I've heard some great things about what ribbons can do for your sound, but I really had no idea until I got this R92 home and put it on my Taylor 714-CE acoustic guitar. The way that this ribbon responded to the bright sound of my Taylor really translated for me into a "real" and rounded tone in my recordings. I know what my go-to is for acoustic guitar from now on!
In AEA you get a microphone and preamp combination that will actually give you back exactly what you feed into it. For a guitar player who has spent years crafting the exact tone that is coming out their amp cab, there is no better way to capture that tone than an R92 on the grille.
“This mic lets me record the guitar tone that the guitar player hears in the room. As a guitar player I know how invaluable that is! But wait until you try this on upright bass!”
"These are not the droids you are looking for..."
Just move on and do not buy this mic--I want it all for myself!!. Wow, spent the day in a shootout with an A840 and TLM49. Focus was on fidelity, warmth and presence. Needless to say the TLM49 is now on ebay. I was stunned with how nice this mic is. I am using LA-610s (MkIl) and have more than enough gain for the R92. The R92 is everything you have read about it. Thanks Wes!!
Absolutely Love the R92
Absolutely love the R92. Have used it on: cello, violin, viola, upright bass, acoustic guitar, flute, sax, harp, vocals and as a room mic. It'll make you cry how good it sounds on cello. It's our go to for guitar as well.
Oddly, Great Kick Mic
I decided to use this mic in a session for kick and it was astonishing! No eq, this mic on kick is very accurate. Love this mic.
I'd been interested in trying a ribbon mike on my jazz guitar recordings. I generally use a Polytone Mini Brute miked with a condenser, amplifiying my Guild Artist Award and Gibson L-5.
After finishing my first album, I decided that the results were too bright, so I was ready to pull the trigger on a Royer 121 until I read some reviews of the new R92. Satisfied it was worth the risk, I ordered one and have to say it's exactly what the doctor ordered.
Running the mike through an FMR RNMP, I find I get ample gain with the pre set around 50db, mike about eight inches from dead center of grille. The amp is in an iso booth with an absorbsion baffle behind it, and another about two feet in back of the mike for room control.
Both sides of the capsule offer their particular characteristics, but I prefer the back side - particularly with the L5. The sonic results can best be described as buttery, subtley compressed, darkly rich and smooth throughout the frequency range. Better still, only a minimal amount of eq is necessary to get the track to seat easily in the mix.
I just finished tracking a piece using the R92 on an acoustic archtop, about 2 feet back, evenly angled to upper and lower bout. I added a very small amount of outboard compression to get the gain around 60db, and the instrument's high and lows even. I placed two baffles behind the mike to control the 'room.' Again, the AEA shines, yielding a full, rich track requiring little effort to lay in the mix.
I usually track electric bass direct. But just for grins, I tried the AEA on an amped track. If I didn't know better, I'd think the part was tracked to tape. It had a lot of the 'whomph' and overtones one generally associates with an analog recording.
I've found my new best microphone friend. Highly recommended for a new brush in the paintbox. Hell - you might find yourself painting with it all the time!
I had never really done much recording using ribbon microphones, other than using a Royer 121 on a guitar cabinet. I always wanted to hear what the classic ribbons, like the RCAs or Coles microphones sounded like on vocals and guitars first-hand. The problem lies in that vintage ribbons mics are extremely hard to find and maintain, as well as not being up to snuff with the recording rigors of today.
Wes Dooley, the chief engineer and president of AEA(Audio Engineering Associates), began making faithful reproductions of the vintage RCA mics like the 44BX. He's been hugely succesful do in part by refurbishing parts for the RCAs, and then improving the specs by building his own series. The AEA R92 is designed to be an instrument mic. The front and rear lobes have slightly different tones, with one offering a higher frequency response for a "crisp" sound and the other rolling off the highs for a "smooth" sound. The smooth side is more indicative of classic ribbons offering a fatter midrange response. I could definitely tell the difference when using the front lobe on a female vocal which gave an intimate but well-defined sound without yielding harsh sibilance. I used the R92 on my tube amp about six inches away from the cab, and it gave a very warm smooth response, which sounded fat and rich. The R92 is fast becoming a studio staple, allowing engineers the opportunity to fall in love the with classic sound of a ribbon mic, while being designed with today's music production in mind.