourced parts.

Whether recording guitars, vocals, or kick drum, your R92 will impart

its classic Legacy series sound. We hope that the R92 will help you

capture many magical performances that touch the heart. Please read

this manual thoroughly to make sure that you get the best sound and

longevity from your new microphone. We invite you to become part of

the AEA community by sharing your experiences with the R92 via e-mail,

phone or our social media channels.

Wes Dooley

President of AEA

{TABLE OF CONTENTS}

WELCOME 2

INTRODUCTION 4

GENERAL GUIDELINES 4

APPLICATION ADVICE 5

Dual Voicings 5

Controlling Leakage 6

Proximity Effect 7

Preamps 8

APPLICATION EXAMPLES 8

Vocals 9

Acoustic Guitar 9

Electric Guitar 9

Brass & Woodwinds 10

Drums & Percussion 10

PRECAUTIONS 11

Phantom Power 11

Wind Gusts 11

Tramp Iron 12

Microphone Positioning 12

Magnetic Stray Fields 13

SPECIFICATIONS 14

WARRANTY 16

SUPPORT 16

{INTRODUCTION}

The R92 is a pill-shaped, side-address, passive ribbon microphone with

a bidirectional (or figure-of-8) pickup pattern. It is assembled with the

same Big Ribbon™, tuning (16.5 Hz) and transformer as the R44. There

are several distinctions that make the R92 exceptional among AEA’s

Legacy line. The R92 was designed to accommodate close and medium

miking duties. It exhibits a flat frequency response when placed 6-12

inches (15-30 cm) away from the source, capturing the classic body

and dimension of the Big Ribbon™ sound with reduced bass proximity

effect. As a result, the mic is well suited for electric guitar, percussion,

brass, vocals and drums. Its compact, lightweight design and integrated

360º swivel mount allows for placement versatility, while the custom

shock mount suspension mitigates undesired low frequency mechanical

vibrations. What makes the R92 truly unique is the contrasting tonal

response on the front and back lobes: the front side is defined by a

“crisper” characteristic, while the back side has a smooth, “traditional”

top end roll-off.

{GENERAL GUIDELINES}

To maintain the best performance from your new AEA R92 microphone,

take note of these four basic rules:

1) Keep the microphone covered when it is not in use.

2) Always use a sturdy microphone stand.

3) Never expose the microphone to strong air turbulence.

4) Be nice to the microphone, and it will be nice to you.

1) Keeping the microphone covered when it is not in use will reduce the

possibility of damage that might result from a sudden gust of air coming

from air-conditioning or an open door or window. Place the supplied

protective bag (or a standard plastic bag) over the microphone when

it is not in use. For longer-term storage, place the microphone in its

protective case.

2) While the R92 was designed to work well with all standard

microphone stands, a high-quality boom stand will make your life a little

bit easier. Mounting the microphone on a strong, sturdy microphone

stand with a heavy base (or tripod) is essential. If you are using a boom,

make sure that it is properly balanced and that the tripod legs are

positioned appropriately to prevent tipping.

3) Ribbon microphones can withstand very high SPL (Sound Pressure

Level) without difficulty, but can be damaged easily by a sudden, strong

gust of air or high levels of very low frequency sound waves (like from

a kick drum or bass cabinet). This can stretch the ribbon, causing the

microphone to start sounding flabby. To avoid possible damage, follow

this simple procedure when positioning the microphone: put the back of

your hand where the mic will be; if you can feel the motion of air on your

hand, place a pop-filter between the microphone and the source of the

wind gusts. When recording kick drums or bass guitar cabinets, angle

the microphone to make sure that no wind blasts hit the ribbon head-on.

4) Your R92 is a valuable and important investment. Like any piece of

recording equipment or musical instrument, it requires common sense

and good basic care to keep it working properly. Given simple, basic

care as described above, your new microphone will perform admirably

for decades.

{APPLICATION ADVICE}

Dual Voicings - Endless Possibilities

AEA intentionally designed the R92 to capture slightly different frequency

responses on the front and rear pickup lobes. The front lobe of the R92

(denoted by the AEA emblem) is the “crisp” side, offering exceptionally

clean and realistic high end detail. The rear lobe is the traditional

“smooth” side, with the classic ribbon extended roll-off of the highs,

reminiscent of the iconic R44. This gentle roll off helps handle harsh

transients in a refined and flattering way.

The R92’s dual characteristic provides two significant options for your

recording or live projects. If one side isn’t doing the trick, try the other!

Figure-of-8 microphones are constructed with positive polarity on

the front and negative polarity on the back. When using the rear

lobe, remember to invert the polarity on your preamp or DAW. This

ensures your recordings with the back lobe will be in-phase with other

microphones.

Here is an illustration of the pickup pattern of the R92. The AEA logo

on the front of the R92 points directly towards the ‘principal axis’ (+)

indicated in the diagram.

Controlling Leakage

A significant and ever-present challenge in contemporary studio

recording is minimizing “bleed” (also called “leakage” or “crosstalk”)

from nearby instruments into the various microphones. The deep nulls

of bidirectional ribbon microphones provide good rejection of unwanted

sounds, which also can be beneficial in sound reinforcement situations

where feedback is always a threat. While gobos can be effective in

isolating performers from each other, they introduce their own set of

problems - not the least of which are reflections in close proximity to

the performers and/or microphones that result in comb-filter distortions.

Because gobos usually are bulky, they also inhibit the ability of the

musicians to hear and see each other easily. Such a setup requires

complex and often cumbersome headphone monitor mixes for the

musicians.

Because the R92 is bidirectional, it exhibit nulls at right angles to the

principal axis. These nulls produce a “plane of rejection” around the

sides, top and bottom of the mic that can be used effectively to reduce

leakage. Simply arrange the musicians so that nearby instruments are

placed in the “null” of their neighbor’s microphone, and vice versa.

Although this does not entirely eliminate the need for gobos, it can

significantly reduce their number.

Keep in mind that a certain degree of bleed doesn’t necessarily have

to be bad. For some styles and genres it can in fact be beneficial to

embrace a little bit of bleed in order to create cohesive and natural

Null Plane

Principal Axis

sounding recordings. The important thing to listen for is whether or

not other instruments that bleed into a specific instrument microphone

still sound natural. You will generally find that well-designed ribbon

microphones like the R92 capture a natural off-axis sound, which means

that bleed from other instruments can contribute to the overall sound in a

pleasing way.

Proximity Effect

Proximity effect is a characteristic of all directional microphones; it

is a rise in low-frequency response that increases at closer working

distances. While this can be used to good effect, particularly with male

voices to give them an enhanced richness and depth, the potential trade

off is reduced articulation or clarity that can result from the masking

effect on the treble due to “excessive” bass boost.

The R92 and the AEA Nuvo N22 were both designed to shine on

close miking applications. However, as figure-of-8 microphones, they

intrinsically exhibit proximity effect. Compared to the R44, which

achieves proximity effect from six feet away, the proximity effect from the

R92 is substantially less and exhibits a flat frequency response when

placed at a distance of 6-12 inches (15-30 cm).

Experienced vocalists instinctively locate the proper working distances

for the microphones they are using. From as early as the 1930s,

Frank Sinatra always kept one hand on the microphone stand while

singing. Some joked that he simply was steadying himself, but more

knowledgeable people noticed that he would bring the mic closer

for more intimate moments, and then move it farther away when he

belted out a line. This technique became known as “working the mic.”

A simple technique for maintaining the proper working distance from

the microphone is to place a pop-screen between the performer and

the microphone. By doing this, performers, will naturally work at the

distance you have established.

Preamps

The R92’s passive system yields spectacular headroom and operates

with very low distortion over a huge dynamic and frequency range.

Without active electronics the R92 can handle 136dB SPL at 40

Hz and withstand 165+ dB SPL at 1 kHz and higher. Passive ribbon

microphones generally have low output level and require preamps that

supply a high level of gain. If the preamp you use doesn’t have enough

gain, the signal might seem too soft or noisy.

The preamp input impedance affects the output level of the mic in

addition to the mic’s frequency and transient response characteristics.

It is generally recommended to use a preamp that is at least 4 times

the input impedance of the microphone’s output impedance. However,

a low or very high input impedance on a preamp will not hurt a ribbon

microphone. We recommend clean, high impedance preamps with an

minimum input impedance of 1.2kΩand at least 65dB of gain.

To unleash the full potential from your R92, AEA manufactures

high-quality, high-gain, low-noise preamps with a very high input

impedance designed to bring out the full frequency response of ribbon

microphones. Visit our preamplifier page (www.ribbonmics.com/

preamps) to view our line of exceptional preamps.

Application Examples

Your ears are obviously the best judge of microphone choice and

placement, but AEA has garnered a great deal of experience testing

the R92 in a variety of recording settings and by talking to experienced

musicians and engineers. As a result we suggest the following

guidelines to help you achieve optimal results when using the R92.

Watch the videos on our website (www.ribbonmics.com, www.

aeasessions.com) and on our YouTube channel

(www.youtube.com/AEAribbonmics) for more tips and tricks for our

microphones and preamps.

Vocals

Try using the R92 for a warm, clear vocal sound. The smooth character

of the R92’s treble response means that it may be extensively shaped

and processed without risk of nasty resonance artifacts.

Start by positioning the singer 4 to 6 inches (10-15 cm) directly on

axis from the microphone. The ribbon is well protected from damaging

plosive blasts, but to avoid noises from wind blasts, we recommend

using a pop filter.

If you are recording a musician who sings and plays an instrument at the

same time, you can make use of the exceptional rejection offered by the

90º “null” planes of the bidirectional pickup pattern to reduce the pickup

of the instrument in the vocal microphone.

Acoustic Guitar

When recording a solo acoustic guitar a good starting point is to

position the R92 4-8 inches (10-20 cm) away from the guitar roughly

pointing where the neck meets the body. This placement will capture

clear midrange and pick articulation with a balanced low end.

As the bass response of the R92 is sensitive to the miking distance, try

rotating the mic to use its excellent horizontal off-axis performance to

find the “sweet spot”. Try pulling the microphone away from the guitar

in increments of 1-2 inches (2-5 cm). Listen to the guitar up close and

when you find a spot that sounds good, try putting the R92 there. Let

your ears be your guide.

Electric Guitar

To capture an authentic and balanced guitar tone with your R92,

place the mic directly in front of the grill. Identify where the center of

the speaker cone is located, and place the R92 a few inches (5-10

cm) away from the speaker. Pointing the mic at the center of the cone

will deliver a very direct, “in-your-face” sound. This is the spot that

will obtain the most high-frequency content. If it sounds too harsh, try

moving the microphone slightly off center of the speaker cone. You

can also try positioning the R92 at an angle. You will find that small

differences in positioning can make huge differences in the sound,

so experiment until you find the spots you like. Close up, the R92 is

very good at spotlighting a speaker’s unique sounds at various cone

locations.

When using multiple microphones on a guitar cabinet at once and

mixing them to create a particular sound, it is important to pay attention

to the phase relationship between the different signals. Try to position

the different microphones as close to each other as possible, to avoid

phase problems caused by sound arriving at the microphones at slightly

different path lengths. Make sure to listen to the combined signal

summed to mono to catch potential comb filtering that could be caused

by out-of-phase signals. If you are recording with the back lobe of the

R92, it is important to invert the polarity on the preamp or DAW.

For a more natural sound that captures the sound of the amp in your

room, try moving the microphone back a couple of feet.

Brass & Woodwinds

The R92’s warm and detailed characteristics make it a great focus mic

for brass and woodwinds. Soprano saxophone, trumpet and most high-

pitched brass and woodwind instruments are known to have “edgier” or

“brilliant” frequency characteristics. The R92’s smooth treble response

on the back lobe is great at preserving these frequencies without

aggravating the striking tonal qualities.

Depending on the instrument’s dynamic range, we recommend starting

by positioning the R92 8-16 inches (20-41 cm) away from the source.

For a focused sound, use the swivel mount (not the mic stand) to point

the microphone on axis towards the bell or preferred tone holes.

If you are concerned about wind blasts, use a pop filter, or position the

microphone slightly off axis.

Drums & Percussion

The R92 excels at close and medium miking of drums and percussion.

A common use for the R92 is on kick drum. While it is never

recommended to put a ribbon mic inside or in front of the kick drum

port, positioning the mic a few inches away from the resonant head

angled slightly down can capture a very natural sound. Make sure that

you don’t feel an air blast on axis to the microphone.

Engineers also love this mic on toms. The R92 is great at capturing

huge low end and upper midrange. A common technique is to angle the

R92 so that it picks up the floor tom, but position it in a way that the

ride cymbal is in the null. It can produce a huge thud that is very natural.

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