All user reviews for the AEA R84
stompboxjon's review"Loving this ribbon mic"
When you purchase the AEA R84 it will ome with a 10 foot microphone cable and a shock mount. The carrying case is foam lines so it protects the microphone. For the price, you will get way more than your money’s worth with the R84. I have been using it since 2010 and its an amazing microphone. I didn’t have to care instrument microphones around with my vocal mics. The R84 was just the 1 microphone that I would carry around to other members house in my group. Its an all in one solution to your recording needs. I am now looking into more Ribbon Microphones because of the R84, it has really opened my mind up to how versatile a ribbon mic is.
1 people found this review helpful
Overall, the AEA R84 is an affordable ribbon microphone that is great in a variety of situations. I've used the mic for mostly in situations where I am looking for as much detail as possible. Since it is a sensitive microphone, I tend to only use it in situations where there isn't going to be any bleed from anywhere else. For these reasons I've used it on acoustic guitar and vocals in solo situations, as well as for recording overdubs of acoustic stringed instruments like violin, mandolin, and cello. This microphone is modeled after the classic RCA ribbon microphones, but offers up this similar style and sound for a fraction of the cost. It even has a similar logo, so I wouldn't be surprised if they had to make a licensing agreement with RCA to manufacture these microphones. Beyond the sound quality, the price of this mic is definitely its best attribute. They have made the microphone affordable for both professionals and amateurs alike without sacrificing sound quality or overall quality of its make up. While only having a figure 8 polar pick up pattern is a little strange, once you decide to go with it instead of against it, you can really work it to your advantage. All in all, if you're looking for a high quality ribbon microphone in the style of the old RCAs without the price tag, the AEA R84 is the closest that you're going to get to the real thing without getting a real RCA...
Monad's review (This content has been automatically translated from French)" TAPE AND 48V"
Just one comment because we often read, as is the case in the notice below, that we should not use the 48v with ribbon mics on pain of ruining it.
It is true that this was the case when the microphones were asymmetrical output.
Now do not worry, because in most cases the output is mirrored with a transformer thus insensitive to food phanton, and in some cases manufacturers integrate a pre-amp to compensate for the lack of level, there must be a phanton, symmetry will then either be Tranfo mail.
see R102 MKII Classical Ribbonhttp
So do not worry ribbon microphones are now much stronger than in the past: o)
7 of 18 people found this review helpful
Robin Schneider's review (This content has been automatically translated from French)"Best in its price range."
The AEA R84 ribbon microphone is a passive (watch out for ghosts at 48v!), The original model was built by RCA in the 40/50, is a contemporary of RCA 44 (also reprinted as the AEA 44 ).
It is a micro "general purpose". Unlike the static and moving coil, ribbon microphones are less often referred to a particular type of source in their design, although as Audio Technica offers a model and a model singing "instrument" for its own range.
The sound of ribbon microphones comes from their very conception. It is a metal band very thin and light that is fixed in the gap of a strong magnet. This feature gives the first ribbon microphones a better transient response than the mobile coils (compare to an SM57 and you'll see what I mean), but softer than the static.
The other feature is the resonant frequency, the tuning of the tape. Unlike static echoing in the high (hence the exaggerated clarity and cruel some models like the U87), the resonance of the ribbon is placed in the extreme serious. This results in the audible frequency response that drops gradually rather neutral in the treble.
Rather neutral by paying attention to the proximity effect due to the directivity 8. With less than a meter from the source can be expected with an increase in serious use is not bad, especially since we can always remove them with an equalizer, a filter strip or a plugin.
Therefore Ribbon microphones sound "natural" and the R84 is a perfect example.
The microphones of the 50 fell rapidly in the acute (at 12K there was much left). That is why the static became more common, because more accurate and brighter. At the time of tapes and copies lossy characteristics were apréciables. Today, with digital we need as much treble.
In addition, improved manufacturing techniques, and using powerful neodymium magnets provide an extended response. In fact, if you look at the curve provided on the site of AEA, we find that the 20K is only 6dB below 1K.
Suffice to say that the mic does not lack acute. It only return like in real life, and enough to add with an equalizer.
Warning: These microphones are fragile as sensitive to wind and 48v. Do not run with (or else in his bag), do not put it in front of a fan, this might relax the tape and sent straight into the nécessiterai an SAV. For decision-voice, the filter is just antipop mandatory, and keeps the singer at a distance that keeps control of the proximity effect.
It's been six months since I use virtually everything. It is the centerpiece of my setup. I always dreamed of having a ribbon microphone and it largely fills my expectations.
I have tried a lot of microphones. I loved the softness of the classical dynamics in frequency and accuracy of static. With the R84 I have both.
I always had trouble with static. Especially the U87. I know this is a reference, but I think this microphone is so precise that it looks more like judging the source of the return. It's cold, and when the source has the slightest defect, he puts forward.
This is not the case of R84. He respects the source as it is. It does not put forward faults, not exaggerated sibilants, no sounds horrible mouth. It emphasizes the body and soul of the source.
For the first time I heard my Vox amp for recording as I heard in real life. Not the infamous boiled a SM57 that destroys transient when it crunch, not a static aggressiveness. So to say I could make believe I play it by passing the recording strong enough.
This observation is also valid for all sources. It makes an excellent room mic for drums, just put microphone perpendicular to the battery to recover the piece only.
Voice on the sound becomes very malleable. We can do as well as modern vintage sound, then we apply the appropriate treatments. The phrase "it is with the old one does the new" takes on its meaning and I will add "and not the reverse."
On acoustic guitars it is just amazing. proximity effect may even give body models using, and lack of acute pure is offset by the good transient response.
In addition, a small treble boost with an EQ provides the brightness of a static without aggressiveness. I use the Feq-50 Summit audio for that. I even find it's smarter to do this maneuver rather than taking a static, since the EQ adds its own paw to her already beautiful.
I use the R84 with the 6176 and the Universal Audio LA-610MKII (which I also wrote test) is a neo-retro sound system perfect. The natural simplicity of tape, heat the tube amp and EQ and clarity of the 1176 transformers can get any sound I want.
The value for money is just great as soon as we research this aesthetic. For me it beats in the first round the TLM103 & Co in terms of tonal beauty and possibility of treatment.
I recommend it to any engineer who needs a microphone capable of doing everything, to catch everything. In addition there are variations, including a special version with a voice proximity effect and reduces an integrated pop screen filter, and an active version supplied with 48v for very weak sources.
However, I do not recommend it for a rapper or an R'n'B singer who needs a good microphone to his demos in a home studio. It is too fragile and does not give the result "immediate" that can give a blow for the neumann.
Last thing: if you do not have a pretty beefy preamp (70dB gain), and you do not have the means, think of the cloud lifter.
23 of 25 people found this review helpful
egemathieu's review (This content has been automatically translated from French)" EXCELLENT!"
For 1 year or less. I use it a lot on voice and on the resumption of acoustic instruments in addition to other microphones. More distinctive than the Audio Technica Ribbon also tested but with a more original tone color! Less universal for sure.
Pros: Natural, spatialization, build quality, looks
Cons: fragile, low sensitivity
Fabulous value for money
I would do this election with eyes closed and ears open!
4 of 4 people found this review helpful
hd project's review (This content has been automatically translated from French)" Super good mic!"
This restores the micro heat anything aggressive and tight! It is also interesting female voices that have a lot of "s". By boosting the 5K and 10K in eq we get a nice result without aggressiveness. This last use is only my opinion if you like very big voice that can be found in the productions rnb go your way ...
This mic is not much treble so it is interesting on all that lack of roundness.
ATTENTION breath, it has a low output, do not expect to have fine results with a preamp that does not grow a minimum 70db! Neve registered or equivalent.
-Hot! hot! hot!
-Transients are soft
- Very nice well designed low medium without excessive resonance when placed correctly
- The sound typical ribbons
- 8-directionality useful for taking ms with a heart
Little treble (but I'm fan of: a micro = a specific use)
- Blows a lot: you need a preamp that follows behind otherwise you'll get no benefit from its potential.
So, if you like ribbon mics in this price range go for it!
2 of 2 people found this review helpful
sound sculpteur's review (This content has been automatically translated from French)
Fabulous for recovering the envelope of good voice even very high and medium frequencies.
Superb ambience mic for drums.
Magic m / s for making guitar for example.
Beautifully soft on any type of percussion chacha, Bender, conga, bongo etc. ...
* For how long have you been using it?
I then used 3 years.
* What thing do you like most/least about it?
The sweetness and naturalness of sound
Did you try many other models before getting this one?
I find Coles a bit dark and a bit too fragile Royer.
What thing do you like most/least about it?
The more I talk about above. Otherwise the bag is nice, the vintage look is cool and always impresses the customer
It's my humble opinion the Swiss Army knife of ribbon microphones, all that happens in person, just like the op amp by API
The least ... these are generally features unique to this type of microphone.
The connection is permanently connected to the microphone.
The need to re-boosted mix from 10KHZ about to bring out the high mids and treble on sources who need them.
# What is your opinion about the value for the price? very good
# Knowing what you know now, would you make the same choice? ... yes eyes closed.
2 of 2 people found this review helpful
toots's review (This content has been automatically translated from French)
Professional (I'm a musician and composer and possde my own studio) I use it for two years notemment on acoustic instruments such as clarinets, harmonicas, guitars, bass, vocals, percussion, and also amps.
We must learn to find his adquate use: the sound is very diffrent good dynamic and well on a static quality.
I prfere is its relatively low register incomparable and very acute mat: it is
fabulous for bass clarinet for example, an amp, but more delicate voice or a different source or acute middle register is important.
it is the only microstrip I test but I compar neuman of KM 84 and 74, KM184-TLM170-TLM103 a Seinheiser MD441 and MKH404 and AKG 414 TL2,
This is an exellent micro incomparable to some sources-or hot is serious research, and high mids and treble very attnus which cash-in levs dynamics.
Attention to the breath, the ribbon is fragile (anti pop filter very recommended.
By knowing well it soon becomes essential for certain sources complmentaire way with one or two good static: 414, TLM 170 / U87
I do not regret my choice ... I played in dozens of albums in fabulous studios (like PCI Brussels) I never had the grain of the microphones for my instruments
(Clarinets and harmonica) even with a U47 or U67 ...
you need a good pre-amp so it gives its measure: as much tape (dynamic) has little level
1 people found this review helpful