Aea R88Mk2 Stereo Ribbon Microphone Kit With Stand

Aea R88mk2 Stereo Ribbon Microphone Kit With Stand

Product Code: eq146013
Availability: In Stock

$8,202.30 $10,909.06

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Description
Reviews (12)

Capture lush stereo recordings in minimal setup time with the AEA Ribbon Mics R88mk2, a passive stereo far-field ribbon microphone designed for quick and precise Blumlein and mid-side configurations on a single mic stand. Offering the open and natural sound of two traditional side-address, large-ribbon mics in a compact and lightweight form factor designed for far-field use, the R88mk2 ribbon mic is ideal when positioned 16" to 20' away from the source, be it for group vocals, acoustic instruments, ensembles, or drums, in the studio or on the stage.

As a far-field ribbon, the R88mk2 provides full low- and high-end tone when capturing sources in the context of a room. Plus, it boasts the widest frequency range of any AEA mic (along with the NUVO N8). The figure-8 polar pattern of each ribbon element exhibits the classic pickup traits and side-rejection qualities associated with ribbon mics. The mic's XLR 5-pin male connector and included breakout cable (XLR 5-pin to dual XLR 3-pin) allow hookup to virtually any microphone preamp; no phantom power required. High-gain, high-impedance preamps are recommended for optimal microphone performance.

2 x Figure-8 Ribbon Elements Includes Professional Studio Boom Stand Includes CL-2 for +25 dB of Clean Gain Includes XLR Breakout & 25' XLR Cables For Blumlein and Near-Coincident Arrays Side-Address, Large-Ribbon Design Open and Natural Sound Retains Lows and Highs in Far-Field Use Widest Frequency Range of All AEA Mics Handles SPLs up to 165 dB

Key Specs
Polar Pattern	Figure-8
Element Type	2x Ribbon
Controls	No
Frequency Response	20 Hz to 20 kHz
Maximum SPL	165 dB (1 kHz, 1% THD)
Analog Output	1x XLR 5-Pin Male (on Mic) 1x XLR 3-Pin Male (on Power Supply)
Microphone
Polar Pattern	Figure-8
Element Type	2x Ribbon
Sound Field	Stereo Pair / Mono / Dual-Mono
Diaphragm	2.35" / 59.69 mm
Orientation	Side Address
Controls	No
Pad	No
Circuitry	Solid-State
Performance
Frequency Response	20 Hz to 20 kHz
Maximum SPL	165 dB (1 kHz, 1% THD)
Off-Axis Rejection	6 dB at 60° 6 dB at 120° 0 dB at 180°
Connectivity
Analog Output	1x XLR 5-Pin Male (on Mic) 1x XLR 3-Pin Male (on Power Supply)
Physical
Color	Black
Dimensions	ø: 3.9H: 15" / ø: 9.9H: 38.1 cm
Weight	2.6 lb / 1.2 kg
Packaging Info
Package Weight	5.555 lb
Box Dimensions (LxWxH)	21 x 8.75 x 7.15"

The R88mk2 captures a space as it sounds live and in person, with all the present subtlety and nuance. Its expansive frequency response and balanced low-end make it superbly effective when capturing the full breadth of sound from the back of a room, above a drum set, or overhead a string section.

It is designed to be positioned at an ideal distance of 16 inches or farther from the source of sound. This far-field design allows for a wide range of options when positioning the R88mk2 to best capture an instrument within the context of a room.

From as far away as 20 feet away, the R88mk2 retains the low-end frequencies of the sources it captures, and its open, natural tonality makes it perfect to record an entire orchestra or the full low-end of a drum kit from overhead.

The proximity effect of the R88mk2 is present when recording a source from closer than 16 inches, so this feature can be used to accentuate the low-end of a vocal or string instrument. Potential damage from loud sources is of no concern, even at such a short distance, as the R88mk2 can handle 165+ dB SPL at 1 kHz.

The R88mk2 uses two bidirectional figure-8 ribbons for producing an authentic representation of a performance. The pair of elements are angled in perfect phase at 90 degrees and mounted in close proximity to each other along the vertical axis of the microphone.

As an alternative to Blumlein's technique, the microphone can also be used for mid-side (MS) stereo, providing excellent mono compatibility and full control over the width of the stereo image.

Since the R88mk2 is a dual passive ribbon microphone, the preamp is critical for optimum performance. Preamp gain should be at least +60 dB or higher and it should have a very-high impedance. These requirements are vital for the ideal performance of any ribbon mic.

To guarantee consistent, full-range ribbon sound with the passive R88mk2, preamps designed specifically for ribbon microphones (such as AEA's RPQ2, RPQ500, and TRP2 preamps) are available separately. However, preamps with above a 5-Kilohm impedance found in many live soundboards are adequate for guitar amps and other louder instruments. On quiet sound sources or for distance recording, an AEA preamp is highly recommended.

Open and natural sound
Far-field ribbon mic that retains lows and highs from a distance
Passive, stereo version of the AEA N8 ribbon mic
Compact, lightweight, and low-profile design
Handles SPLs up to 165 dB
Made in the USA

Related Questions and Answers

Q: 1. Can I mount the Audio-Technica ATR2100-USB Cardioid Dynamic USB Microphone on this stand?

A: The ATR2100 USB will not be compatible with the shock mount, but can be used on the stand with the reflection filter using the stand clip that was included with the ATR2100.

Q: 2. Is this mic compatible with the Nikon D3200?

A: It's compatible with all Nikon models that have a stereo audio input. The unit works great with my D800. If the D3200 has an audio input you should have no problem.

Q: 3. is the mount required in order to use this microphone for the nikon D5300?

A: It is a standard Nikon standard shoe mount. No special mount needed. You just slide it into your hot shoe on your Nikon camera and connect the 3.5mm mini-plug to your Nikon camera or Canon(I haven't tried it) etc, but if you have a flash, etc you must either remove it or get a bracket so that you can mount both your flash and mic at the sometime. It works great on my Nikon D5200. But remember if you use Nikon TTL-flash, your flash will need to communicate to the camera through the shoe mount. The mic does not communicate any other info to the camera than the miniplug. The mic will also work on other brands of cameras, camcorders, computers etc, equipped with a 3.5mm mini plug/jack which is most. The 3.5 miniplug/jack is pretty common in electronics today. It generates enough signal strength so it need no batteries. Ron

Q: 4. Can you connect this to an iPad for capturing audio while shooting video?

A: I use mine with an iPhone 7, via two adapters: an aftermarket TRS to TRRS and Apple's TRRS to Lightning. It works great and I couldn't discern a difference in quality between recording with a Zoom H1 and the iPhone.

Q: 5. Is this kit compatible with focus rite Scarlett

A: It sure is.

Q: 6. Can the ME-1 be used on a Nikon D810 when the built in camera flash is being used in the commander mode for off camera flash control?

A: DONT KNOW I USE ONLY D7100 NIKON CAMERA

Q: 7. Is this kit compatible with the Blue Spark?

A: Any shock mount can be used with this item.

Q: 8. Can I use the blue snowball shock mount known as the ringer?

A: I'm not familiar with blue snowball mounts, but I note that the transverse arm is VERY adjustable, and the mount height point is greatly variable. I hope this helps. This is a great acoustic reflection absorber, and works really well for me.

Q: 9. Is this mic compatible with Nikon D90?

A: Unfortunately, the ME-1 Stereo Microphone is not compatible with the Nikon D90 as the D90 does not have an external mic input.

Q: 10. Is the shock mount compatible with the MXL 770 or in general with all condenser mic(s) and also are the adapter compatible with all condenser microphones

A: Yes it is. Everything went together perfectly.

anyonymous	28/09/2024
[Figure-8] The microphone works great. Good sound quality. Using it to record trumpet. The packaging was difficult to open and can't really be used to store the microphone. The foam packing was ok but the outer cardboard box was so tight that it gets damaged getting it out and pretty much can't get it back in. Plan on finding some other way to store it. The cinch pouch although nice to protect it from simple scuffs is not sufficient because you need to store the microphone standing up. 5

Michael	08/09/2024
[Black] I needed a ribbon mic in the home studio, mainly to record anything that's loud and needs a warm tone. Most ribbon mics seem really expensive, so I'm glad this one exists. Using this up close to a guitar amp sounds great. Combining this with a good dynamic (Shure SM57/Audix i5/Audio-Technica MB 2k) side by side up against a guitar amp sounds awesome!! I also tried to record a trombone with it, as I've heard ribbons are the best mic to use for that. This thing blew any dynamic mic out of the water for capturing brass sound. Thank you Nady and B&H!! 5

Brian O	18/08/2024
[Figure-8] I mainly bought this for mic'ing guitar cabinets and combo amps. It does a great job! Very warm and punchy, and not at all harsh or thin like some condensers can be on guitar amps. I have used it on sax as well and was very happy. I have not used a lot of other ribbons, so I don't have a lot to compare it to, but for the money, I think this mic is worth every penny. 5

Richard	16/08/2024
[Solid-State] AEA is known for great mics and great pre-amps and the TDI is built the same way, high quality, clean and transparent. In the couple of weeks I have had it, it has been used on multiple basses, with passive and active pick-ups as well as acoustics with Piezos. Regardless of input, there was absolutely no distortion and no coloration, the sound of the instruments came through, good or bad, but gave me total control at the console. Excellent for Piezo pick-ups, as the 10MOhm input impedance loads the pick-ups nicely, no harshness or overtones like some DI's. This has quickly replaced my old classic Type 85 and my newer J48 as the go to DI in my kit. I have not been excited about a DI in a while, a lot out there, but the newer ones were all about imparting their color, not the TDI, it is as good as it gets, and looks great too. 5

Travis	08/08/2024
[5.555 lb] I love these mics! They are really sensitive and sound really nice. They came as arrived. The case is really tough too. Great mics! 5

Mode	14/07/2024
[5.555 lb] These mics are inexpensive but built for abuse - and that's what you get.� Beautiful sound and safe to put in front of a loud guitar cab or trumpet.� Great microphone, I have a pair of them and they're great on everything from Leslies to snare drums. 5

Jerry	07/07/2024
[Figure-8] If your looking for s low priced great sounding ribbon mic, you've found it! The ribbon is a 2 micron snd has a super response. You can not beat it for the price . 5

Richard	13/06/2024
[Side Address] I have an extensive collection of ribbon microphones in my mic locker that I use on a regular basis, mostly live, but also in the studio. When the N13 came out, I ordered it as soon as I could. AEA makes up a good part of my inventory and I knew it was a good bet that the N13 would be a quality microphone. Since purchasing it I have put it through its paces on a variety of sources. Piano, electric guitar, acoustic guitar, trumpet, flute, vocals, drum overhead, sousaphone and steel pan. The N13 has all the same great characteristics that you would expect from a ribbon, but with something a little more. With a shorter and thinner ribbon than the other AEA Big Ribbon Mics, the N13 has a better impulse response which translates into a much more detailed signal. Although I have seen it described as brighter, I would stick with detailed. Often ribbons are used to tame the highs on drum overheads, brass and especially steel pan, the N13 was wonderful on these sources as the detail was there, but I never felt like I needed to tame the high end and there was absolutely no harshness. On vocals, I still have the same wonderful ribbon response, but the extra detail which captured breath sounds so smoothly, and added an intimacy to the vocals that was something I didn’t know I was missing until now. The sousaphone was my favorite use, as it was a fusion band, with a New Orleans second line feel, but with electric guitar, bass, drum kit and trumpet. The N13 made the sousaphone big and bold, but the detail added and element that really made it work in the mix like never before. For the finale, I was even able to work it into the sub, it was huge. I definitely plan on adding more to my inventory as I definitely want to use it on multiple sources for some shows I do. 5

Patrick	02/06/2024
[Figure-8] The R44CXE is such a warm, rich sounding mic. Full bodied with smooth hi end makes it wonderful on female vocals, as a drum room mic and horns. Can't wait to try it on other instruments!!! 5

anyonymous	11/05/2024
[5.555 lb] I took a chance on this mic as there's not a lot of reviews on it out there. I'm kinda an ART fanboy, so I figured this mic would be alright. It is! I use it for electric and acoustic guitars and find it to be rich and smooth, like a ribbon mic should be! I find it to be low noise and very balanced. With the right placement (not too close) I didn't even need to eq it! Not having to worry about using my cloud lifter is a plus as well, the active circuit works very well at boosting the signal. Also, it comes with a sturdy aluminum case, shock mount, and velvet pouch. One thing - the shock mount is a little not great - the only thing that holds the mic in is a little thumb screw that pushes a piece of felt into the mic body. It does come loose after a couple of hours. Overall, this mic stands it's own again other cheap ribbon mics very well! I have a cascade fathead and an Se X1r, and this one sounds just as good! And is about $70 cheaper! Way to go, ART! 5