– PRESS RELEASE –
AEA's Sensibly Priced R84 Large Ribbon Microphone Off To A Flying Start
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(726kb)PASADENA, CALIFORNIA – March 22, 2003
With the introduction of a sensibly priced high-performance ribbon microphone, Audio Engineering Associates of Pasadena, California is enjoying sales exceeding the company's expectations. Introduced in the fall of 2002, this studio-friendly product has kept AEA on the cutting edge of ribbon technology and several steps ahead of the competition. A growing list of high-profile users is applauding the microphone's performance and price. The R84 lists for $1,000 and is now shipping.
Among the luminaries praising the R84 is the multi-platinum producer/engineer Joe Chiccarelli who says, "This mic sounds great! Whether it's electric or acoustic guitar, organ or piano, the more applications I use it on, the more I like it." Early adopter, Kyle Harris, of PlayR Recording in Phoenix says, "Wes (Dooley) and company have done a wonderful thing with this mic. In a market choking with too many choices, you have given engineers and recordists a world-class option to return real instrumental and vocal character back into recording."
From Abbey Road, Lester Smith says, "Just tried your latest, (the) R84... had it for a few days and one of our top engineers, Peter Cobbin, liked it so much he wants a pair. Congratulations again! ... a super price ... a real winner." Over at The Woodshed Tim Pak is excited, "I wish I had more R84s! I've been using them as drum overheads, knocking the Neumann 184s out of that duty. I also use them for certain vocals, on guitar amps and my banjo! Somehow they make every sound more 'musical.' It's amazing, I used to avoid ribbon mics ... now I love them."
AEA's first ribbon mic, our classic high-output R44, continues gaining converts with its natural sound, articulate midrange and forgiving nature. Our neoclassic R84 enjoys those sonic qualities, but is optimized for close-up solo and accent chores. It is a lighter (.8 vs. 3.4 Kilos), more compact (7.6 vs. 11.76 cm across, 29.2 vs. 33.7 high) mic, where sensitivity (-52 vs. -48 dBV/Pa) is traded for more highs (±3dB to 20 kHz vs. ±5dB to 15 kHz). Both the R84 and R44 use Large Ribbon Geometry (LRG) architecture with a big, 4.7 by 59.7 mm by 1.8 micron, pure aluminum low-tension ribbon that delivers effortless bass down to 20 Hz. The R84's proximity bass rise is less pronounced than the R44's which starts at 1.8 M, as it's designed for closer micing. Both these LRG mics handle high SPL situations well and can handle 168 dB SPL at >1 kHz.
AEA, which has been working with high-performance ribbon mics for over 20 years, also manufacturers accessories for stereo and surround recording. Its custom products include high-end studio booms and stands, Decca trees, stereo microphone positioners, MS stereo decoders and solid-state stereo phase monitors.
AEA's client list boasts a who's who of the professional audio industry, including Eddie Van Halen, John Rzeznik, Bruce Swedien, Steve Turre, Walter Sear, Bob Rock, 20th Century Fox Scoring, Richard Green, Sony Music, Skywalker Scoring, Chris Stone, Air Studio, Kevin Bacon, Shawn Murphy, Sony Pictures Scoring, Sheryl Crow, Sunset Sound, Larabee Studios and Abbey Road Studios.
