The AEA R92 is a versatile solution for engineers, producers, and musicians in need of a smooth, rich, and warm-sounding near-field ribbon mic that can handle extreme SPLs and an array of voices and instruments. A more compact, lightweight, and affordable version of the R84 ribbon mic with less proximity effect, the R92 features dual sonic tonality on the front and back sides. Utilizing a 2.35" long ribbon and a bidirectional figure-8 polar pattern, the R92 delivers vintage ribbon character and two different sonic signatures—bright via the front and dark via the rear—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 or on stage.
 
Personality Reminiscent of the R84
Offering a classic ribbon character in the form of a near-field, the dual-tone R92 functions as a versatile creative tool with innumerable possibilities. Similar in sound to the AEA R84, but with a more pronounced midrange and minimized proximity effect, the R92 performs brilliantly when up close to brass, guitar amps, kick drum, and percussion.
 
Dual Sonic Character
With its dual sonic character, the R92 offers limitless creative options for capturing a signature sound. The front side offers a crisp sonic signature tailored to have a bright sound. The back side is darker and smoother, ideal for taming harsh sounds such as trumpets and strings in a refined and flattering way. The bass reproduction of the mic extends to the lowest audible bass frequencies.
 
Reduced Proximity Effect
The R92 was designed to be positioned between 1 and 18 inches from the sound source. It retains a balanced frequency response across the spectrum while limiting proximity effect and avoiding the room tone that can cause problems in smaller spaces or iso booths. Naturally rolling off the low-end before it hits the ribbon creates a much different sound than using electronic equalization to roll off the low-end in post. In a traditional ribbon mic, the proximity effect can be so strong that it obscures the midrange, which can be extremely difficult to correct.
 
For Near-Field Applications
Unlike traditional ribbon mics, think of the R92s placement in terms of inches instead of feet. Of course, near-field mics can be positioned at a distance, but they have a more balanced sound close to the sound source. The R92 not only handles the SPL levels of a high-gain amplifier and loud trombone with ease, but it also translates all the gritty details of an instrument that musicians seek.
 
Move The Mics
The R92's U-shaped yoke acts as a shockmount and also enables the user to position the mic at various angles even with a straight stand. This shockmount is attached to an integrated 360° swivel mount that enables easy setup and positioning in tight spaces. Weighing only two pounds, the R92 can easily be accommodated on cramped stages.
 
Designed for High-Gain Preamps
Since the R92 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 R92, 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.