Aea R84 Ribbon Microphone Kit With Boom Stand & Accessories

Product Code: eq146014
Availability: In Stock

$4,851.60 $7,083.34

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Description
Reviews (18)

Offering the classic tone of the massive RCA 44BX with less proximity effect in a more compact, lightweight, and affordable form, the USA-made AEA R84 Ribbon Microphone Kit with Boom Stand & Accessoriesis a welcome solution for engineers, producers, and musicians in need of a smooth, detailed, and full-sounding ribbon mic that can handle extreme SPLs and an array of voices and instruments in close-range and distant applications. Utilizing a 2.35" long ribbon and a bidirectional figure-8 polar pattern, the R84 delivers a blend of vintage ribbon character and top-end extension along with up to 90 dB of rejection at the sides.

The 10' attached cable is terminated with a standard XLR 3-pin male connector for hookup to virtually any microphone preamp, no phantom power required. High-gain, high-impedance preamps are recommended for optimal microphone performance. The integrated yoke-style cushion mount reduces bulkiness while ensuring ease of positioning in the studio.

Inspired by RCA 44BX Includes Professional Studio Boom Stand Includes 10' Attached and Two XLR Cables Includes CL-1 for +25 dB of Clean Gain Bidirectional Figure-8 Polar Pattern R44 Tone with Less Proximity Effect Works in Close-Range or Ambient Use Handles SPLs up to 165 dB More Compact & Lightweight than R44 Integrated Yoke-Style Cushion Mount

Key Specs
Polar Pattern	Figure-8
Element Type	Ribbon
Controls	No
Frequency Response	20 Hz to 20 kHz
Maximum SPL	165 dB (1 kHz, 1% THD)
Analog Output	1x XLR 3-Pin Male
Microphone
Polar Pattern	Figure-8
Element Type	Ribbon
Sound Field	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 3-Pin Male
Cable Length	10' / 3 m
Physical
Dimensions	H: 11.6 x W: 3.9 x L: 2.5" / H: 29.5 x W: 9.9 x L: 6.3 cm
Weight	3 lb / 1.4 kg (with Cable)
Packaging Info
Package Weight	2.565 lb
Box Dimensions (LxWxH)	16.1 x 5.7 x 5.5"

In 2000, AEA sought to design a more compact, lightweight, and economic version of the hefty, eight-pound RCA 44BX. The result was the R84, which retains the best traits of the 44 series in a lower cost, three-pound package. R84 series ribbon microphones deliver the classic tonality of the legendary R44, with extended top-end and reduced proximity effect for mid- and close-range recording.

The R84 and original RCA 44 (now the AEA R44C) share the same Big Ribbon element, transformer, and other mechanical elements by design. By using updated design techniques and stronger, more compact magnets, the R84 retains the classic RCA ribbon sound.

The R84 boasts improvements on the 44 design—more manageable proximity effect, more extended top-end, vibration isolation, and greater maneuverability on small stages and in small studios. The microphone's U-shaped yoke acts as a shockmount and enables the user to position the R84 at various angles, even on a straight mic stand.

The R84 series quickly endears itself to engineers and musicians due to its remarkably expansive frequency range, complete with sweeping highs and booming lows. The smooth, high-frequency roll-off and reduced sibilance of the R84 make it a top choice for engineers when tracking vocals or other instruments that often sound harsh when recorded with condenser mics.

The R84's balanced and manageable proximity effect bolsters the low-end of vocals, drums, and brass, from just feet away. A ribbon mic as multi-purpose, lightweight, and maneuverable as the R84 is well-suited for both close-range and ambient mic applications. The R84's accentuated midrange captures the unique qualities of many instruments with detailed elegance. R84 series mics perform well on practically any voice or musical instrument, making them highly useful in recording and broadcast studios.

Since the R84 is a passive ribbon microphone, a good 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 R84, 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.

Warm, smooth, and detailed classic ribbon sound
Full and rich tonality with generous highs and lows
Sonically similar to the legendary R44 Series, with less proximity effect
Handles SPLs up to 165 dB
Versatile in close-range or ambient applications
Made in the USA

Related Questions and Answers

Q: 1. Spacer boot

A: The mic comes with a rubber boot, it is used to attach the mic to the camera

Q: 2. Is this microphone compatible with a Canon 5D Mark III?

A: No, the Sony ECM-VG1 Short Shotgun Microphone uses an XLR output whereas the Canon 5D Mark III has a 3.5mm mic input.

Q: 3. Will this mic fit the Sony PXW-X70 mic holder without augmenting the diameter? Thanks for your time in advance.

A: Yes! This mic works perfect with the camera!

Q: 4. Would I need to purchase a short XLR cable if I plan on using this with the Sony XLR Handle?

A: The Sony ECM-VG1 Short Shotgun Microphone (BH # SOECMVG1) includes a 19.7" XLR cable.

Q: 5. Is this microphone part number 1-542-296-25?

A: No, it is not. It looks like the 1-542-296-25 was an accessory for a DS-400K camcorder. It had a hardwired cable and no controls. The ECM-VG1 would be an alternative, though.

Q: 6. is it the male or female end xlr?

A: The microphone's body offers a 3-pin male XLR connection. This agrees withe universal convention for microphones.

Q: 7. How does sound quality compare to Senneiser MKH 416? Don't want to mismatch audio too badly with multiple input sources.

A: The Sony ECM-VG1 offers very good quality but the Sennheiser MKH-416 is more preferred for commercial applications.

Q: 8. How does the sound quality compare to the diety d3 pro?

A: Both mics will provide high quality sound and they differ a bit in their features. The ECM-VG1 is designed to deliver a smooth and natural sound with a flat and wide frequency response range of 40 Hz to 20 kHz, low noise level of 18 dB and a high sensitivity of -33 dBV. It also has a two-position low-cut switch to reduce ambient reduce and can handle loud sounds up to 127 dB SPL. The D3 Pro is designed to deliver a clean and clear sound with low noise. It has a frequency response range of 50 Hz to 20 kHz, a low noise level and high sensitivity of -24 dBV. It also has a two-position low-cut switch and can handle loud sounds up to 130 dB SPL. Additionally, the D3 Pro has a gain knob that provides up to 20 dB which gives you better control of the mic's level. Other things to consider between the two mics are the powering options. The ECM-VG1 operates with phantom power only while the D3 Pro has a built-in rechargeable battery and the automatic on/off feature requires plug-in power from the camera or recorder. All of these factors are important to be aware of depending on the camera or recorder you will be using and its capabilities for input and powering.

Q: 9. can you connect this mike to the panasonc wxf-991? to Nikon z6ii? are there adopters i can uy to connect it?

A: The ECM-VG1 requires phantom power which is not supplied by either the Panasonic WXF-991 or Nikon Z6II. In order to use this mic with either camera you will need to use a separate portable phantom power supply like the Mackie M48 (B&H # MAM48), Denecke PS-1A (B&H # DEPS1A), PSC 48 PHantom (B&H # PS48PMPS) or similar model. The mic will connect to the input of the phantom power supply using a standard XLR cable, then use an XLR female to 3.5mm TRS male cable like the Kopul XRSM 3-Pin XLR Female to 3.5mm RA Stereo Mini-Plug Cable - 6' (B&H # KOXRSM06B) to connect to output from the phantom power supply to the camera's mic input.

Q: 10. Is this good for a boom pole

A: Hi Joshua, It can be used with a boom pole. -Jen

Michael	26/09/2024
[Figure-8] 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

DAVID	12/09/2024
[2.565 lb] What a great addition to my kit. A full-sized shotgun just doesn't work for many situations and can be intimidating to your subject. This sucker delivers CLEAN sound - I'm getting zero self-generated noise. With my SONY A7SIII no hint of any RF noise, either. I love the simple but vital controls. One thing is baffling however - WHY did Senneheiser have any sound pickup from the side AND rear??? Correct me if I'm wrong, but the whole point of a shotgun is to NOT have pickup from rear / sides. WHY SENNHEISER, WHY? TBH, even with the rear / side pickup, it still rocks, and that hasn't been much of a problem. My partial solution: a little gaffer tape on rear to attenuate that rear pickup. Hey Sennheiser: maybe you could design and offer (at very low cost) a simple sound baffle that users could put on the rear?? Please? Even still, I have to give this FIVE stars. 5

Kyle	06/09/2024
[2.565 lb] Great sound in a very compact package. The sound quality is good enough be my main mic used as a boom but also works great as a shotgun for vlogging or a back up mic. Big fan of Sennheiser! 5

Michael	06/09/2024
[Solid-State] Don't be put off by the bargain price, this is a wonderful amp mic, period. The RSM5 is impressive sounding on guitar amps or speaker cabs. In that application, it's better combine the RSM5 w/ another non-ribbon mic, like condenser or dynamic. I get great results combining RSM5 with a ShureSM57. The RSM5 adds a delightfully smooth, warm low end girth & the SM57 adds presence, cut and sparkle. Experiment with positioning the mics on the speaker cone. As with all bargain ribbon mics, be sure to check your RSM5 for loose ribbon tension before keeping it. Google the issue and how to do a test. The tension inside mine was perfect out of the box. The RSM5 takes EQ great, yet doesn't need much to fit into a mix. It's very low noise. I have not yet really tried the RSM5 on other sound sources. Like all passive ribbons, this one needs lots of preamp gain or a mic booster to get a good level with quiet sources. With a loud source like guitar amp, that's not an issue with the RSM5. The preamps built into my Steinberg UR44 interface are more than powerful enough to get great results with Nady RSM5 on amps. I even briefly tried it on my male spoken voice, for which the preamps had to be turned up quite a bit, but I think even that would work without any extra preamp booster. I suspect that on quieter voices, or acoustic guitar from a distance, you'd need a gainier preamp, or FETHEAD or Cloudlifter to get a good level with the RSM5. The RSM5 has presentable build quality, and it sounds much, much better than I imagined, especially at this price point. It's downright unbelievable! I love the tones I am capturing having this mic as part of the mix. I have been playing music seriously for 40 years, and am fanatical about good tone. Nonetheless, given the great results with the RSM5, I could not justify the extra cost of the high end ribbon mics. 5

Jeffrey	29/08/2024
[Figure-8] Small package, great sound. Installed on a cinema rig, where space is limited. 5

Richard	25/08/2024
[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

Patrick	18/08/2024
[2.565 lb] 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

Jorge	13/08/2024
[2.565 lb] Above board sound quality 5

Jeffrey	11/08/2024
[Figure-8] Fairly unidirectional, audio quality better than expected. 5

Jerry	05/08/2024
[Side Address] 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