The way people talk about it you would think it’s almost boring. Input List: AEA R88 - AEA RPQ500 Preamp - RME UFX Converter - Nuendo DAW - 96K/24bit John Storie has been a freelance guitarist in the LA area for over a decade. And top-level audio engineers like Joe Chiccarelli, Chuck Ainlay, and Vance Powell trust the AEA R88 so much that … I love both on my last drum recording i used the r88 on the overheads and the N8 on the room mics. An advantage of the N22's is that you can use them in other stereo or mono setups. I angle mine down looking at my 70’s Ludwig kit from about 4 feet away and I’m gettig huge low end, warm smooth cymbals, and punchy snare/toms. The 4038 is certainly a heavier character sound, and has that bombastic low end response for things like drums etc. After you add the R88, look to the active powered AEA mics such as the A840. hit my head on a 4038 before and it turns out I was the fragile one. A list of the 7 best ribbon mics including: Royer 121, 101, SF-12, Avantone Audio CR-14, AEA R84, AT4081, and Beyerdynamic M160. Perhaps the N8s or N22s would be a better choice, or? The reason to get it is that the active powering (via 48 volt phantom) obviates any impedance issues in the mic amp. AEA Ribbon Mics & Preamps 3,335 views. The list of Grammy and Academy Award winning projects recorded with the R88 microphone is long and keeps growing: Turtle Island String Quartet, Los Tigres Del Norte, Juanes MTV Unplugged, Life Of Pi soundtrack are just a few. Would the R88 be OK in this environment? 4038 have stood the test of time and no other mic can pull off what they do. I don't think the 4038 is particularly fragile. The two ribbon elements are angled at 90 degrees and mounted in close proximity to each other along the vertical axis of the microphone. The R88 is fantastic as a room mic or drum overhead, and for me it excels at 'realism'. Click here to login, The ability to reply to and create new discussions, Access to members-only giveaways & competitions, Interact with VIP industry experts in our guest Q&As, Access to members-only sub forum discussions, Get INSTANT ACCESS to the world's best private pro audio, Promote your eBay auctions and Reverb.com listings for free. It’s been on every session from Alanis Morissette to Jason Mraz and from The Strokes to The White Stripes. Do these differences also apply to the A840, for example the A840 would be richer in the bass but have more proximity effect than the N22? I think I've decided on the R88, I want something versatile that will be good on a lot of different acoustic sources and also has the classic natural ribbon sound. You need an account to post a reply. I'll add that I've recorded with it in a well tuned room with very low ceilings- if you have absorption/defusion on the ceiling, you are going to get great sounds. The R88 boasts two Big Ribbon elements angled at 90 degrees, getting true stereo sound from a single microphone. Unfortunately in a room with 7 foot ceilings, there are going to be compromises. The walls are old rough cut yellow pine and a bit irregular and I use an absorption panels on either side of the drummer and behind him/her. You have to take the back side of the mic into consideration. I think I am leaning towards the M160 or the AEA. If you're thinking primarily drums, get the r88. I would choose the AEA R92 in that regard. You should check out the Stager SR2N as well. I have no personal experience with the R84, but that said, if el. I have both and wouldn't want to part with either. Create a username and password below and an account will be created and your post entered. I doubt it is much more sensitive to wind/air than are most other ribbons. If one was concerned about maintenance I don't believe one should get involved with ribbons to begin with. Ribbon or not. As a result, this is a seriously large (and heavy) microphone. The R88 is a passive ribbon design and the 1:28 transformer between the .2 Ohm ribbon and the mic line is its main electronics component. Not sure why someone would choose anything else honestly, boutique or otherwise. 0:34. AEA’s R88 stereo microphone is a true Blumlein recording system and houses two ribbon transducers with two separate outputs. The N22 was primarily designed for close-up applications and offers a sound character that is distinctly different from our R series mics. Would the R88 be OK in this environment? Hey there! I've used mine in front of everything. And there is no other way to get the sound of a ribbon, other than using a ribbon. Now if you back off the source then sure it can be cleaner and natural, but it still has that beautiful thick warm ribbon sound that gives whatever source you’re recording a nice little hug. I would imagine that I would use it mostly on Electric guitar cabinets, but would try it on everything. The 4038 is one of my favourite mics so I'm obviously biased. Thank you both. The ribbon is very sensitive though, and 4038's get fixed a lot more than more modern designs. Our studio lacks ribbon mics. Only other mic I would consider trading for 4038s are RCA77 but I don't intend to do that anytime soon. The following techniques and videos will show you a range of instruments and ways of recording with the R88 in Blumlein technique. I like what I hear about the AEA R88, and am considering it for a drum overhead.