continued to be involved with microphones and acoustics as a consultant, and never lost his love for
RCA microphones. He taught Wes Dooley in 1981 how to re-ribbon the RCA 44 with no premonition
that 15 years later we’d collaborate on returning the 44 to production and widespread studio use. Jon
Sank died but a few weeks before his favorite mic, the 44, was reborn at the 1998 AES Convention.
The AEA R44, manufactured by hand at our facility in California, faithfully reproduces the 1936
original’s every strength. “Our ribbon mics evolved from our creation of accurate replacement parts
for the classic RCA studio ribbons,” explains Dooley. “In the process we brought a legend back to
life.” AEA’s first ribbon mic, the now classic high-output R44, continues gaining converts with its
natural sound, articulate midrange and forgiving nature. Our 20 years of experience with various
versions of the RCA/AEA 44s and England’s Coles 4038, was the apprenticeship we served before the
development of the R84.
This sensibly priced high-performance LRG microphone is a significant breakthrough for performance
and value. The R84 is a versatile performer, with a ribbon element 100 percent larger than other
manufacturers, which delivers exceptional headroom while maintaining an intimate performance
quality with smooth highs and extended lows. Protect it from puffs of air,
phantom power, and “tramp
iron” and the R84 is nearly invulnerable. Treat it well and it’ll outlive you.
AEA’s client list is a who’s who of the professional audio industry, including Eddie Van Halen, John
Rzeznik, Bruce Swedien, Steve Turre, Walter Sear, Bob Rock, 20th Century Fox Scoring, Richard
Green, Sony Music, Skywalker Scoring, Chris Stone, Air Studio, Kevin Bacon, Shawn Murphy,
Sony Pictures Scoring, Sheryl Crow, Sunset Sound, Larabee Studios and Abbey Road Studios.
We’ve been working with high-performance ribbon mics for over 20 years and also manufacture
accessories for stereo and surround recording. 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.
Specifications:
Operating Principle: Velocity microphone
� Frequency Response: 20 Hz to above 20 kHz
� Maximum SPL: 165 + dB SPL above 1 kHz for 1% third harmonic
� Output Sensitivity: -52 dBv/Pa
� Output Impedance: 270 ohms nominal
� Recommended Load: 1.2 K ohm or greater
� Powering: Not required or recommended
� Polarity: Pin 2 high for positive pressure on front of microphone.
� Connector: XLR-3M wired to a 3 meter captive cable
Off Axis Response: (evel changes with angle, frequency response is consistent)
� Polar Pattern: Native bi-directional pattern
� Horizontal: –35 dB null at 90 / 270 degrees
� Vertical: Reduced HF response above and below 0 / 180 degree axis, null at 90 / 270 degrees
Transducer element
