Neil Dorfsman used a Heil PR-30 and a Shure SM7B mic on the amp through the aforementioned Neve modules. The mics open up, CurveShaper adds air without harshness, and the detail is amazing. Both are corrugated 1.8µ aluminum, tuned to 16.5Hz. The AEA R88 mk2 is optimized for recording instruments and ensembles in stereo. AEA confirms that this spec is for signal above 1 kHz; the max levels drop 6 dB per octave below 1 kHz—ed.] It can take compression well, too; when I hit it with some 1176 compression, it made the drums explode. AEA R88 mk2 vs. Royer SF-12 AEA R88 mk2 vs. Royer SF-12. Since receiving these mics a few months ago, I've used them on every recording session to date. - all amazing. Luckily she has great mic technique, and with a pop screen, we were able to get her close enough on the quiet parts to make the R84 we used sound awesome - quiet or loud. Larger ribbon element for wider frequencies and higher SPLs. AEA R88 MKII Microphone. I had tried the R88 Mk2 with tons of other preamps while I was waiting for my own RPQ500 modules to arrive. Recording two Ampeg Gemini guitar amps in stereo was totally killer. JZ's promotional literature touts its old world, no-compromise... Bruce Bartlett and Steve Mills, former mic designers for Crown and Shure, now create their own designs under the Bartlett Microphones banner. With precise stereo imaging the AEA R88 MKII is capable of delivering excellent stereo response, whether you use it in ‘crossed-pair’ mode or in a ‘sum-and-difference’ pair. Wes has a penchant for acoustic music, so on this day, I called on two of the most talented and patient musicians I know - Scott Michalski and Jennie Knaggs. The sense of space was again remarked upon. Being from Detroit, I record a lot of pounders, like Ben Blackwell and Pat Pantano, both of The Dirtbombs, and Alex Leonard of Protomartyr. Found for $250 and restocked with fresh tubes by my friend Vincent Miragila of Analog Design Group, it looks like a small radio from the 40s— but it’s much more. Tags ⋅ AEA ⋅ Clubhouse Studios ⋅ Microphone ⋅ Paul Antonel ⋅ product review ⋅ R88 mk2 ⋅ Real World Review ⋅ review. Update your browser to view this website correctly. But the RPQ500 has magic inside. The AEA R88 MKII is a hand-built stereo ribbon microphone derived from the classic RCA type 44 design. Rich Tozzoli is an award-winning, Grammy-nominated producer, engineer and composer for programming such as FOX NFL, Pawn Stars, Duck Dynasty and Oprah & Deepak Chopra. Magic! Tucked into the mix, I found no need for reverb, letting the R88 do the job naturally. richtozzoli.com. Now we can narrow the field, with the choice mics being mostly of the vintage or... Over the past few years, Mojave Audio has established itself as a manufacturer of quality, affordable microphones with their MA-200 (Tape Op #55) and MA-100 (#62) tube mics. Some minimal EQ'ing as above, and the track mixed itself! Burl Audio, under the direction of owner/designer Rich Williams, has developed some of the best new recording equipment over the last eight years. It seems like the market has never been more saturated with various types of new recording equipment attempting to emulate vintage gear. A superb mic all around, I highly recommend it. As a room mic for percussion ensemble overdubs, for backing vocals, etc. Published: June 30, 2015 ⋅ Updated: June 4, 2020. AEA R88 mk2 Multi-Pattern Ribbon Stereo Microphone. Typically, we did three passes at a time - each one different and equally bad-ass. What was most curious, and pleasant, was the difference between the left and right sides of the stereo field - largely due to the fact that my studio is in an abandoned liquor store. hank alrich. Pressed for time, I grabbed the R88 from the drum kit and placed it in front of Rob, mentioning in passing that it was a stereo mic. Clubhouse Studios (Rhinebeck, NY) engineer/producer Neil Dorfsman and owner/engineer Paul Antonel put up an AEA R88 mk2 stereo ribbon microphone on drummer Ray Levier’s kit. In this review, I'll cover the RPQ500, the single-channel, 500-series module, which shares the same circuit design and features as the original RPQ, including 10 k ohm input impedance, 81 dB of clean gain, switchable mic/line inputs, the unique CurveShaper semi-parametric high-frequency boost, and a variable-frequency high-pass filter. The stereo imaging is faultless, and when partnered with good mic preamps, the noise floor is extremely low. Post Jan 03, 2018 #1 2018-01-03T07:19. 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. And I've got a large collection of mics, with some of them costing many times what the most expensive of... How many good vocal mics are there out there today? The R88 pairs well with AEA's RPQ preamp [#73], and together they are a staggeringly useful, awesome sounding team. With his large voice instantly recalling Scott 3 era Scott Walker with a Jackson C. Frank delivery, I was worried a ribbon might be too boomy. 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 … Needing only some snare bottom and slight kick, we were able to get a very early-'70s-era Traffic kind of thing for quite a few passages. Her range is jaw-dropping to say the least, and her vocal dynamics can be challenging to capture. It's the standard coincident pair design, but using the trademark Big Ribbon motors of the R84, as opposed to smaller ribbons like those in the Royer Labs SF-12 [Tape Op #25] I was used to. With its black, textured paint (reminiscent of the Coles 4038), it’s a big, classic-looking mic, clocking in at over 15 inches tall, but wow—it does sound fantastic in a room! AEA confirms that this spec is for signal above 1 kHz; the max levels drop 6 dB per octave below 1 kHz—ed.] AEA R88 MKII Stereo Ribbon Microphone The R88 mk2 is optimized for recording instruments and ensembles in stereo. "Normal" is an ever-shifting sandbar in the harbor of consensus, and it never holds still for long in... As I mentioned in the previous issue's "Gear Geeking" (Tape Op #86), the Pegasus was one the most exciting products to be unveiled at the AES Convention. Some of you must have experience with both of these mics - AEA R88 mk2 and Royer SF-12. The frequency response has the HF roll-off characteristic of all ribbon mic elements, in this case down some -10 dB at 18 kHz. For her jams, we used an RPQ500 and R84 on both vocal and guitar, and the R88 Mk2 as a near-ish room mic to capture the full intensity of her voice when loud. Probably way too many, but how many are truly great vocal mics? I also have a ton of preamps that I think are great with ribbons. AEA's magic enhances cymbals, toms, etc. Super cool. The mic sounded great, but a whole new thing seems to happen when it feeds an RPQ500 pair! While the R88 Mk2 and RPQ500 combo immediately became my overhead mic'ing chain of choice, I hadn't had the opportunity to try it alone in a mix. Best purchase of the year for me. If you have a pulse and have been making records during the last few decades, then you are aware that Wes Dooley and Audio Engineering Associates have been making the finest ribbon mics available. Very smooth and rich.”]. Hi, I wonder if this amount of noise in a setup with the AEA R88 mkII + TRP pre on quiet guitar fingerpicking is common. The natural soundstage and character of the R88’s Blumlein Stereo makes it a great main mic. Years later, a friend contacted me to tell me that Wes was looking for a studio to do a ribbon mic workshop. This combination removed all evidence of any recording process, and everyone involved was amazed at the immediacy and lifelike detail captured. The R88 mk2 is optimized for recording instruments and ensembles in stereo. What a pleasure to be able to utilize this type of sound reproduction on an all-out master of his instrument, let alone give him the opportunity to mix himself! I had heard other engineers making glowing statements about the R88 as a one-mic drum-track miracle device. When a piece of equipment comes along that challenges the norms of the day, I always take notice. While I’m on the topic of the Dorfsman session, one of the amps I used for the guitars was my 1947 Gibson BR6. I played a Fender Broadcaster through it in open D tuning, as well as a four-string Cigar Box tuned to AAGG.
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