AEA R92

Up-close passive microphone with dual-sided tonality

SKU: R92 Categories: , , , , Tags: ,

Description

With a thick low-end and hefty midrange, the dual-toned and near-field AEA R92 ribbon mic is an exceptional tool when building a classic sound.

R92 MICROPHONE OVERVIEW

  • Rich low-end, warm detailed mid-range and a smooth top-end
  • Different tonality on front and back sides, giving users a sonic choice
  • Has a similar character to the classic R84 with less proximity effect
  • Near-field ribbon mic with reduced proximity effect
  • Made in the U.S.A.

A CLASSIC RIBBON MICROPHONE

Offering a classic ribbon character in the form of a near-field, the dual-tone R92 functions as a versatile creative tool with innumerable possibilities. Similar in sound to the AEA R84, but with a more pronounced midrange and minimized proximity effect, the R92 performs brilliantly when up close to brass, guitar amps, kick drum, and percussion.

One side of the R92 yields a tonality distinct from the other, essentially providing two mics in one giving options on different sources. When supplemented with a brighter mic signal, the R92 serves to balance the scales in a mix with its low-end clarity and warm midrange.

TWO SIDES — A CHOICE OF SONIC TONES

With its dual sonic character, the R92 offers limitless creative options for capturing a signature sound. The front side offers a crisp sonic signature — tailored to have a bright sound. The back side is darker and smoother. It is ideal for taming harsh sounds such as trumpets and strings in a refined and flattering way. The bass reproduction of the mic extends to the lowest audible bass frequencies.

A NEAR-FIELD MIC WITH CHARACTER

The R92 was designed to be positioned between 1 and 18 inches from the sound source. It retains a balanced frequency response across the spectrum with a limited proximity effect. The R92 naturally reduces the proximity effect while also avoiding the room tone that can cause problems in smaller spaces or iso booths.

Naturally rolling off the low-end before it hits the ribbon creates a much different sound than using electronic equalization to roll off the low-end in post. In a traditional ribbon mic, the proximity effect can be so strong that it obscures the mid-range, which can be extremely difficult to correct.

Unlike traditional ribbon mics, think of the R92s placement in terms of inches instead of feet. Of course, near-field mics can be positioned at a distance, but they have a more balanced sound close to the sound source.

The R92 not only handles the SPL levels of a high-gain amplifier and loud trombone with ease, but it also translates all the gritty details of an instrument that musicians seek.

DESIGNED FOR EASY PLACEMENT

The R92’s U-shaped yoke acts as a shock mount and also enables the user to position the mic at various angles even with a straight stand. This shock mount is attached to an integrated 360-degree swivel mount that enables easy setup and positioning in tight spaces. Weighing only two pounds, the R92 can easily be accommodated on cramped stages.

YES, THERE’S A MATCHING PREAMP

Since the R92 is a dual passive ribbon microphone, the preamp is critical for optimum performance. Preamp gain should be at least +60dB or higher and the preamp should have a very high impedance. It’s the same requirement with all passive ribbon mics.

To guarantee consistent, full-range ribbon sound, we recommend AEA’s RPQ2RPQ500, and TRP2 preamps, which were specially designed for ribbon microphones. However, preamps with above a 5K ohm impedance found in many live soundboards are adequate for guitar amps and other louder instruments. On quiet sound sources or for distance recording, an AEA preamp is highly recommended.