– REVIEW –
AEA R44C and R44CX Ribbon Microphones
Audio Media – July 2000
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(454Kb) If there is an icon for the Golden Days of Broadcasting it's likely to be a toss-up between the RCA 44 and 77 model microphones. Long out of production, these mics occasionally show up in music videos or period pieces, but most are out of circulation and in the hands of collectors. The folks at Audio Engineering Associates obviously have a soft spot for these classics – in addition to modeling the AEA logo after the RCA 'lightning bolt' design, they build accurate replicas of the 44, using the original ribbon material stock manufactured for RCA.
Anyone who has had the opportunity to use an original RCA 44 in good working condition knows that these velocity microphones have a very smooth, neutral quality about them. They sound good on almost everything. Anyone who has used an original 44 in bad condition is quite likely to have nothing good to say about the experience – there are probably more bad than good original units in existence today. These old ribbon mics required special care, and their massive appearance belies that fact that they are very fragile instruments.
Ribbon mics get their name from the thin corrugated aluminum ribbon, which is suspended in the gap of a large magnet structure. The ribbon is held in place with as little tension as possible, just enough to keep it from sagging. The goal is to create a membrane that 'floats', having almost no mass or resistance to air motion. As both sides of this fragile ribbon are open to the atmosphere, any large blasts of air can stretch, fracture, or otherwise compromise it. Anyone who learned from a real old-timers was always instructed to 'bag' the mics before moving them around the studio, as even the motion of swinging them while walking could create enough force to damage the ribbon. Bagging the mics when not in use was also common practice.
Even the RCA 44s that made it through the last several decades unscathed by wind damage might have experienced an encounter with 'T' power or a dicey phantom power supply, either of which can destroy the ribbon in a heartbeat. AEA advises that mic powering be turned off for several minutes prior to connecting a ribbon microphone to ensure that the pre-amp coupling capacitors are fully discharged.
IN USE
Given all that can go wrong with a classic ribbon microphone, is it really worth going through all the precautions to use one when there are dozens of more rugged, alternatives available? Engineer Alex Chan thinks it is. After trying the AEA R44C on the trumpet section of a large orchestra date in place of his usual choice (the Coles 4038), he asked if he could use it on his next project. The R44C didn't fare quite as well on a vocal mic shootout conducted by another engineer, who opted for his favorite Telefunken 251. He was bothered by the relatively low output level, which is another characteristic of classic ribbon microphones. The AEA CX might have been a better choice for this application, as it's the same basic microphone design with a higher output level.
Overall, AEA has done a superb job of reproducing the microphone. As previously mentioned, the ribbons are constructed from stock originally manufactured for RCA, and the mechanical assembly of the microphone reflects superb craftsmanship. The machining and plating of the hardware is also first rate, faithful to the point of being interchangeable with the original parts. In fact, AEA supplies 44 and 77 windscreens, hardware and body parts to collectors who wish to restore their originals to factory-new appearance.
For those who desire the classic appearance without the ribbon characteristic, AEA even offers the R44SM, a 'visual replica' of the original 44. Essentially an empty housing, the large space usually occupied by the ribbon element and transformer is replaced by a shock mount, which can hold a more modern miniature microphone. There is an internal female XLR-style connector and a mic cable, which exits the case just like the original. Perfect for those period pieces and music videos.
There are a number of accessories for these mics, whether they are original 44s, replica 44s, or fake 44s. The aforementioned protective bags are available in gray twill with a large zipper. They are just like the originals, except for the AEA logo. Several sturdy transport cases are also available. The mics I received for evaluation were in block foam custom-fit cases covered with zippered burgundy cordura. These cases are far more protective and a vast improvement over the standard injection-molded hard plastic or vinyl-over-cardboard 'flap' cases.
Finally, potential users of these microphones should be advised that these big boys are heavy and standard music store mic stands won't cut it. These microphones call for large, stable stand bases, scoring stage-size boom arms, counterweights and sandbags. AEA can supply these items as well as the hardware necessary to create and position heavy microphone arrays.
CONCLUSION
The techniques required for the proper use of these microphones and the associated hardware are quite specialized. Needless to say, this is not the perfect microphone for the beginner; it may very well be the perfect microphone for those who wish to relive the good old days, or for anyone who would like to experience working with the classic design. It is obvious that the AEA R44C and its accessories were created by folks who truly appreciate the history and art of audio. I wish them all the best in their efforts to preserve it.
Pro Audio Review – "AEA's Wes Dooley is at the forefront of ribbon microphone expertise." Read other product reviews.
