RPQ

The RPQ with Curve Shaping and P48 power puts all the controls for ribbon mics at your fingertips: 80 dB of clean quiet JFET gain, P48 phantom power for active studio ribbons such as AEA’s A440, and LF trim and HF boost controls that are tuneable and defeatable so that you can tame
proximity problems or add a little more to the top.

The RPQ is has the speed, quietness, and headroom needed for high resolution recording, and is designed for ribbons, condensers, and moving coil microphones. AEA’s DC-coupled JFET topology delivers all the dynamics, subwoofer bass and fast transients that your ribbons or other
mics can capture. The discrete front end and integrated circuit architecture meld the quietness of solid state with an openness reminiscent of tubes.

Live and location recording is another area where the RPQ shines. Its Low-Energy-Storage (LES™) circuitry recovers instantly from overloads, a big advantage with unpredicatable dynamics. In addition, its exceptional No Load™ input impedance of over 10,000 Ω makes it an ideal active mic
splitter. Mic splits can load down changing a mic’s sound, but the RPQ is robust enough to handle the most demanding sonic challenges.

Electronics Specifications

• 80 dB of gain at 1 kHz, balanced-in to balanced-out
• Noise figure A-weighted < 2 dB, EIN < 129 dBu Aweighted
• Frequency response -3 dB <1 Hz and >200 kHz
• <.02 % THD at 1 kHz, 22 Hz to 22 kHz bandwidth
• Balanced mic input impedance >10 kΩ
• DC-coupled inputs protected from external P48 DC
• AC-coupled inputs with switchable P48 phantom power
• Twelve position stepped gain control from 7 to 55 dB
• Trim gain continuously adjustable from 0 to +19 dB
• Switched LF trim: -3dB points tuneable from 18 to 350 Hz
• Switched HF boost peak +6 dB at 12 noon, +16 dB max
• HF max boost +3dB points tuneable from 2 to 18 kHz
• XLR out has 6 dB gain, balanced or unbalanced load
• XLR max output+28 balanced, +22 unbalanced, 600 Ω
• ¼” TRS max output unbalanced +22 dBu, 100 kΩ load
• Pin 2 high on XLRs, tip high on ¼” TRS jacks
• Green LED snaps on at ~ -5 dBu, Red at ~ +20 dBu
• Yellow LED brightens from ~ 0 to +20 dBu

Physical Features

• P48 Phantom & Polarity-Reverse pushbutton switches
• Rotary potentionmeters (pots) detented at 12 o’clock
• Grayhill series 71 stepped gain switch and trim pot
• LF Cut pushbutton switch and one pot
• HF Boost pushbutton switch and two pots
• Pushbutton power switch, LED power indicator
• Internal torroidal transformer with linear regulators
• Male recessed IEC power plug
• Laser engraved front panel markings
• Metalic blue and steel gray powder coat finish
• Aluminum and steel chassis
• Clear coated polished aluminum end caps
• Detachable polished aluminum rack ears
• Chassis: 17.25” wide, 11” deep, by 1.7” high (Metric: 44 cm wide, 28 cm deep, by 4.3 high)
• Weight: 6.75 pounds, (Metric: 3.1 Kg)
• Specifications as of Oct. 1, 2008, subject to change

TRP - The Ribbon Pre

The AEA Ribbon Mic Preamplifier is an ultra high-gain and impedance, minimal-path FET mic pre designed by Fred Forssell. This low-noise two-channel preamp is for ribbon, moving coil, and tube microphones that do not use or want phantom power. This allows for improvements in minimal path circuitry and also rids the unit of phantom-power blocking capacitors. Zener diodes on the input protect the input stage if external phantom power is applied.

First stage gain is set from +6 to +63 dB by a 12 position Grayhill switch. Another 20dB of gain is available after the output level potentiometer. Polarity reversal and high pass switches on the two channels are complimented by operating and overload LED metering.

Electronics Specifications

• 83 dB of gain
• -130 EIN noise figure
• -3 dB at 300 kH
• No phantom power, 18,000 ohms input impedance
• Green and Red LEDs indicates channel level
• Balanced XLR +4, and Unbalanced ¼ inch -10 outputs

External Features

• Switched Gain and Continuous Level Controls
• Phase reverse and high-pass switches
• Anodized gray and black matte finished aluminum
• Laser engraved legends and single line schematic
• External power supply for minimum noise

Dimensions

• Half-rack wide, one rack unit high (8.5" x 8.5" x 1.7")
• Weight: Two pounds, plus power supply is (1.5 lbs.)

New tough "DJ" model now available - call 08 7200 4500 for details

The AEA R84 is an affordable Large Ribbon Geometry (LRG) microphone suitable for use by the most demanding audio professional.

If you are new to ribbons, you are in for a treat! Experienced users have discovered the R84 is an outstanding general-purpose microphone, ideally suited for solo and accent work. It is hard to find an application where this mic does not shine. It is a fine example of the natural sound and figure-8 directional sensitivity a quality ribbon mic delivers.

Pure natural sound, just as you hear it when you're placing your mic in the studio.
Quick smooth transients that capture the feeling of being there without sounding like a recording.
Extended bass and treble that captures the details without shoving anything in your face.
A figure-eight pattern that focuses your recording on the sound you want.
We believe you will enjoy the confidence this mic inspires. It's a forgiving tool that makes your recording work easier, as it literally sounds good on everything.

Among the luminaries praising the R84 is the multi-platinum producer/engineer Joe Chiccarelli who says, "This mic sounds great! Whether it's electric or acoustic guitar, organ or piano, the more applications I use it on, the more I like it." Early adopter, Kyle Harris, of PlayR Recording in Phoenix says, "Wes (Dooley) and company have done a wonderful thing with this mic. In a market choking with too many choices, you have given engineers and recordists a world-class option to return real instrumental and vocal character back into recording."

"At this price, you should have at least one R84 in your locker, especially if you're looking to put some life into your digital signal chain. When using even high-quality condensers with a DAW, you forget how good things can sound and end up settling for "really good" instead of "excellent." A quality ribbon like the R84 can take a production to the next level, injecting some butter into a margarine world."
Kevin Becka MixOnline Review

"Over the review period, I had the opportunity to use the AEA R84 on many different instruments, and smiled just about every time I brought up its channel."
Dr. Fred Bashour Proaudio Review

R92 Studio Ribbon Microphone

Mixmasters Edition now available!

In the past few years AEA's acclaimed R84 Ribbon Microphone has become a new studio standard.

Now AEA has once again expanded the sonic possibilities of ribbon mics with the R92 Ribbon Microphone. Reduced proximity bass boost and excellent wind blast protection make it suitable for close micing (6-12 inches) of guitar amps, vocals, percussion, etc. In addition, the smooth high frequency response of the R88 transducer has been further extended in the R92, making the R92 a unique voice in the world of ribbon mics. AEA has designed the R92 to have slightly different tones on the front and rear pickup lobes of the 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 rolloff that can help to handle harsh transients in a very refined and flattering way. Just like its bigger brothers in AEA's LRGT microphone series, the bass reproduction of the R92 is very solid and extended to the lowest audible bass frequencies. The R92 is designed with an integral elastic shock mount, featuring a unique mounting system that allows excellent flexibility of mic positioning. The mic ships with a two meter cable and a durable plastic carrying case.
AEA's Matt Ashman comments about the R92: "We designed it to have a very full range sound, and to capture it all with a minimum of resonance artifacts for the ultimate in realism. It's perfect for getting FAT guitar sounds with a present and clean high end."

• Large Ribbon GeometryTM transducer
• Solid bass and smooth treble response
• Fast, accurate transient reproduction
• Low self noise and high SPL capability
• Excellent off-axis frequency response
• Wide-band response from 20Hz to 20 KHz
• Distinct character of front and rear lobes

Kevin Becka in Mix Online
"It rounds off transients in true ribbon fashion, adding a naturally compressed sound that flatters even the most strident source. This tendency and its tailored frequency response make the R92 a hands-down winner at close quarters. You don't need to be afraid to get this mic in a singer's face or right up on a speaker. The R92 - like its forefathers carrying the same engine, the R84 and R98 - is unequaled in its price range."

Calum Orr in Audio Technology
"If you're recording in the digital domain, a ribbon mic of the calibre of the AEA R92 is highly recommended. In a world where too many cheap condensers are often placed indiscriminately in front of every instrument on a recording, it pays to have the contrast of a ribbon mic to provide solid bottom end and smooth, understated treble frequencies. On instruments like horns, electric guitar amps and drums, the alternative 'view' the R92 provides is a real eye-opener."

NOW AVAILABLE THROUGH ATLANTIS ASIA: THE 'STEREO SOUND BOOK'

The 1991 edition has become an industry-standard and now the second edition adds to and updates this superb reference work.

This book's fourteen chapters discuss the auditory and technical processes by which the "stereo illusion" is perceived, recorded, and reproduced, and trace the development of stereo from the 1881 experiments of Clement Ader through the latest concepts in multi-channel and surround-sound.

In his AES Journal review, John Eargle commented: "Psychoacoustical subjects are discussed throughout the book and add an important dimension that is not normally found in recording books... The book is a pleasure to read, primarily because it relies on graphical explanations rather than mathematical ones."

Numerous diagrams and photographs are employed to complement the conversational writing style. A valuable reference book, it also includes a comprehensive glossary, extensive references to other literature, and the complete text of Alan Blumlein's benchmark 1931 patent on stereo techniques in the Appendix - a feature which Len Feldman added was "worth the price of the book".