Find out how Pete Townshend likes to use his favorite mic – the AEA R84!
"My favorite mic of the moment is the AEA R84...Lately I've replaced the Neumann with the R84." – EQ Magazine.
8/2/2007AEA R84 Review August 2, 2007, StudioAuditions.com, by Tony SanFilippo
"AEA R84 Microphone" "I liked the R84 quite a bit and I'm sure it would make a nice addition to even the largest mic collections."
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8/1/2007AEA R84 & TRP Review August 1, 2007, EQ Magazine, by Jeff Anderson
"AEA R84/TRP MIC/PRE Combo" "Both units burst with vintage charm...I was very impressed with the gloss and tone the R84/TRP gave the track...Turning the input up and the output down on the TRP results in a polishing of the signal. It’s also a very 'quiet' box. This was especially apparent when I put the R84/TRP up against a Neumann U87 and a No Toasters Nice Pair pre...the TRP added just the right amount of gloss to make the track sound as if it was already compressed, like I was listening to the R84 through a filter of sorts that, instead of sucking up the articulations, left us with some great tonal nuances."
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4/22/2007AEA 92 Review April 22, 2007, StudioAuditions.com, by Tony Sanfilippo
"AEA R92 Microphone" "The sound was absolutely perfect ... I didn't touch the EQ or add any processing at all ..."
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4/15/2007AEA TRP Review April 15, 2007, Pro Audio Review, by Dr. Fredrick J. Bashour
"AEA TRP Ribbon Microphone Preamplifier" "[TRP] is destined to become a first choice preamp for engineers who use ribbon mics with quiet sources ... In other words, it's the first universal mic preamp for non-phantom powered mics! ... Since the Millennia Media preamp is such a standard around the world for classical recording, I'd consider that putting the TRP in the same category as the HV3C is giving it some pretty high-class company to keep."
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4/1/2007AEA TRP Review April 1, 2007, Mix Magazine, by Joe Hannigan
"Field Test: AEA TRP Ribbon Mic Preamp" "Several shoot-outs and tests against other preamps went about as expected: None had the flexibility for reliable, stable settings, nor had the kind of overall gain structure or repeatable results found in the TRP ... With such a smart blend of technology, it's difficult to tell where the beauty of the ribbon microphone experience ended and the preamp began, but the unit's lack of coloration and built-in features more than kept up with—and perhaps exceeded—the quality of the microphones I used."
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4/1/2007AEA R92 & TRP Review April 2007, Sound on Sound, by Hugh Robjohns
"On Test Microphone: AEA R92 & TRP Studio Ribbon Microphone and Preamp" "This classy ribbon mic doesn't just look great—AEA's thoughtful design means that it also offers great results...If you are considering investing in the smooth natural character of a ribbon mic, this is certainly one worth auditioning first-hand. I've fallen in love with it!...The AEA TRP is an impressive preamp whichever way you look at it."
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3/1/2007AEA TRP Review March 2007, Electronic Musician
"Quick Picks" "But even with an assortment of expensive solid state preamps at my disposal, I still wasn't satisfied with the sound we were getting. Then along came the TRP. Right away I was amazed at the difference that this preamp made on [Julia Shirar's] vocal tracks. Although I had previously struggled to get this singer to cut through, the TRP positioned her effortlessly in front of the mix with clarity and detail...
I thought I had sworn off buying new preamps, but the AEA TRP is clearly a must-have to supplement my mic closet. It is an excellent mid-priced, 2-channel preamp that works wonders without breaking the bank. A staggering 84dB of gain makes the TRP one of the most potent preamps and one of the few optimized for ribbon mics."
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3/1/2007AEA TRP Review Review: AEA The Ribbon Preamp
March 2007, Recording Magazine, by Scott Dorsey
"In a few words, this preamp makes ribbon microphones sound brighter and more detailed than a conventional transformer-input preamp."
www.recordingmag.com – Requires purchase
9/1/2006AEA R92 Ribbon Microphone September 2006, Pro Audio Review, by Russ Long
"AEA R92 Ribbon Mic" "The AEA R92 is a wonderful microphone ... If anyone ever told me that a ribbon could capture high requencies the way the R92 captures high frequencies, I would have called them a liar ... Its top end is wonderfully pristine. You truly have to hear it to believe it."
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5/1/2006AEA R92 Review May 1, 2006, Músico Pro, by Scott Dorsey
"Micrófono de listón R92 de AEA" www.musicopro.com – Requires subscription
3/1/2006AEA Stereo Mic Protractor March 1, 2006, Tape Op, by John Baccigaluppi
This one of the neatest things I saw at last fall's AES show.
www.tapeop.com – Requires subscription
1/18/2006AEA Mic Preamp Jan 18, 2006, Mix
"2006 Winter NAMM – Signal Processing, Hardware" A high-gain, dual-mono ribbon mic no-phantom preamp for those who need their sound louder, with 84 dB of quiet gain with mic and instrument inputs.
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12/1/2005AEA R88 Review Stereo Ribbon Microphone This new monster mic incorporates two separate ribbon diaphragms, allowing you to use either Blumlein or MS stereo recording configurations.
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11/1/2005AEA R92 & AEA R84 November 2005, Electronic Musician, by Miles Boisen
"Ribbon Revival" "Among the other premium mics, I was most excited about the AEA R92.The sweet highs of this pill-shaped transducer make it an ideal candidate for applications that have always challenged ribbon mics—namely acoustic guitar, percussion and modern pop vocals."
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10/9/2005AEA Ribbon Mic Pre Oct 09, 2005, Mix
"AEA Dual-Mono Ribbon Mic Preamp" – (AES 2005)
AEA unveils a high-gain, dual-mono ribbon mic (no phantom) preamp for those who need their sound louder, with 84 dB of quiet gain with mic and instrument inputs.
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9/1/2005AEA R92 Review September 2005, EQ, by Monte Vallier
"AEA R92 Ribbon Mic" To sum it all up, this microphone exceeded all expectations that I had. The versatility, the design, the excellent wind-blast protection, the reduced proximity bass boost, the clean, the even frequency response, great high end, and very affordable price make this a must have for anyone looking for a real ribbon to add variety to their sound or to replace some finicky vintage mics.
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9/1/2005AEA R84 and R92 September 2005, EQ, by Lynn Fuston
"Top Round 1st Choice Draft Picks For EQ'S Ribbon Rondele" I lined 12 mics to see how they compared...
R84
"The coolest thing about the R84 is that it sounds like a vintage ribbon with the advantage of lighter weight and smaller size...On brass and strings, it sounds divine, lending a "Hollywood film score" vibe. "
R92
This is the same "large ribbon" mic as the R84 but in a different housing and voiced for up-close work. It's a brighter mic with drastically less proximity effect, allowing the talent to work in a more typical LDC fashion, 4-6" from the mic.
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8/1/2005AEA R92 Ribbon Microphone Aug 01, 2005, Mix, By Kevin Becka
"Field Test: AEA R92 Ribbon Microphone" It rounds off transients in true ribbon fashion, adding a naturally compressed sound that flatters even the most strident source. This tendency and its tailored frequency response make the R92 a hands-down winner at close quarters. You don't need to be afraid to get this mic in a singer's face or right up on a speaker. The R92 – like its forefathers carrying the same engine, the R84 and R88 – is unequaled in its price range. I almost felt guilty...
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3/1/2005AEA R88 Ribbon Microphone Mar 01, 2005, Mix, By Roger Maycock
"New Studio Microphones In 2004" The R88 is well suited for recording woodwinds, strings and cymbals, and is also a good choice for orchestral and choral recording, horn sections and drum overheads.
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1/1/2005AEA R92 Ribbon Guitar Microphone Jan 01, 2005, Mix
"Tools of the Trade" The R92 from AEA is a mic that shares the same 2-inch ribbon as the company's popular – and more expensive – R84, but has decreased proximity effect to avoid the LF build-up that can occur when ribbon mics are placed close to loud guitar cabinets.
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1/1/2005AEA R92 Ribbon Microphone January 2005, EQ, By Phil O'Keefe
"The Phil O'Keefe Report: Transducers-R-Us!!!" A couple of other mics impressed me, like the AEA R92 ribbon mic ($900) from Wes Dooley, which is similar to the R84 but designed for less proximity effect and use at closer distances (www.wesdooley.com).
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1/1/2005AEA R92 Ribbon Microphone January 2005, EQ, by Lynn Fuston
"Lynn Fuston Makes The Money Picks" The bottom end on the R84 is exaggerated up close, but on the 92, it's very smooth even when working as close as 2". The R92's top end was astounding, almost sounding like a condenser compared to the R84.
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1/1/2005AEA R88 Ribbon Microphone January 2005, EQ, By Lynn Fuston
"AEA R88" When I heard that Wes Dooley at AEA was planning a stereo version of the R84 – the R88 – I was interested. I frequently use my R84s for stereo miking, but putting two 12" long mics end-to-end at 90 degrees on a single stand at a height of 8-12' is no small task.
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11/1/2004AEA R88 Review Nov 01, 2004, Mix, By Kevin Becka
"Field Test: AEA R88 Stereo Ribbon Microphone" There's no other ribbon that duplicates what the R88 does for bass, drums, percussion, brass and mallet instruments. It imparts warmth, has an appealing way of dealing with transients and, most importantly, has a knack for making things sound incredibly "real." At this price, it's a no-brainer.
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9/1/2004Resurgence in Ribbon Microphones Adds New Microphone Technologies Sep 01, 2004, Mix, By Sarah Jones
"Ribbon Renaissance" Ribbon microphones once ruled the world of audio recording for music, broadcast and film. After a decades-long disappearance, vintage ribbon mics are back, with a host of new models.
After two decades of using, servicing, and selling both vintage and contemporary ribbon microphones, engineer and mic designer Wes Dooley, head of Audio Engineering Associates, began experimenting with his own ribbon designs.
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2/1/2004AEA R84 Review This ribbon microphone design uses an exceptionally large transducer for high-quality performance in the modern studio.
www.soundonsound.com – Requires subscription
1/1/2004AEA R84 Ribbon Microphone January 2004, EQ, By Greg Rule
"Welcome to the EQ Awards!" An RCA-style ribbon mic for under a grand? For those looking for affordable vintage ribbon flavor, this is the one to buy.
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10/1/2003AEA R84 Ribbon Microphone Oct 01, 2003, Mix, By Kevin Becka
"Field Test: AEA R84 Ribbon Microphone" AEA's slick, retro-looking R84 is the newest mic in designer Wes Dooley's product line.
At this price, you should have at least one R84 in your locker, especially if you're looking to put some life into your digital signal chain. When using even high-quality condensers with a DAW, you forget how good things can sound and end up settling for "really good" instead of "excellent." A quality ribbon like the R84 can take a production to the next level, injecting some butter into a margarine world.
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8/1/2003AEA R84 Review August 2003, PAR, by Dr. Fred Bashour
"AEA R84 Ribbon Microphone" I am really impressed by this microphone. I have not had the opportunity to try it on my favorite singer, but if it works on her the way it flattered everything else I put in front of it, I don't think I'll be returning it to Wes Dooley and his crew of ribbon mic fanatics any day soon. Wow!
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6/1/2002AEA R44 Review Built as an authentic replica of one of the all-time classic mics, this premium ribbon model brings a unique character to the modern studio.
www.soundonsound.com – Requires subscription
9/1/2000AEA R44 Review September 01, 2000, Pro Audio Review, by Russ Long
"Audio Engineering Associates R44C and R44CX Ribbon Microphones" The AEA R44C is one of the best ribbon microphones available today. Purchasing an AEA R44C or R44CX not only mean you acquire a fantastic microphone, it also means you own a piece of history.
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8/1/2000AEA R44 Review August 01, 2000, Studio Sound
AEA's reproduction has won plaudits from engineers like Bruce Swedien, Allen Sides and Shawn Murphy, all with plentiful experience of the original and all saying the AEA version is as good or better. It may be tempting to think of it as a useful movie prop that happens to work, but this is a serious microphone that delivers something special.
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7/1/2000AEA R44 Review July 01, 2000, Audio Media
"Audio Engineering Associates R44C and R44CX" 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.
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4/1/1999AEA R44 Review Apr 01, 1999, Mix, by Shawn Murphy
"Audio Engineering Assocociates' R44C: RCA Ribbon Microphone Re-creation" There is a sweetness and beautiful authority to the 44 sound that has not been re-created until now. As so many of the original units are in disrepair or out of service, the availability of a new microphone with these characteristics is very welcome. In all, the AES R44C is a very successful re-creation, one of the best in current memory.
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12/1/1998AEA R44 Review Dec 01, 1998, Pro Audio Review, by Frank Beacham
"The High Art of the Microphone" That great bottom end has made the 44 a favorite for voice, horns, upright bass and guitar, not to mention audio drama where groups of performers can "work" the microphone simultaneously.
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8/1/2007AEA R84 August 2007, EQ, By J.J. Blair
"Tracking Townshend" "My favorite mic of the moment is the AEA R84...An emulation of an RCA ribbon mic is not going to sound like an RCA ribbon mic. Only Wes Dooley can come close today...Lately I’ve replaced the Neumann with the R84."
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11/1/2005AEA R92 November 2005, EQ, By Monte Vallier
"Millennia Media HV-3D High Voltage Mic Preamp" "For the bassoon I used the AEA R92 ribbon mic placed three feet away from the middle of the instrument (you get lots of fingering clicks but the sound is more balanced than trying to mic the top of the horn) through the HV 3D with the +18dB gain button engaged."
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10/1/2005AEA Microphones Oct 01, 2005, Mix, By Rick Clark
"Nashville Skyline-Musical Chairs Among Nashville Studio Managers; Changes at Blackbird Studios" "Our equipment inventory includes dozens of EMI EQs and comps," he lists, "...as well as mics from Altec, AEA, AKG, Royer, Neumann, Korby, Telefunken, Coles, RFT, RCA, Shure and Schoeps, to name only a few."
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9/1/2005AEA R88, R92 Sep 01, 2005, Mix, By Kevin Becka
"Hellacious Horns" "Room mic setup can vary from ORTF to spaced pairs; spaced pairs provide a "larger" sound because of the spread between the mics. Ribbon mics such as the AEA R88, R92 or Royer 121 or 122 also work very well with trumpets, rounding out the transient edges and exhibiting an overall smooth sound."
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9/1/2005AEA R92 Sep 01, 2005, Mix, By Matt Hurwitz
"Recording "Les Paul & Friends": Top Rockers Get Together to Honor Guitar Legend" "90-year-old guitarist and sonic innovator Les Paul talks about a new album he made with rock legends Eric Clapton, Sting, Peter Frampton, and other called Les Paul & Friends. For vocals, Urselli used the AEA R92 ribbon (which was also used on some guitar amps)"
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5/1/2005AEA Microphones May 04, 2005, Mix, By Mix Editors
"Firehouse 12 Heats Up the East Coast" "The venue's recording studio includes a vintage 48-input API Legacy console, Studer A827 2-inch tape deck, 48-channel Pro Tools HD3/Accel system, Nexo PS 15/PS 10 speakers with Camco amplification, Genelec 1038 main monitors and a collection of Neumann, DPA, Soundfield, Royer, BLUE, AEA, AKG and Shure mics and plenty of top-shelf outboard equipment."
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11/1/2003AEA R44 Nov 01, 2003, Mix, By Blair Jackson
"Recording Piano" "Esteemed British engineer Tony Faulkner has recorded hundreds of albums of (mostly classical) piano music through the years ...if I want a closer pickup for jazz or something, I like to use ribbons. I have some old RCA-type 44s made by AEA in California that are fantastic...ribbons have such incredibly low distortion, and because of the pattern, you can get a very present sound that you can actually recognize as something warm and friendly, and it doesn't squeak and scratch and spit at you."
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10/1/2003AEA R44 Oct 01, 2003, Mix, By Gary Eskow
"Facility Spotlight: Bennett Studios" "T-Bone Burnett was the producer, and he wanted a darker sound to help keep the album moody. We went with the Coles in the oculus, and we also used a bunch of AEA 44s: these retooled versions of the old RCA 44 ribbon mics that are made out in California by Wes Dooley."
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12/1/2002AEA R44 Dec 01, 2002, Mix, Chris Michie
"Skywalker Hosts La Boheme Cast Recording" "Murphy also selected Neumann M49s and M149s for each of the principal singers, and arrayed a range of Schoeps MK4s and Sennheiser MKH40s, Neumann U67s and U47s, plus Royer and AEA 44 BX ribbons as spot mics."
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1/1/2001AEA R44 Dec 01, 2002, Mix, Chris Michie
"Brian Setzer" "The 13-piece horn section - five saxes, four trombones, four trumpets - came in on a separate day to lay down their parts. "They [were all] in the same room," says Holbrook... "We also rented some of these AEA [mics] - they're a reproduction of an old RCA 44, which this guy Wes Dooley makes that are really good. So we used those on the trombones and RCA 77s on the trumpets. For some reason, I just think brass generally seems to sound better with ribbon mics. We used Neumanns [U47s, U67s and U87s] on the saxophones."
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