Same Big Ribbon™, tuning, and transformer as the R44 series
For closer applications and louder sources
Compact design with different front and back tonality
Versatile for close-up and ambient mic applications
Particularly well suited for electric guitar, electric bass, and drums
The Up-Close and Personal Ribbon
Building on the success of AEA’s acclaimed R84 ribbon microphone, Wes Dooley and AEA’s team of engineers set out to once again expand the sonic possibilities of ribbon microphones with the R92 model. Reduced proximity bass boost and excellent wind blast protection make it suitable for close miking of guitar and bass amps, drums, and vocals. At half the distance to the source, the R92 delivers a similar bass-to-treble balance as the R84. In addition, the integrated shockmount and swivel allow for easy setup and positioning in tight spaces. The smooth high frequency response of the R88 and R84 transducers has been further extended in the R92, making it a unique voice in the world of ribbon mics.
Two Voicings - Endless Possibilities
AEA has designed the R92 to have slightly different tones on the front and rear pickup lobes of the bidirectional microphone. The front lobe of the R92 is the "crisp" side, offering exceptionally clean and realistic high end detail. The rear lobe is the "smooth" side, which has a bit of classic ribbon high end roll-off reminiscent of the iconic 44 that can help to handle harsh transients in a very refined and flattering way. The bass reproduction of the R92 is very solid and extends to the lowest audible bass frequencies.
A Guitar Player’s Favorite
Like all figure-of-8 microphones the R44 or R84 ribbons are subject to proximity effect - the increase in bass as you move the microphone closer to the source. While this effect can be particularly flattering for singers and to create a “larger than life” sound, it can get too much and overpowering in some recording situations. The guitar players on our staff asked for a ribbon microphone that captured an authentic and balanced electric guitar tone when put right onto the grill of his Fender amp. Thanks to its purely passive signal path and Wes’ bag of acoustic tricks, the R92 not only handles the SPL levels of a high-gain amp with ease, but it also translates all the gritty details of the distortion that you’ve been tweaking so carefully.
Features And Specs
Pressure gradient microphone
20 Hz to 20 kHz
165+ dBSPL (1% third harmonic > 1 kHz)
1.8 mV/Pa (-55 dBV) into unloaded circuit
270 Ω nominal
Recommended Load Impedance:
1.2 kΩ or greater
Not required or recommended
Pin 2 high for positive pressure on front of microphone.
XLR-3M wired to a 3 m captive cable
Off Axis Response:
Native bi-directional pattern
Level changes with angle, frequency response is consistent, –35 dB null at 90° / 270°
Level changes with angle, reduced HF response above and below 0° / 180° axis, –35 dB null at 90° / 270°
1.8 μ (0.0000018 m) of pure aluminum
0.185” (4.7 mm)
2.35” (59.7 mm)
Custom storage / shipping case, manual
Any length cable, inquire for price and delivery.
One year parts and labor, shipping not included. Three year extended warranty if the product is registered.