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6/2012 AEA RPQ Review
June 2012, Mix, by Kevin Becka
"AEA RPQ Ribbon Preamp"
"This mic preamp is a joy to use. Its clean design reveals exactly what's going on with your transducer, which can be a bummer if you're using a lower priced mic—you'll hear the noise and off-axis inaccuracies with stunning detail. On the plus side, if you're using a higher-end mic in a great room, the preamp gets out of the way, giving you all that your front end offers."

5/2012 AEA RPQ500 Review
May/June 2012, Resolution, by John Thornton
"AEA RPQ500"
"This module impresses in its ability to wring some astonishing performances out of microphones. Don't think of it as just a 'ribbon-pre' though, it works very well on capacitor microphones too, and on more lowly dynamic microphones."
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4/2012 AEA KU4 Review
April 2012, Resolution, by John Thornton
"Where the KU4 really comes into its own is in those situations where spill is an issue. I was forutnate to be able to trial the KU4 in an as-live session incorporating drums, bass, guitar and a small brass section. While acoustic screens provided a degree of control, a fig-8 ribbon for the brass would never have been an optimal solution - however much I like the sound. The KU4 here really delivered the goods. A combination of relative source level, the hypercardioid pick-up, the microphone's SPL handling and overall sound all seemed to click into place. I've employed EVRE-2 in similar situations in the past but they just can't match the KU4 for wonderful mid-range smoothness that flatters even the harshest sounding players."
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2/2012 AEA KU4 Review
Feb 2012, Mix, by Kevin Becka
"AEA KU4 Ribbon Microphone"
"It's hard not to rave about this mic. Yes, It's expensive, but the feeling you get when you hear the KU4 in fron fo anything is the resaon audio engineers get out of bed in the morning...The KU4 has an intimate quality that I've not heard out of any other ribbon. Using the mic is a joy. For me, the only negative experience I had with KU4 was boxing it up to send back to Wes."
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1/2012 AEA KU4 Review
Jan 2012, Pro Sound News Europe, by Russ Hepworth-Sawyer
"AEA KU4 Ribbon Microphone"
"Overall this is a mic that displays no pretense. What you capture is what you get. There's very little hype of overriding 'color' to impose upon your recording other than ribbon warmth. Comparing the KU4 with the flood of new ribbons on the market, you quickly appreciate the RCA heritage and RCA sound the has endured for generations..."
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1/2012 AEA KU4 Review
Jan 2012, Sound On Sound, by Hugh Robjohns
"AEA KU4 Supercardioid Ribbon Microphone"
"The combination of classic ribbon smoothness with a near-cardioid pattern is a very beguiling permutation that enables the use of ribbon mics in situations that are normally inappropriate or too challenging. The KU4's only practical imitation, really, is due to it's size and weight, but if you have mic stands that are up to the job it's hard to think of an application that wouldn't benefit from a KU4!"
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4/2010 AEA A440/RPQ Review
Apr 2010, Resolution, by Jon Thornton
"AEA A440/RPQ ribbon pre P48"
"What you are paying for in the A440 is that 'magic' sound - and a degree of authenticity that's as close as is possible to the original 44 - in a package that delivers the goods in a more modern recording chain. And with the RPQ ribbon pre P48 you get a preamplifier that will do it - and for that matter, any other ribbon microphone - the utmost justice."
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11/2009 AEA RPQ Review
Nov 1, 2009, Mix Magazine, by Barry Rudolph
"AEA RPQ Ribbon Mic Preamp Review"
"The AEA RPQ is an all-around super mic preamp. It caters to the requirements of any ribbon mic with its high gain, low noise, gigantic dynamic range and excellent Curve Shaper section."
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11/2009 AEA RPQ Review
Nov 1, 2009, Sound On Sound, by Hugh Robjohns
"Product Review - AEA RPQ"
"If you're a fan of ribbon mics — and you have this kind of budget available — the RPQ is a must-buy product. I was astonished at how much better every ribbon I've ever reviewed sounded when it was connected to the TRP preamp as compared to other preamps (whether budget, professional or high-end boutique), and this RPQ version matches that all the way."
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11/2009 New Stereo Soundbook Book Review
Nov 1, 2009, Sound On Sound, by Hugh Robjohns
"Book Review: The New Stereo Soundbook (Third Edition)"
"Something that seems to interest and intrigue almost everyone involved with audio recording at some point is the topic of stereo arrays: crossed pairs, spaced pairs, Blumlein, and all that. There are various books on the market that cover this area with varying degrees of success, but amongst the best, in my opinion, is The New Stereo Soundbook by Ron Streicher and F.Alton Everest - and I've had a well-thumbed copy on my bookshelf for over a decade."
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9/2009 AEA RPQ Review
Sept 1, 2009 (#73 UK Edition), TapeOp, by Thom Monahon
"AEA RPQ Mic Preamp"
"The RPQ had so much clean gain that I was easily able to drive a ProTools input into the red ... I moved through all the ribbons one by one, marveling at how quiet the preamp was."
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6/2009 AEA A440 Review
June 1, 2009, Sound On Sound, by Hugh Robjohns
"AEA A440 Active Ribbon Microphone"
"There are now several active ribbon microphones on the market, but rather fewer that give the A440 serious competition. The obvious contenders are SE Electronics' Rupert Neve-designed RNR1, reviewed last month, and the Royer R122, but although these are both great mics in their own right, the A440 is significantly quieter, putting it in a class of its own when it comes to distant-miking applications...Once you've heard this mic, you'll always aspire to own it."
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7/2008 AEA R92 Review
July 1, 2008, Guitar Player Magazine, by Michael Molenda
"AEA R92 Microphone"
"The R92 recorded an organic balance of room ambience and amp roar. The basic flavor was a fairly accurate reproduction of what your ears hear in the room, but with a fantastic airiness and spatial dimension."
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7/2008 AEA A440 Review
July 1, 2008, Mix Magazine, by Kevin Becka
"AEA A440 Microphone"
"It didn't take much effort to fall in love with the AEA A440...The A440 is pricey, but well worth it if you're looking for a unique-sounding niche microphone that can reliably take on more than 130 dB of SPL and deliver plenty of bottom end."
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8/2007 AEA R84 Review
August 2, 2007,, by Tony SanFilippo
"AEA R84 Microphone"
"I liked the R84 quite a bit and I'm sure it would make a nice addition to even the largest mic collections."
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8/2007 AEA R84 & TRP Review
August 1, 2007, EQ Magazine, by Jeff Anderson
"Both units burst with vintage charm...I was very impressed with the gloss and tone the R84/TRP gave the track...Turning the input up and the output down on the TRP results in a polishing of the signal. It's also a very 'quiet' box. This was especially apparent when I put the R84/TRP up against a Neumann U87 and a No Toasters Nice Pair pre...the TRP added just the right amount of gloss to make the track sound as if it was already compressed, like I was listening to the R84 through a filter of sorts that, instead of sucking up the articulations, left us with some great tonal nuances."
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4/2007 AEA 92 Review
April 22, 2007,, by Tony Sanfilippo
"AEA R92 Microphone"
"The sound was absolutely perfect ... I didn't touch the EQ or add any processing at all ..."
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4/2007 AEA TRP Review
April 15, 2007, Pro Audio Review, by Dr. Fredrick J. Bashour
"AEA TRP Ribbon Microphone Preamplifier"
"[TRP] is destined to become a first choice preamp for engineers who use ribbon mics with quiet sources ... In other words, it's the first universal mic preamp for non-phantom powered mics! ... Since the Millennia Media preamp is such a standard around the world for classical recording, I'd consider that putting the TRP in the same category as the HV3C is giving it some pretty high-class company to keep."
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4/2007 AEA TRP Review
April 1, 2007, Mix Magazine, by Joe Hannigan
"Field Test: AEA TRP Ribbon Mic Preamp"
"Several shoot-outs and tests against other preamps went about as expected: None had the flexibility for reliable, stable settings, nor had the kind of overall gain structure or repeatable results found in the TRP ... With such a smart blend of technology, it's difficult to tell where the beauty of the ribbon microphone experience ended and the preamp began, but the unit's lack of coloration and built-in features more than kept up with—and perhaps exceeded—the quality of the microphones I used."
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4/2007 AEA R92 & TRP Review
April 2007, Sound on Sound, by Hugh Robjohns
"On Test Microphone: AEA R92 & TRP Studio Ribbon Microphone and Preamp"
"This classy ribbon mic doesn't just look great—AEA's thoughtful design means that it also offers great results...If you are considering investing in the smooth natural character of a ribbon mic, this is certainly one worth auditioning first-hand. I've fallen in love with it!...The AEA TRP is an impressive preamp whichever way you look at it."
www.soundonsound.comRequires subscription

3/2007 AEA TRP Review
March 2007, Electronic Musician
"Quick Picks"
"But even with an assortment of expensive solid state preamps at my disposal, I still wasn't satisfied with the sound we were getting. Then along came the TRP. Right away I was amazed at the difference that this preamp made on [Julia Shirar's] vocal tracks. Although I had previously struggled to get this singer to cut through, the TRP positioned her effortlessly in front of the mix with clarity and detail... I thought I had sworn off buying new preamps, but the AEA TRP is clearly a must-have to supplement my mic closet. It is an excellent mid-priced, 2-channel preamp that works wonders without breaking the bank. A staggering 84dB of gain makes the TRP one of the most potent preamps and one of the few optimized for ribbon mics."
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3/2007 AEA TRP Review
Review: AEA The Ribbon Preamp
March 2007, Recording Magazine, by Scott Dorsey
"In a few words, this preamp makes ribbon microphones sound brighter and more detailed than a conventional transformer-input preamp."
www.recordingmag.comRequires purchase

11/2006 AEA R92 Ribbon Microphone
November 2006, Tape Op Magazine, by Mike Caffrey
"AEA R92"
"We tried a few different combinations of mics and preamps, and regardless of mic preamp, Justin consistently chose the R92 out of the mics we compared. Our final choice ended up being the R92 into a Pendulum Quartet II."
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9/2006 AEA R92 Ribbon Microphone
September 2006, Pro Audio Review, by Russ Long
"AEA R92 Ribbon Mic"
"The AEA R92 is a wonderful microphone ... If anyone ever told me that a ribbon could capture high requencies the way the R92 captures high frequencies, I would have called them a liar ... Its top end is wonderfully pristine. You truly have to hear it to believe it."
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5/2006 AEA R92 Review
May 1, 2006, Músico Pro, by Scott Dorsey
"Micrófono de listón R92 de AEA"
www.musicopro.comRequires subscription

3/2006 AEA Stereo Mic Protractor
March 1, 2006, Tape Op, by John Baccigaluppi
This one of the neatest things I saw at last fall's AES show.
www.tapeop.comRequires subscription

1/2006 AEA Mic Preamp
Jan 18, 2006, Mix
"2006 Winter NAMM – Signal Processing, Hardware"
A high-gain, dual-mono ribbon mic no-phantom preamp for those who need their sound louder, with 84 dB of quiet gain with mic and instrument inputs.
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12/2005 AEA R88 Review
Stereo Ribbon Microphone
This new monster mic incorporates two separate ribbon diaphragms, allowing you to use either Blumlein or MS stereo recording configurations.
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11/2005 AEA R92 & AEA R84
November 2005, Electronic Musician, by Miles Boisen
"Ribbon Revival"
"Among the other premium mics, I was most excited about the AEA R92.The sweet highs of this pill-shaped transducer make it an ideal candidate for applications that have always challenged ribbon mics—namely acoustic guitar, percussion and modern pop vocals."
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10/2005 AEA Ribbon Mic Pre
Oct 09, 2005, Mix
"AEA Dual-Mono Ribbon Mic Preamp" – (AES 2005)
AEA unveils a high-gain, dual-mono ribbon mic (no phantom) preamp for those who need their sound louder, with 84 dB of quiet gain with mic and instrument inputs.
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9/2005 AEA R92 Review
September 2005, EQ, by Monte Vallier
"AEA R92 Ribbon Mic"
To sum it all up, this microphone exceeded all expectations that I had. The versatility, the design, the excellent wind-blast protection, the reduced proximity bass boost, the clean, the even frequency response, great high end, and very affordable price make this a must have for anyone looking for a real ribbon to add variety to their sound or to replace some finicky vintage mics.
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9/2005 AEA R84 and R92
September 2005, EQ, by Lynn Fuston
"Top Round 1st Choice Draft Picks For EQ'S Ribbon Rondele"
I lined 12 mics to see how they compared...
"The coolest thing about the R84 is that it sounds like a vintage ribbon with the advantage of lighter weight and smaller size...On brass and strings, it sounds divine, lending a "Hollywood film score" vibe. "
This is the same "large ribbon" mic as the R84 but in a different housing and voiced for up-close work. It's a brighter mic with drastically less proximity effect, allowing the talent to work in a more typical LDC fashion, 4-6" from the mic.
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8/2005 AEA R92 Ribbon Microphone
Aug 01, 2005, Mix, By Kevin Becka
"Field Test: AEA R92 Ribbon Microphone"
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 R88 – is unequaled in its price range. I almost felt guilty...
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3/2005 AEA R88 Ribbon Microphone
Mar 01, 2005, Mix, By Roger Maycock
"New Studio Microphones In 2004"
The R88 is well suited for recording woodwinds, strings and cymbals, and is also a good choice for orchestral and choral recording, horn sections and drum overheads.
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1/2005 AEA R92 Ribbon Guitar Microphone
Jan 01, 2005, Mix
"Tools of the Trade"
The R92 from AEA is a mic that shares the same 2-inch ribbon as the company's popular – and more expensive – R84, but has decreased proximity effect to avoid the LF build-up that can occur when ribbon mics are placed close to loud guitar cabinets.
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1/2005 AEA R92 Ribbon Microphone
January 2005, EQ, By Phil O'Keefe
"The Phil O'Keefe Report: Transducers-R-Us!!!"
A couple of other mics impressed me, like the AEA R92 ribbon mic ($900) from Wes Dooley, which is similar to the R84 but designed for less proximity effect and use at closer distances (
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1/2005 AEA R92 Ribbon Microphone
January 2005, EQ, by Lynn Fuston
"Lynn Fuston Makes The Money Picks"
The bottom end on the R84 is exaggerated up close, but on the 92, it's very smooth even when working as close as 2". The R92's top end was astounding, almost sounding like a condenser compared to the R84.
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1/2005 AEA R88 Ribbon Microphone
January 2005, EQ, By Lynn Fuston
"AEA R88"
When I heard that Wes Dooley at AEA was planning a stereo version of the R84 – the R88 – I was interested. I frequently use my R84s for stereo miking, but putting two 12" long mics end-to-end at 90 degrees on a single stand at a height of 8-12' is no small task.
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11/2004 AEA R88 Review
Nov 01, 2004, Mix, By Kevin Becka
"Field Test: AEA R88 Stereo Ribbon Microphone"
There's no other ribbon that duplicates what the R88 does for bass, drums, percussion, brass and mallet instruments. It imparts warmth, has an appealing way of dealing with transients and, most importantly, has a knack for making things sound incredibly "real." At this price, it's a no-brainer.
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9/2004 Resurgence in Ribbon Microphones Adds New Microphone Technologies
Sep 01, 2004, Mix, By Sarah Jones
"Ribbon Renaissance"
Ribbon microphones once ruled the world of audio recording for music, broadcast and film. After a decades-long disappearance, vintage ribbon mics are back, with a host of new models. After two decades of using, servicing, and selling both vintage and contemporary ribbon microphones, engineer and mic designer Wes Dooley, head of Audio Engineering Associates, began experimenting with his own ribbon designs.
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2/2004 AEA R84 Review
This ribbon microphone design uses an exceptionally large transducer for high-quality performance in the modern studio.
www.soundonsound.comRequires subscription

1/2004 AEA R84 Ribbon Microphone
January 2004, EQ, By Greg Rule
"Welcome to the EQ Awards!"
An RCA-style ribbon mic for under a grand? For those looking for affordable vintage ribbon flavor, this is the one to buy.
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10/2003 AEA R84 Ribbon Microphone
Oct 01, 2003, Mix, By Kevin Becka
"Field Test: AEA R84 Ribbon Microphone"
AEA's slick, retro-looking R84 is the newest mic in designer Wes Dooley's product line. 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.
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8/2003 AEA R84 Review
August 2003, PAR, by Dr. Fred Bashour
"AEA R84 Ribbon Microphone"
I am really impressed by this microphone. I have not had the opportunity to try it on my favorite singer, but if it works on her the way it flattered everything else I put in front of it, I don't think I'll be returning it to Wes Dooley and his crew of ribbon mic fanatics any day soon. Wow!
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6/2002 AEA R44 Review
Built as an authentic replica of one of the all-time classic mics, this premium ribbon model brings a unique character to the modern studio.
www.soundonsound.comRequires subscription

9/2000 AEA R44 Review
September 01, 2000, Pro Audio Review, by Russ Long
"Audio Engineering Associates R44C and R44CX Ribbon Microphones"
The AEA R44C is one of the best ribbon microphones available today. Purchasing an AEA R44C or R44CX not only mean you acquire a fantastic microphone, it also means you own a piece of history.
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8/2000 AEA R44 Review
August 01, 2000, Studio Sound
AEA's reproduction has won plaudits from engineers like Bruce Swedien, Allen Sides and Shawn Murphy, all with plentiful experience of the original and all saying the AEA version is as good or better. It may be tempting to think of it as a useful movie prop that happens to work, but this is a serious microphone that delivers something special.
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7/2000 AEA R44 Review
July 01, 2000, Audio Media
"Audio Engineering Associates R44C and R44CX"
It may very well be the perfect microphone for those who wish to relive the good old days, or for anyone who would like to experience working with the classic design. It is obvious that the AEA R44C and its accessories were created by folks who truly appreciate the history and art of audio.
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4/1999 AEA R44 Review
Apr 01, 1999, Mix, by Shawn Murphy
"Audio Engineering Assocociates' R44C: RCA Ribbon Microphone Re-creation"
There is a sweetness and beautiful authority to the 44 sound that has not been re-created until now. As so many of the original units are in disrepair or out of service, the availability of a new microphone with these characteristics is very welcome. In all, the AES R44C is a very successful re-creation, one of the best in current memory.
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12/1998 AEA R44 Review
Dec 01, 1998, Pro Audio Review, by Frank Beacham
"The High Art of the Microphone"
That great bottom end has made the 44 a favorite for voice, horns, upright bass and guitar, not to mention audio drama where groups of performers can "work" the microphone simultaneously.
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Published User Mentions

8/1/2007 AEA R84
August 2007, EQ, By J.J. Blair
"Tracking Townshend"
"My favorite mic of the moment is the AEA R84...An emulation of an RCA ribbon mic is not going to sound like an RCA ribbon mic. Only Wes Dooley can come close today...Lately I've replaced the Neumann with the R84."
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11/1/2005 AEA R92
November 2005, EQ, By Monte Vallier
"Millennia Media HV-3D High Voltage Mic Preamp"
"For the bassoon I used the AEA R92 ribbon mic placed three feet away from the middle of the instrument (you get lots of fingering clicks but the sound is more balanced than trying to mic the top of the horn) through the HV 3D with the +18dB gain button engaged."
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10/1/2005 AEA Microphones
Oct 01, 2005, Mix, By Rick Clark
"Nashville Skyline-Musical Chairs Among Nashville Studio Managers; Changes at Blackbird Studios"
"Our equipment inventory includes dozens of EMI EQs and comps," he lists, " well as mics from Altec, AEA, AKG, Royer, Neumann, Korby, Telefunken, Coles, RFT, RCA, Shure and Schoeps, to name only a few."
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9/1/2005 AEA R88, R92
Sep 01, 2005, Mix, By Kevin Becka
"Hellacious Horns"
"Room mic setup can vary from ORTF to spaced pairs; spaced pairs provide a "larger" sound because of the spread between the mics. Ribbon mics such as the AEA R88, R92 or Royer 121 or 122 also work very well with trumpets, rounding out the transient edges and exhibiting an overall smooth sound."
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9/1/2005 AEA R92
Sep 01, 2005, Mix, By Matt Hurwitz
"Recording "Les Paul & Friends": Top Rockers Get Together to Honor Guitar Legend"
"90-year-old guitarist and sonic innovator Les Paul talks about a new album he made with rock legends Eric Clapton, Sting, Peter Frampton, and other called Les Paul & Friends. For vocals, Urselli used the AEA R92 ribbon (which was also used on some guitar amps)"
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5/1/2005 AEA Microphones
May 04, 2005, Mix, By Mix Editors
"Firehouse 12 Heats Up the East Coast"
"The venue's recording studio includes a vintage 48-input API Legacy console, Studer A827 2-inch tape deck, 48-channel Pro Tools HD3/Accel system, Nexo PS 15/PS 10 speakers with Camco amplification, Genelec 1038 main monitors and a collection of Neumann, DPA, Soundfield, Royer, BLUE, AEA, AKG and Shure mics and plenty of top-shelf outboard equipment."
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11/1/2003 AEA R44
Nov 01, 2003, Mix, By Blair Jackson
"Recording Piano"
"Esteemed British engineer Tony Faulkner has recorded hundreds of albums of (mostly classical) piano music through the years ...if I want a closer pickup for jazz or something, I like to use ribbons. I have some old RCA-type 44s made by AEA in California that are fantastic...ribbons have such incredibly low distortion, and because of the pattern, you can get a very present sound that you can actually recognize as something warm and friendly, and it doesn't squeak and scratch and spit at you."
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10/1/2003 AEA R44
Oct 01, 2003, Mix, By Gary Eskow
"Facility Spotlight: Bennett Studios"
"T-Bone Burnett was the producer, and he wanted a darker sound to help keep the album moody. We went with the Coles in the oculus, and we also used a bunch of AEA 44s: these retooled versions of the old RCA 44 ribbon mics that are made out in California by Wes Dooley."
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12/1/2002 AEA R44
Dec 01, 2002, Mix, Chris Michie
"Skywalker Hosts La Boheme Cast Recording"
"Murphy also selected Neumann M49s and M149s for each of the principal singers, and arrayed a range of Schoeps MK4s and Sennheiser MKH40s, Neumann U67s and U47s, plus Royer and AEA 44 BX ribbons as spot mics."
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1/1/2001 AEA R44
Dec 01, 2002, Mix, Chris Michie
"Brian Setzer"
"The 13-piece horn section - five saxes, four trombones, four trumpets - came in on a separate day to lay down their parts. "They [were all] in the same room," says Holbrook... "We also rented some of these AEA [mics] - they're a reproduction of an old RCA 44, which this guy Wes Dooley makes that are really good. So we used those on the trombones and RCA 77s on the trumpets. For some reason, I just think brass generally seems to sound better with ribbon mics. We used Neumanns [U47s, U67s and U87s] on the saxophones."
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