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Dual-toned and near-field large ribbon mic with a rich low-end, warm detailed mid-range and a smooth top-end
Offering a classic ribbon character in the form of a near-field, the dual-tone AEA R92 functions as a versatile creative tool with innumerable possibilities. Similar in sound to the 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.
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.
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 limited proximity effect. The R92 naturally reduces 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.
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.
|Package Contents||R92, storage/shipping case, user manual, and captive 10” (3 meter) output cable with XLR-3M connector|
|Unit Weight||2 lb|
|Tube or Solid State||Solid State|
|Polar Pattern||Bi-Directional / Figure-Eight|
|Number of Microphones||Single Microphone|
|Impedance||Nominal: 270 Ohms|
|Frequency Range||20 Hz - 20 kHz|
|Sensitivity||-55 dBV/Pa (1.8 mV) into unloaded circuit|
|Max. SPL||165+ dB (1% third harmonic > 1 kHz)|
Fantastic Mic. Great for Guitar cabs. Or is wonderful on saxophone trumpet cello. A very versatile Microphone with two flavors to choose from.
This mic is passive but so extremely versatile and the design is timeless. There are currently a lot of options for ribbon mics out there but I believe this mic is more useful than most, each side has a different tonal quality. The low end is so good on a kick - (make sure to use a pop filter on direct loud SPL sources) Great on guitar cabinets, exceptional on horns.
I’m using this mic on a bass drum and loving it. The drum is a 28” Gretsch with a full front head. With the mic a few inches from the front head, it captures all the beautiful frequencies of the drum with warmth and clarity. I’m currently running it through a Focusrite Clarett 4Pre, but would eventually like to get an AEA preamp to really let it shine. Very impressed with AEA products. Next up: an R88!
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