User manual AEA R84

[. . . ] Yes, that is seven / one-hundred-thousandths of an inch, or two microns (. 000002 M) thick. Folded in accordion style pleats and loosely suspended in a strong magnetic field, it dances very well to music. Breath and other Blasts of Wind These pleated ribbon corrugations factor into Caution #1. Blowing into a mic may have worked for your junior high principal on a PA mic: "Is this mic working?" On a studio ribbon mic, strong breath blasts can stretch some of those pleats and change the tensioning of the ribbon. [. . . ] This supple, low-tension element dances exceptionally well to the music, which results in: 1. Quick and accurate transients A smooth high end that extends out to 20kHz Solid bass response down to 20 Hz. A consistent figure-eight directional pattern UNIQUE CHARACTERISTICS Large sweet spots both front and rear The R84 maintains accurate tonality for off-axis instruments and room tone and has wider sweet spots front and rear than large-diaphragm condenser mics. Because of its geometry, the R84's high-frequency response is more extended horizontally off-axis than directly on-axis. As sound sources move laterally around the mic towards the null plane, their output level goes down as expected but the mic's high-frequency response actually increases. The on-axis response goes out to 20 kHz, and at 30-35 degrees off-axis it goes even higher. Variable high-frequency EQ as you change the vertical angle The physics of the long ribbon in the R84 means that its high-frequency response decreases as you tip it either up or down off the main axis. This is in addition to the normal change in level as you move off axis. If you're interested in a darker sound, while maintaining midrange presence, experiment and move the R84's aiming point up or down from where you'd normally aim it. Highs on ribbons An R84 has an extended, detailed and smooth high end without the additional "zip" or "tizz" characteristic of large-diaphragm condenser mics. The contrast in sound quality between the smoothness of a ribbon and the aggressiveness of a condenser has to do with how their diaphragms are tensioned. A ribbon is clamped at each end and tensioned lightly, usually with a resonance of 50 Hz or below. The ribbon's low mass is quite well damped by the air itself which results in well-controlled transients with minimal overshoot. Tizz Condenser mic diaphragms are tensioned and clamped around their perimeter which typically results in the addition of a series of high-Q resonances in the 8 to 12 KHz range, which some mastering engineers call Tizz. In contrast, a good studio ribbon mic offers the smoothest, most accurate HF transient response you're likely to hear. This difference in resonance structure might explain why studio 3 R84 Short Manual musicians universally describe the sound from our LRG mics as: "Exactly what my ears hear when I play. It doesn't sound like a recording. " Mark Linett observes: "What I like best about AEA mics is their ability to handle EQ. They allow me to be creative in adding almost any HF EQ I can imagine. " How close can you go?The smoothness of its treble response and its ability to handle destructive levels of 165 dB SPL at >1 kHz make this possible. An LRG mic's combination of low distortion at high SPL and smooth HF response is unique. LRG mics also handle higher SPLs at lower frequencies than their shorter brethren. Proximity The R84's proximity bass rise is less pronounced than with the AEA R44, because the R84 is designed for closer micing. [. . . ] Our custom products include high-end studio booms, stands, specialized mounting adaptors and hardware, Decca trees, stereo microphone positioners, MS stereo decoders and solid-state stereo phase monitors. Visit our site, www. wesdooley. com for more information. Have we said enough?We've worked hard to share useful tips in, we hope, an entertaining and informative manner. Wes, Ron, Phil and the AEA crew have enjoyed writing this manual for you. [. . . ]