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Experienced vocalists instinctively locate the proper working distances 
for the microphones they are using. From as early as the 1930s, 
Frank Sinatra always kept one hand on the microphone stand while 
singing. Some joked that he simply was steadying himself, but more 
knowledgeable people noticed that he would bring the mic closer for 
more intimate moments, and then move it farther away when he belted 
out a line. This technique became known as “working the mic.” A 
simple technique for maintaining the proper working distance from the 
microphone is to place a pop-screen between the performer and the 
microphone. By doing this, nothing need be said to the performers, as 
they naturally will work at the distance you have established.

Your N22 was designed to exhibit significantly less proximity bass boost 
than other figure-of-8 ribbon microphones, so that it has a balanced 
sound at relatively small distances to the sound source. You will find 
that the N22 works particularly well at similar distances as you would 
choose for condenser microphones rather than at distances that would 
be appropriate for traditional ribbon microphones. 

Application Examples

Your ears are obviously the best judge of microphone choice and 
placement, but AEA has garnered a great deal of experience testing 
the N22 in a variety of recording settings and by talking to experienced 
musicians and engineers. As a result we suggest the following 
guidelines to help you achieve optimal results when using the N22. 
Watch the videos on our website (www.ribbonmics.com, www.
aeasessions.com) and on our YouTube channel 
(www.youtube.com/AEAribbonmics) for more tips and tricks for our 
microphones and preamps.

Vocals

Thanks to the improved pop-protection of the N22 you can use 
the microphone at close distances just like you would choose for a 
condenser microphone. If you should encounter problems with plosives, 
it is advised to use a pop-filter. 

The microphone has a vertical sweet spot that sits in the middle 
between the top and bottom edges of the black cloth covered grill 
basket. When positioning the microphone, choose an appropriate 
stand or boom setup to accommodate for the height of the vocal talent 
in order to achieve the best sound. Every singer will move a bit while 
performing, but since the sweet spot is located in both the horizontal 

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Содержание aea n22

Страница 1: ...ribbonmics preamps since 1964 www ribbonmics com tel 1 626 798 9128 fax 1 626 798 2378 made in california PHANTOM POWERED RIBBON MICROPHONE OWNER S MANUAL aean22 Revision 3 July 2015...

Страница 2: ...cians told us the microphone sounded great Bridging the gap between vintage and modern ribbon and condenser studio and live the N22 is the perfect companion for musicians and engineers alike Your N22...

Страница 3: ...DVICE 5 Controlling Leakage 5 Proximity Effect 6 APPLICATION EXAMPLES 7 Vocals 7 Acoustic Guitar 8 Electric Guitar Bass 8 Drums 9 PRECAUTIONS 9 Phantom power 9 Wind Gusts 9 Tramp Iron 10 Microphone Po...

Страница 4: ...and represent Wes Dooley s take on the evolution of the ribbon microphone GENERAL GUIDELINES The two sides of the N22 front and back are voiced exactly the same but keep in mind that the backside has...

Страница 5: ...cabinets angle the microphone to make sure that no wind blasts hit the ribbon head on 4 Your N22 is a valuable and important investment Like any piece of recording equipment or musical instrument it r...

Страница 6: ...bleed in order to create cohesive and natural sounding recordings The important thing to listen for is whether or not other instruments that bleed into a specific instrument microphone still sound nat...

Страница 7: ...at distances that would be appropriate for traditional ribbon microphones Application Examples Your ears are obviously the best judge of microphone choice and placement but AEA has garnered a great de...

Страница 8: ...grill of the amp Identify where the center of the speaker cone is located and place the N22 a few inches 5 10 cm away from the speaker pointing right at its center for a very direct in your face sound...

Страница 9: ...he recorded his radio broadcasts in the 1940s A few simple precautions will help you to keep your AEA N22 working well for life Phantom Power Although the N22 needs a standard 48V phantom power source...

Страница 10: ...direct hits Tramp Iron Minute iron particles sometimes known as tramp iron are common within our environment AEA ribbon microphones contain powerful magnets that produce strong magnetic fields These...

Страница 11: ...d a spot where the hum disappears and try eliminating potential sources of stray magnetic fields You can use the microphone to find where hum is originating Rotate the mic for maximum interference and...

Страница 12: ...ducer Bidirectional 20 Hz to 20 kHz 141 dB SPL 1 third harmonic 1 kHz 6 2 mV Pa at 1 kHz no load 92 broadband 1 0 k or greater P48 phantom power 7 mA Pin 2 high for positive pressure at the front of t...

Страница 13: ...Accessories Included Storage shipping case microphone stand clip custom protective mic sleeve user manual 13...

Страница 14: ...online at http www ribbonmics com aea form php SUPPORT If you should encounter any problems with your microphone or if you have questions regarding using the N22 in specific application please contac...

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