AEA R88 mk2

5.00 ud af 5 baseret på 2 kunde anmeldelser
(2 kundeanmeldelser)

18.208,00 DKK 16.899,00 DKK

Nemt, bekvemt, og en ufattelig realistisk lyd der slår benene væk under dig,og tilføjer varme til alle dine optagelser.

Designet til XY eller MS stereo optagelser, men kan også bruges mono.
AEA R88 får dine instrumenter og dit rum til at lyde større.
Bruger du den “close up” leverer den intimitet med en god fornemmelse af rummelighed.
Trommer, blæsere, strygere, større ensembler, små intime grupper.
Alt sammen bliver vækket til live med denne mikrofon.
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Beskrivelse

AEA R88 mk2 Stereo Ribbon Microphone

The R88 mk2 is optimized for recording instruments and ensembles in stereo. The R88 uses the large ribbon configuration of the classic RCA 44 series mics, which gives the mic solid 20Hz bass response and a smooth high end which is flattering to complex tones.

There is no easier way to track in stereo than with a stereo microphone with two configured transducers in a single sleek package. A stereo microphone is highly useful in recording situations in which it is more convenient or aesthetically pleasing to have a single housing for both capsules, such as for drum overheads or live concert recordings.

The R88 has a natural sound because it is the pure sound of two undamped long ribbons. If the basic characteristics of a transducer element are in accordance with a few primary physical laws, it will sound good without requiring any extra acrobatics. The simpler the physics, the less adulterated the sound of a transducer will be because it will introduce fewer artifacts into the electrical signal that were not part of the original airborne sound signal. An undamped long ribbon is a good example of just such a transducer.

MS Stereo Setup
View larger image
The R88 has been optimized to produce the most natural stereo pickup possible with ribbon transducers. The R88 has two figure-8 ribbons angled at 90 degrees to each other (Blumlein configuration). It has a uniform polar frequency response and excellent off-axis frequency response. The high quality passive electronics ensure a large dynamic range with minimal distortion. The R88 will sound best with a preamp that has at least 60dB of clean gain, a low noise floor (-127dB EIN or better) and input impedance of at least 1.5 kOhm.

The R88 has a well-defined center image, because of the phase characteristics of a coincident arrangement. In other words, the stereo effect comes primarily from level differences between the channels, with only minimal phase effect. This means that anywhere in the front quadrant of the microphone, will be recreated with a strong three dimensional sense; the location of instruments in the soundstage is easily and very precisely perceived. Recording in front of the center line on the caps will produce a solid and stable center image when played back over monitor speakers, with a sense of space and ambience that reflects the acoustic quality of the recording environment.

The R88 is minimally protected from wind blasts for the most natural sound quality possible, so a pop filter should be used when making close vocal recordings. The R88 may be used for both Blumlein stereo and M-S Stereo recording techniques. The mic is finished in Stealth black to reduce visibility in live recording situations, and features an integral shock suspension to reduce noise coupled through the mic stand.

The natural sound of the R88 makes it a great choice for the main mic that forms the backbone of your mix. The R88 is an excellent orchestral, chamber, and choral recording microphone, and shines on studio applications such as horn sections and stereo piano pickup. The R88 also flatters complex tones such as woodwinds, strings and cymbals.

  • Transducers: dual 2″ ribbons oriented at 90 degrees
  • Sensitivity: -52dBV/Pa
  • Frequency Response: 20Hz–15kHz (± 3dB)
  • Output Impedance: 270 ohms
  • SPL Handling: 165dB SPL at 1 kHz

AEA R88 har høstet et hav af rosende ord:

“There´s no other ribbon that duplicates what the R88 ($1,895) 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.” 
– Mix Magazine(Read the review)
“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.” 
– EQ Magazine (Read the Review)
“This new monster mic incorporates two separate ribbon diaphragms, allowing you to use either Blumlein or MS stereo recording configurations.” 
– Sound On Sound (Read the review)

 

Se alle anmeldelserne her: REVIEWS (external link)

 

2 visninger af AEA R88 mk2

  1. 5 ud af 5

    Da jeg første gang satte R88´eren op foran et (godt) trommesæt, bemandet af en god trommeslager, og gik ind og skruede op for et par pre amps, tænkte jeg: “Det der lyder som at stå inde foran trommesættet”. Virkelig noget af det der kommer tættest på det øret hører. Så måtte købe skidtet….
    Har brugt den meget på meget forskellige ting.
    Lige fra dødsmetal trommer til beskidt blues guitar, til akustisk folk/singer/songwriter og tilbage til black og hardcore og punkrock.
    Det eneste problem er at når du feks smider den op foran et trommesæt, og ham der spiller på sættet spiller af pose – ja, så lyder R88 jo også af pose. På den måde er den meget musikalsk.
    Laver mest ting der larmer, men her er et lidt anderledes eksempel på en optagelse hvor R88 har en MEGET stor rolle – lavet på en aften.
    http://musicbyhound.bandcamp.com/album/spirits-are-appearing

  2. 5 ud af 5

    Siden jeg købte min AEA R88 stereo ribbonmikrofon har den været min goto mik til indspilning af blæs og stryg mv.
    Den autentiske og uhypede lyd man får af blot at stille den op og finde balancen hornene imellem foran den, giver altid et godt resultat.
    Mit mikrofonskab tæller både vintage Neumann rørmikrofoner, Schoeps, Gefell og AKG mfl, men de får sjældent spilletid længere.
    Efterfølgende har jeg opgraderet med en AEA TRP preamp.
    Den er jo som skabt til mikrofonen og får virkelig det bedste ud af den.
    Senest har jeg anskaffet mig en AEA R44CE, som er fantastisk både til vokal og blæs, og jeg er enormt glad for nu at have både R88 og R44CE til rådighed.
    Jeg er blevet en meget varm fortaler for ribbons, efter at jeg opdagede hvad de kan gøre for indspilning af akustiske instrumenter.
    AEAs ribbonmikrofoner får min varmeste anbefaling.

    Thomas Edinger
    Saxofonist med Lukas Graham, Rasmus Seebach, Medina mfl.
    Mikrofonafficionado.

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