{"title":"Ribbon Microphones","description":null,"products":[{"product_id":"aea-a440-ribbon-microphone","title":"AEA A440 Active Ribbon Microphone","description":"\u003cp\u003eThe \u003cstrong\u003eAEA A440\u003c\/strong\u003e is a preamp-flexible, Phantom-powered version of the R44 with 18 dB of extra output. It is custom-painted with the RCA classic umber-colored transformer case. It is complete with a custom Lehle transformer, RPQ JFET preamp electronics and the \"X\" motor hotrod and is the quietest ribbon microphone ever manufactured. It retains the same sonic character of the passive R44C, but with an additional 18 dB of output and greater flexibility with different preamps. Many engineers favor their A440s over their vintage RCA 44s due to the advantages in noise performance.\u003c\/p\u003e\r\n\r\n\u003cp\u003eAt the low frequency end the A440 delivers bass with effortless authority. It has a flat frequency response and holds an accurate figure-eight polar pattern down to 20 Hz. The A440 has a smooth and articulate midrange, and at the high end, transients are quick and detailed without hard edges.\u003c\/p\u003e\r\n\r\n\u003ch3 id=\"toc_0\"\u003eTHE LEGENDARY BIG RIBBON SOUND\u003c\/h3\u003e\r\n\r\n\u003cp\u003eThe AEA A440 maintains an iconic legacy of great ribbon mics by delivering a rich sound full of character and color. Effective on a broad range of instruments and rooms, it bolsters mids and lows while smoothing harsh high frequencies to produce a multi-dimensional sound unlike that of any microphone the world over. Used on everything from crooning vocalists to full orchestras, the A440 is the ideal choice to capture the tone of any voice or instrument while imparting its legendary ribbon character.\u003c\/p\u003e","brand":"AEA","offers":[{"title":"Default Title","offer_id":44449218429031,"sku":"9621","price":6999.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0658\/8848\/5479\/files\/aea-a440-mic-23_9621_1_1_46223855-8446-471b-90a1-2ba92c4f6667.jpg?v=1787088188"},{"product_id":"aea-a840-active-ribbon-microphone","title":"AEA A840 Active Ribbon Microphone","description":"\u003cp\u003eThe \u003cspan style=\"font-weight: bold;\"\u003eAEA A840\u003c\/span\u003e is different from other microphones.  One listen and the AEA A840 stands out with its big, clean sound. It’s an ideal spot mic with its tight pattern, smooth extended top, and less proximity bass boost than the R44 and A440.  The A840 effortlessly handles a broad range of applications from accent to ensemble.\u003cbr\u003e\u003cbr\u003e\u003cspan style=\"font-weight: bold;\"\u003eFeatures:\u003c\/span\u003e\u003c\/p\u003e\r\n\u003cul\u003e\r\n\u003cli\u003eHigh output\u003c\/li\u003e\r\n\u003cli\u003eCompatibility with any preamp and input source\u003c\/li\u003e\r\n\u003cli\u003eLow self noise of 17.5 dB (A)\u003c\/li\u003e\r\n\u003cli\u003eFast, accurate transient reproduction\u003c\/li\u003e\r\n\u003cli\u003eHigh SPL capability of 141 dB\u003c\/li\u003e\r\n\u003cli\u003eSingle-diaphragm with well-controlled, native figure-8 polar pattern\u003c\/li\u003e\r\n\u003cli\u003eWide-band response from below 20 Hz to beyond 20 kHz\u003c\/li\u003e\r\n\u003c\/ul\u003e\r\n\u003cp\u003eThe AEA A840 and other AEA Big Ribbon mics are excellent digital recording tools.  Digital has different limitations than analog.  The digital recording process is capable of preserving razor sharp details for generations.  So it makes sense to use microphones that fit well into the final mix from the start. AEA Big Ribbon mics with their smooth, natural and easy-to-EQ sound have enjoyed a rebirth as digital recording has blossomed.\u003cbr\u003e\u003cbr\u003eOver 30 years of servicing ribbon mics taught AEA what users like, and they all like the big sound of the RCA 44.  Preserving and reintroducing that sound became an AEA mission.  The AEA R44 and A440s, robust, heavy, and expensive to manufacture, are now in daily use worldwide.  But that’s just the beginning of the story.\u003cbr\u003e\u003cbr\u003e\u003cspan style=\"font-weight: bold;\"\u003eHow can AEA preserve and update that Big Ribbon sound in a more affordable package using new technologies?\u003c\/span\u003e\u003cbr\u003eThe A840 uses the same big ribbon as the A440, is 5 pounds lighter, and less bulky.  Due to its active JFET impedance buffer circuitry the new A840 is insensitive to lower preamp input impedances.  The high output sensitivity reduces noise and allows long cable runs.  This allows you to use your favorite tube preamp without compromising your classic ribbon sound.  Designed for accent and solo work, its bass proximity effect is less pronounced and the upper 10 to 20 kHz octave is stronger than the A440.\u003cbr\u003e\u003cbr\u003e\u003cspan style=\"font-weight: bold;\"\u003eWhy do the AEA Big Ribbon mics sound so different when compared to other microphones?\u003c\/span\u003e\u003cbr\u003eClassic condenser diaphragms are radially stretched.  They typically have sharp, narrow resonances in the 8 to 12 kHz range, the sound quality we refer to as “tizz”. AEA  Big Ribbon mics use a long rectangular diaphragm clamped only at the ends and tensioned lightly with a fundamental resonance below 20 Hz.  Less than 80 millionths of an inch thick, AEA's ultra low mass transducer has extended bass, excellent transient response and few resonances.  It’s one of the most sensitive and accurate transducers possible. Many have commented that AEA mics record exactly what your ear hears.  Excellent headroom and low distortion allow close micing with an A840 without sounding brittle. Additionally the smooth, non-resonant high end provides engineers considerable EQ flexibility. \u003c\/p\u003e","brand":"AEA","offers":[{"title":"Default Title","offer_id":44449218396263,"sku":"13205","price":1553.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0658\/8848\/5479\/files\/aea_a840_zoom.jpg?v=1787088188"},{"product_id":"aea-r44cne","title":"AEA R44 CNE","description":"\u003cp\u003eThe \u003cstrong\u003eAEA R44CNE\u003c\/strong\u003e has the authentic sound, feel, and the look of a vintage RCA 44B and all parts interchange.  The ribbon element is only 1.8 microns thick, fabricated from NOS (New Old Stock) material originally manufactured for RCA. A black \/ bright chrome \"radio\" finish is standard.  The microphone package includes a cushion mount and AEA custom vertical storage and shipping case.  Each R44CNE is built to order and is individually numbered and signed.  The best part is that the sound will bring you right back to Bing Crosby singing \"White Christmas\" or breathe life into modern guitar parts, vocals and even drums!\u003c\/p\u003e","brand":"AEA","offers":[{"title":"Default Title","offer_id":44449218363495,"sku":"100","price":2790.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0658\/8848\/5479\/files\/aea_r44_cne_d3db1e35-9bdb-4307-ae64-5deb8e8320ac.jpg?v=1787088187"},{"product_id":"aea-r44c","title":"AEA R44C Bi-Directional Ribbon Microphone","description":"\u003cp\u003eThe R44 is one of those rare mics that has remained relatively unchanged from its inception, and still sounds great some 75 years later. Wes Dooley, a specialist in ribbon mics of all kinds, has now restored the 44 type microphone to its rightful position in the studio. After tracking down the engineers who designed and built the original RCA 44, AEA acquired ribbon material, made the tooling and custom machined all the parts necessary to build the original RCA 44 B\/BX design to its original specifications, just as it was in the 1930s.\u003c\/p\u003e\r\n\u003cp\u003eThe \u003cstrong\u003eAEA R44C\u003c\/strong\u003e is an exact replica of the RCA 44 born from years of experience are built to RCA specifications and The R44C is an exact replica of the RCA 44 born from years of experience with RCA repairs. All components are built to RCA specifications and the sonic quality is entirely true to the original. To record with an AEA R44C is to participate in the legacy of the most iconic ribbon mic in music history. the original. To record with an AEA R44C is to participate in the legacy of the most iconic ribbon\u003c\/p\u003e\r\n\u003ch3 id=\"toc_0\"\u003eVINTAGE STYLE AND SOUND\u003c\/h3\u003e\r\n\u003cp\u003eRCA 44 ribbon microphones have remained an essential part of studio life well after RCA stopped manufacturing them in 1955. The sound and response of the 44 B\/BX were unlike anything else available, and was cherished for its smoothness, forgiving nature and unique tonal balance. As collectors began to buy up the supply of RCA 44's through the 90's, the availability of this wonderful ribbon mic to the studio was greatly endangered.\u003c\/p\u003e\r\n\u003ch3 id=\"toc_1\"\u003eBUILT FROM ORIGINAL RCA-STOCK RIBBON\u003c\/h3\u003e\r\n\u003cp\u003eThe 44 was RCA's best microphone from the 1930s into the '50s. Is AEA's R44 that good? Both listeners and measurements say that the R44 is better and AEA has been listening to both users and ex-RCA engineers for over 25 years. They start by using only ribbon material originally manufactured for RCA. This is the best way to ensure that AEA's R44 ribbon mics are as close as humanly possible to vintage RCA 44s.\u003c\/p\u003e\r\n\u003ch3 id=\"toc_2\"\u003eIMPLEMENTS THE BEST OF VINTAGE DESIGN WITH MODERN TOUCHES\u003c\/h3\u003e\r\n\u003cp\u003eNext, they use modern magnet technology which is much more robust than period magnets. AEA also combined the original American undamped ribbon design with the British RCA 44 innovations that lower the weight and hum sensitivity. The R44 design runs contrary to all current ribbon microphone manufacturing. It is large and heavy when other microphones are smaller and lighter. The internal ribbon element is by far the longest and its resonance tuning the lowest of today's ribbon microphones. It is a pure undamped ribbon design, an approach that has been out of production for over 50 years while remaining in continuous studio use. It is different, and its sound is unique.\u003c\/p\u003e\r\n\u003ch3 id=\"toc_3\"\u003eGREAT FOR A VARIETY OF USES\u003c\/h3\u003e\r\n\u003cp\u003eThe R44 sounds good on everything. Leave it out and use it whenever you need to do a quick take. Bruce Swedien particularly likes them on vocals, Joe Chicarelli on sax, Allen Sides on electric guitar. Everyone has a favorite use and everyone finds they sound good anywhere: brass, woodwinds, percussion, strings or voice work.\u003c\/p\u003e","brand":"AEA","offers":[{"title":"Default Title","offer_id":44449218494567,"sku":"99","price":4699.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0658\/8848\/5479\/files\/aea_r44c_zoom.jpg?v=1787088188"},{"product_id":"aea-r84-matched-pair","title":"AEA R84 Ribbon Microphone - Matched Pair","description":"\u003cp\u003eBased on the character of the legendary R44, the \u003cstrong\u003eAEA R84 Ribbon Microphone\u003c\/strong\u003e provides classic tonality with extended top-end and reduced proximity effect for medium and close range recording.\u003c\/p\u003e\r\n\r\n\u003cp\u003eIn 2000, AEA sought to design a more compact, lighter and less expensive version of the hefty, eight-pound RCA 44BX. The result was the R84, which includes the best of the 44 series in a lower cost, three-pound package.\u003c\/p\u003e\r\n\r\n\u003cp\u003eThe R84 and original RCA 44 (now the R44C) share the same Big Ribbon element, transformer and other elements in the design. By using modern design techniques and stronger — but smaller — magnets in the R84, the classic RCA ribbon sound is retained.\u003c\/p\u003e\r\n\r\n\u003cp\u003eHowever, the R84 has improvements — including less proximity effect, better top end, vibration isolation and greater placement flexibility on tight stages and in studios. The mic’s U-shaped yoke acts as a shock mount and also enables the user to position the R84 at numerous angles even with a straight stand.\u003c\/p\u003e\r\n\r\n\u003ch3\u003eA WORKHORSE RIBBON\u003c\/h3\u003e\r\n\r\n\u003cp\u003eThe R84 series quickly endears itself to engineers and musicians due to its remarkably expansive frequency range complete with sweeping highs and booming lows.\u003c\/p\u003e\r\n\r\n\u003cp\u003eThe R84’s balanced and manageable proximity effect just feet away from the source bolsters the low end of vocals, drums, and brass. With a ribbon mic as multi-purpose, lightweight, and maneuverable as the R84, it is well-suited for both close-up and ambient mic applications.\u003c\/p\u003e\r\n\r\n\u003cp\u003eThe R84A retains the same sonic character of the R84 but offers an additional 12 dB of output and a stable impedance giving it even more flexibility when used with quiet sources and any preamp.\u003c\/p\u003e\r\n\r\n\u003ch3\u003eA MODERN CLASSIC\u003c\/h3\u003e\r\n\r\n\u003cp\u003eThe R84 is a staple in numerous recording studios because of its unique tonality and classic sound. Its smooth, high-frequency roll-off and reduced sibilance make it the go-to choice for engineers tracking vocals and other instruments that often sound harsh when recorded with condenser mics.\u003c\/p\u003e\r\n\r\n\u003cp\u003eThe R84’s gorgeous mid-range captures the unique qualities of many instruments with detailed elegance. Its large low end is perfect for beefing up the sound of drum kits or thickening up the bass in thin vocals. It’s a mic that works well on practically any voice or musical instrument, making it useful tool in both recording and broadcast studios.\u003c\/p\u003e","brand":"AEA","offers":[{"title":"Default Title","offer_id":44449218461799,"sku":"1664","price":2698.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0658\/8848\/5479\/files\/aea_r84_pair_zoom.jpg?v=1787088188"},{"product_id":"aea-r84-ribbon-single","title":"AEA R84 Ribbon Microphone","description":"\u003cp\u003eBased on the character of the legendary R44, the \u003cstrong\u003eAEA R84 Ribbon Microphone\u003c\/strong\u003e provides classic tonality with extended top-end and reduced proximity effect for medium and close range recording.\u003c\/p\u003e\r\n\r\n\u003cp\u003eIn 2000, AEA sought to design a more compact, lighter and less expensive version of the hefty, eight-pound RCA 44BX. The result was the R84, which includes the best of the 44 series in a lower cost, three-pound package.\u003c\/p\u003e\r\n\r\n\u003cp\u003eThe R84 and original RCA 44 (now the R44C) share the same Big Ribbon element, transformer and other elements in the design. By using modern design techniques and stronger — but smaller — magnets in the R84, the classic RCA ribbon sound is retained.\u003c\/p\u003e\r\n\r\n\u003cp\u003eHowever, the R84 has improvements — including less proximity effect, better top end, vibration isolation and greater placement flexibility on tight stages and in studios. The mic’s U-shaped yoke acts as a shock mount and also enables the user to position the R84 at numerous angles even with a straight stand.\u003c\/p\u003e\r\n\r\n\u003ch3\u003eA WORKHORSE RIBBON\u003c\/h3\u003e\r\n\r\n\u003cp\u003eThe R84 series quickly endears itself to engineers and musicians due to its remarkably expansive frequency range complete with sweeping highs and booming lows.\u003c\/p\u003e\r\n\r\n\u003cp\u003eThe R84’s balanced and manageable proximity effect just feet away from the source bolsters the low end of vocals, drums, and brass. With a ribbon mic as multi-purpose, lightweight, and maneuverable as the R84, it is well-suited for both close-up and ambient mic applications.\u003c\/p\u003e\r\n\r\n\u003cp\u003eThe R84A retains the same sonic character of the R84 but offers an additional 12 dB of output and a stable impedance giving it even more flexibility when used with quiet sources and any preamp.\u003c\/p\u003e\r\n\r\n\u003ch3\u003eA MODERN CLASSIC\u003c\/h3\u003e\r\n\r\n\u003cp\u003eThe R84 is a staple in numerous recording studios because of its unique tonality and classic sound. Its smooth, high-frequency roll-off and reduced sibilance make it the go-to choice for engineers tracking vocals and other instruments that often sound harsh when recorded with condenser mics.\u003c\/p\u003e\r\n\r\n\u003cp\u003eThe R84’s gorgeous mid-range captures the unique qualities of many instruments with detailed elegance. Its large low end is perfect for beefing up the sound of drum kits or thickening up the bass in thin vocals. It’s a mic that works well on practically any voice or musical instrument, making it useful tool in both recording and broadcast studios.\u003c\/p\u003e","brand":"AEA","offers":[{"title":"Default Title","offer_id":44449218560103,"sku":"112","price":1299.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0658\/8848\/5479\/files\/aea-r84_112_1_8c5cfb4a-c18b-4bc0-9124-ed31d6f0ceef.jpg?v=1787088188"},{"product_id":"aea-r84-silver-limited-edition-sle","title":"AEA R84 Silver Limited Edition","description":"\u003cp\u003eTo commemorate 25 years of selling ribbon microphones, Audio Engineering Associates has created the \u003cspan style=\"font-weight: bold;\"\u003eAEA R84 Silver Limited Edition (SLE)\u003c\/span\u003e.  Two years ago AEA made a chrome R84 to display at trade shows.  Due to popular demand, they've decided to create a limited edition run in honor of twenty-five years of serving the ribbon microphone market.  The R84 SLE is limited to a run of only 125 units. \u003cbr\u003e \u003cbr\u003e The versatile \u003cspan style=\"font-weight: bold;\"\u003eAEA R84 Silver Limited Edition (SLE)\u003c\/span\u003e large ribbon microphone is suitable for a wide range of instruments, including brass, strings, percussion, electric guitar and bass.  At just 0.00007 of an inch the ultra-thin, low-tension ribbon element of the R84 ensures a quick response, whatever the application.  Capable of handling better than 165 dB SPL at higher frequencies, when used on vocals or instruments the R84 offers a performance that is intimate, warm and detailed, yet not ever harsh. \u003cbr\u003e\u003cbr\u003eThe AEA R84 is supplied in a complete system that includes a shock mount, 6' mic cable and sturdy foam-lined carrying case.  Weighing-in at under 2 lbs (0.9 Kg) and measuring 8\" (30 cm) tall and 2.7\" (7 cm) in diameter.\u003c\/p\u003e","brand":"AEA","offers":[{"title":"Default Title","offer_id":44449218527335,"sku":"15278","price":1103.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0658\/8848\/5479\/files\/aea_r84_sle_chrome_zoom.jpg?v=1787088188"},{"product_id":"aea-r88-microphone","title":"AEA R88 mk2 Stereo Ribbon Microphone","description":"\u003cp\u003eThe \u003cstrong\u003eAEA R88 mk2 Stereo Ribbon Microphone\u003c\/strong\u003e is optimized for recording instruments and ensembles in stereo.  The R88 uses the large ribbon configuration of the classic RCA 44 series mics, which gives the mic solid 20Hz bass response and a smooth high end which is flattering to complex tones.\u003c\/p\u003e\r\n\u003cp\u003eThere is no easier way to track in stereo than with a stereo microphone with two configured transducers in a single sleek package.  A stereo microphone is highly useful in recording situations in which it is more convenient or aesthetically pleasing to have a single housing for both capsules, such as for drum overheads or live concert recordings.\u003c\/p\u003e\r\n\u003cp\u003eThe R88 has a natural sound because it is the pure sound of two undamped long ribbons.  If the basic characteristics of a transducer element are in accordance with a few primary physical laws, it will sound good without requiring any extra acrobatics. The simpler the physics, the less adulterated the sound of a transducer will be because it will introduce fewer artifacts into the electrical signal that were\u003c\/p\u003e\r\n\u003ch3 id=\"toc_0\"\u003eR88 SERIES\u003c\/h3\u003e\r\n\u003cp\u003eR88 Series ribbon mics capture sound as your ears hear it, with an honest and open tonality. The R88 effortlessly record complex sources like drums, strings, piano, and other instruments that produce intricate transients, harsher highs, and bellowing lows.\u003c\/p\u003e\r\n\u003cp\u003eThe stereo R88 captures a space as it sounds live and in person, with all the present subtlety and nuance. Its expansive frequency response and balanced low end make it superbly effective when capturing the full breadth of sound from the back of a room or above a drum set.\u003c\/p\u003e\r\n\u003cp\u003eAlongside the mono AEA N8, it boasts the widest frequency range of any mic in the AEA lineup and effortlessly manages more complex source audio like drums, strings, piano, and other instruments that produce intricate transients, harsher highs, and bellowing lows. The Blumlein configuration of the ribbons allows for a sweeping range of perspective, so an entire ensemble and room can be captured by the R88 alone.\u003c\/p\u003e\r\n\u003ch3 id=\"toc_1\"\u003eTHE ENGINEER’S SECRET WEAPON\u003c\/h3\u003e\r\n\u003cp\u003eR88 Series mics are an engineer’s secret weapon, offering a level of detail and balance in recording like no other microphone available. Packaged in a sleek, five-pound black shell designed for quick setup, it’s an excellent choice for remote recording.\u003c\/p\u003e\r\n\u003cp\u003eParticularly well suited for the rock, roots, classical, Americana and jazz genres, R88 Series microphones have such versatility that engineers like John Cuniberti use it as their one mic to capture an entire band performing live in the same room. There is a reason that legendary Blackbird Studios in Nashville owns five R88s.\u003c\/p\u003e\r\n\u003ch3 id=\"toc_2\"\u003eA RICH HISTORY\u003c\/h3\u003e\r\n\u003cp\u003eThe design of the R88 Series borrows from serious stereo recording tradition. In 1931, EMI engineer Alan Blumlein invented stereo recording by demonstrating the natural reproduction of the soundstage in one of the Abbey Road studios in London.\u003c\/p\u003e\r\n\u003cp\u003eToday, Blumlein’s XY coincident recording technique lives on in the AEA R88 Series, which uses two figure-of-8 ribbons for producing an authentic representation of a performance. The pair of elements are angled in perfect phase at 90 degrees and mounted in close proximity to each other along the vertical axis of the microphone.\u003c\/p\u003e\r\n\u003cp\u003eAs an alternative to Blumlein’s technique, the microphone can also be used for mid-side (MS) stereo, providing excellent mono compatibility and full control over the width of the stereo image.\u003c\/p\u003e\r\n\u003cp\u003eEither way, the R88 Series is so easy to use that any recording novice can do it. Simply choose where to place the mic and hit record. It’s that easy.\u003c\/p\u003e","brand":"AEA","offers":[{"title":"Default Title","offer_id":44449218592871,"sku":"3003","price":2399.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0658\/8848\/5479\/files\/aea-r88-mk2-mic-23_3003_2_1_1.jpg?v=1787088189"},{"product_id":"aea-r92-ribbon-microphone","title":"AEA R92 Ribbon Microphone","description":"\u003cp\u003eOffering a classic ribbon character in the form of a near-field, the dual-tone \u003cstrong\u003eAEA R92\u003c\/strong\u003e functions as a versatile creative tool with innumerable possibilities. Similar in sound to the 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. One side of the R92 yields a tonality distinct from the other, essentially providing two mics in one giving options on different sources. When supplemented with a brighter mic signal, the R92 serves to balance the scales in a mix with its low-end clarity and warm midrange.\u003c\/p\u003e\r\n\u003ch3 id=\"toc_0\"\u003eTWO SIDES — A CHOICE OF SONIC TONES\u003c\/h3\u003e\r\n\u003cp\u003eWith 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. It is 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.\u003c\/p\u003e\r\n\u003ch3 id=\"toc_1\"\u003eNear-field mic with Character\u003c\/h3\u003e\r\n\u003cp\u003eThe R92 was designed to be positioned between 1 and 18 inches from the sound source. It retains a balanced frequency response across the spectrum with limited proximity effect. The R92 naturally reduces proximity effect while also avoiding the room tone that can cause problems in smaller spaces or iso booths.\u003c\/p\u003e\r\n\u003cp\u003eNaturally 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 mid-range, which can be extremely difficult to correct.\u003c\/p\u003e\r\n\u003cp\u003eUnlike 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.\u003c\/p\u003e\r\n\u003cp\u003eThe 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.\u003c\/p\u003e\r\n\u003ch3 id=\"toc_2\"\u003eDESIGNED FOR EASY PLACEMENT\u003c\/h3\u003e\r\n\u003cp\u003eThe R92’s U-shaped yoke acts as a shock mount and also enables the user to position the mic at various angles even with a straight stand. This shock mount is attached to an integrated 360-degree swivel mount that enables easy setup and positioning in tight spaces. Weighing only two pounds, the R92 can easily be accommodated on cramped stages.\u003c\/p\u003e","brand":"AEA","offers":[{"title":"Default Title","offer_id":44449218658407,"sku":"4947","price":1199.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0658\/8848\/5479\/files\/aea-r92_4947_1_2.jpg?v=1787088189"},{"product_id":"avantone-cr-14-ribbon-microphone","title":"Avantone CR-14 Ribbon Microphone","description":"\u003cp\u003eThis elegantly designed bi-directional velocity ribbon microphone is intended for use in modern, state-of-the-art studios as well as private home studios.  It offers the unique, pleasing sonic character that is similar to those classic ribbon mics of yesteryear.  The special dual-ribbon design offers a better sensitivity rating than most single ribbon mics on the market.  You will also find that it does not exhibit the very dark, muted character of some ribbon mics.  On the contrary, you will find it to be full-range with a very, natural detailed sound.  The “in-phase” signal is achieved when the microphone is addressed from the front side of the mic. 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M 160 has a very warm, silky\r\nsound, and a very high transient response, that makes it great for drums, acoustic instruments,\r\nbrass sections, vocals, or as a room mic.\u003c\/p\u003e\r\n\r\n\u003cp\u003eThe hypercardioid polar pattern offers 25 dB of off-axis noise rejection, making it a go-to mic\r\nwhen multiple players are in the same room. The M 160 is the signature sound of John Bonham's\r\nhuge drum tone, featured on Led Zeppelin's \"When the Levee Breaks\", as well as Eddie\r\nKramer's first choice for Jimi Hendrix's guitar cabinet on all his recordings.\u003c\/p\u003e","brand":"beyerdynamic","offers":[{"title":"Default Title","offer_id":44449219772519,"sku":"846","price":799.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0658\/8848\/5479\/files\/beyerdynamic-m-160_846_1.jpg?v=1787088194"},{"product_id":"beyerdynamic-m-260","title":"beyerdynamic M 260","description":"\u003cp\u003eThe \u003cstrong\u003ebeyerdynamic M 260\u003c\/strong\u003e is used for vocals and miking instruments at broadcast, recording and film studios. 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Exhibiting a remarkably flat frequency response from 30 Hz to 15 kHz, exceptionally low nonlinear distortion, and potent hum rejection, the Coles 4038 it one of the most accurate and reliable ribbon mics ever made. The microphone's natural figure-8 (bidirectional) polar pattern delivers consistent sound in both horizontal and vertical orientations, and its excellent transient response captures even the most dynamic sources with precision and clarity. Whether you're using a matched pair as drum overheads, close-mic'ing acoustic guitars and guitar amps, or capturing vocals, brass, and string instruments, the Coles 4038 delivers a natural yet characterful sound that has made it a first-choice studio mic for decades.\u003c\/p\u003e\r\n\r\n\u003ch3 id=\"toc_0\"\u003eCLASSIC BRITISH BROADCASTING DESIGN\u003c\/h3\u003e\r\n\r\n\u003cp\u003eFamously used as drum overheads on classic Beatles and Led Zeppelin recordings, the Coles 4038 studio ribbon microphone traces its origins to the BBC, where it was originally designed and patented in the 1950s to deliver high sensitivity and neutral sound in a compact form factor. Originally manufactured by STC, the patents and production were transferred to Coles Electroacoustics in 1972, and every microphone is still hand-built to the original specifications using manufacturing techniques refined over generations. Its unmistakable \"waffle iron\" profile, heavy-gauge perforated brass construction backed by finely woven Monel mesh, and black enamel finish make it as durable as it is iconic.\u003c\/p\u003e\r\n\r\n\u003ch3 id=\"toc_1\"\u003eEXCEPTIONALLY FLAT FREQUENCY RESPONSE\u003c\/h3\u003e\r\n\r\n\u003cp\u003eThe Coles 4038 studio ribbon microphone boasts a remarkably flat frequency response from 30 Hz to 15 kHz, delivering true-to-life sound without artificially boosting or rolling off any part of the spectrum. A low-mass damped ribbon prevents transient distortion, allowing the mic to respond quickly and accurately to even the most dynamic sources. Exceptionally low nonlinear distortion and powerful hum rejection are achieved through specialized wiring and magnetic shielding, ensuring 30 to 40 dB of interference reduction. The bi-directional pickup pattern maintains an accurate polar response no matter where you place it, ensuring consistent and natural pickup from the front and rear of the microphone. All units are factory tested in free-field conditions, guaranteeing that each 4038 performs to specification straight out of the box.\u003c\/p\u003e\r\n\r\n\u003ch3 id=\"toc_2\"\u003eINCLUDED ACCESSORIES\u003c\/h3\u003e\r\n\r\n\u003cp\u003eThe Coles 4038 Studio Ribbon Microphone ships with everything needed to get it into a recording or broadcast setup quickly and securely. Included in the box are a 4069 XLR adapter, a 4038SA stand adapter, a soft cloth protective bag, and a foam-lined plastic case. 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It is used where a clear smooth wide range frequency response, absence of transient distortion and relatively high sensitivity is essential. The 4038 is a proven performer, and is in use around the world by broadcasting networks such as the BBC as well as top engineers and studios on hit recordings.\u003c\/p\u003e\r\n\u003cp\u003eFrequency response of the 4038 is exceptionally flat from 30 Hz to 15 kHz and throughout this range the shape of the bi-directional (figure of eight) polar response is maintained substantially constant both in the horizontal and vertical planes, giving a natural sonic quality with smooth frequency response.\u003c\/p\u003e\r\n\u003cp\u003eEach microphone comes in a foam lined rigid plastic carrying case with 4071B three-pin signal to XLR adapter, and a soft cloth protective bag for safe keeping. 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Powerful and versatile, the R77 incorporates a Figure 8 polar pattern for extended sweet spots as well as a 1.8-micron aluminum ribbon for smooth lows and natural highs. 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This unique design allows the TR 14 to handle low-level sources and long cable runs transparently without the need for high gain pre amps. The TR 14 provides enhanced gain and added harmonic complexity to the rich, warm and silky smooth sound of a ribbon microphone. The unique sound of the TR 14 Ribbon is the perfect complement to the condensers in your microphone collection. Remember never blow into a ribbon microphone!\u003c\/p\u003e\r\n\u003cp\u003eThe microphone comes as a complete system including: TR 14 microphone in a wood box, shock mount, power supply and 7-pin cable, all packed in a flight case.\u003c\/p\u003e\r\n\u003cp\u003e\u003cbr\u003e\u003cbr\u003e \u003cstrong\u003eSpecifications:\u003c\/strong\u003e\u003c\/p\u003e\r\n\u003cp\u003e\u003cspan\u003eType: ribbon velocity studio microphone\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eOperating Principle: electrodynamic pressure gradient\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eMagnets: rare earth neodymium\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eFrequency Range: 30 Hz\/16kHz\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003ePolar Pattern: figure 8 (bi-directional)\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eSensitivity: \u0026gt; -35 dBV (re 1v\/pa)\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eImpedance: 200 ohms\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eSPL: 149 db\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eEquivalent Noise: 15 dB(A)\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eTube Type: CK5784 \/ 6J1P sub-miniature glass tube \u003c\/span\u003e\u003cbr\u003e\u003cspan\u003ePower Requirements: dedicated power supply, 115V or 230V AC \u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eSize: 36mm x 210 mm\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eWeight: 450g\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e","brand":"Peluso Microphone Lab","offers":[{"title":"Default Title","offer_id":44449231601767,"sku":"9788","price":899.3,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0658\/8848\/5479\/files\/peluso_tr_14_kit_4.jpg?v=1787088234"},{"product_id":"royer-labs-r121","title":"Royer Labs R-121 Ribbon Microphone","description":"\u003cp\u003eThe \u003cstrong\u003eRoyer Labs R-121\u003c\/strong\u003e is a thoroughly modern ribbon microphone designed for today's studio and live environments, exhibiting a flat frequency response and well balanced, panoramic sound field. Its ability to withstand 135 dB SPL @ 30 Hz makes it ideal for applications that were previously considered off limits to ribbon microphones.\u003c\/p\u003e\r\n\r\n\u003cp\u003eThe R-121 was developed through relatively recent advancements in magnetics, materials and mechanical construction techniques. The ribbon element's smooth frequency response and phase linearity, coupled with sensitivity levels surpassing those of \"classic\" ribbons, make this microphone an ideal choice for digital recording. The R121 delivers a consistent, natural acoustical performance with stunning realism. Widely used on electric guitars, brass instruments and drums, the R-121's figure-8 pattern also conveys superb ambiance and depth when used for room miking applications, orchestral and choral recordings.\u003c\/p\u003e\r\n\r\n\u003cp\u003eThe heart of the R 121 is its low mass, 2.5-micron, pure (99.99%) aluminum ribbon element. The R-121’s unique, patented offset-ribbon transducer assembly incorporates rare earth Neodymium magnets in a specially designed flux-frame, which forms a powerful magnetic field while reducing unwanted stray magnetic radiation.\u003c\/p\u003e\r\n\r\n\u003cp\u003eThe R-121’s offset-ribbon design positions the ribbon element towards the front of the microphone body, which allows for higher SPL handling on the front (logo) side and the option of a brighter response when recording lower SPL sound sources on the back side (3 feet and closer; phase reversed in this position).\u003c\/p\u003e\r\n\r\n\r\n\r\n\u003ch3 id=\"toc_1\"\u003eAPPLICATIONS:\u003c\/h3\u003e\r\n\r\n\u003cul\u003e\r\n\u003cli\u003eElectric guitar amplifiers\u003c\/li\u003e\r\n\u003cli\u003eBrass instruments\u003c\/li\u003e\r\n\u003cli\u003eHorn sections\u003c\/li\u003e\r\n\u003cli\u003eDrum rooms\u003c\/li\u003e\r\n\u003cli\u003eKick drum\u003c\/li\u003e\r\n\u003cli\u003eWoodwinds\u003c\/li\u003e\r\n\u003cli\u003ePercussion instruments\u003c\/li\u003e\r\n\u003cli\u003eAcoustic piano\u003c\/li\u003e\r\n\u003cli\u003eAcoustic guitar\u003c\/li\u003e\r\n\u003cli\u003eString instruments and sections\u003c\/li\u003e\r\n\u003cli\u003eChoirs and orchestras\u003c\/li\u003e\r\n\u003cli\u003eCommercial broadcast\u003c\/li\u003e\r\n\u003c\/ul\u003e","brand":"Royer Labs","offers":[{"title":"Default Title","offer_id":44449231667303,"sku":"1465","price":1599.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0658\/8848\/5479\/files\/royer_labs_r-121_front.jpg?v=1787088235"},{"product_id":"royer-labs-r121-matched-pair","title":"Royer Labs R-121 Ribbon Microphone - Matched Pair","description":"The \u003cb\u003eRoyer Labs R-121\u003c\/b\u003e is a thoroughly modern ribbon microphone designed for today's studio and live environments, exhibiting a flat frequency response and well balanced, panoramic sound field. Its ability to withstand 135 dB SPL @ 30 Hz makes it ideal for applications that were previously considered off limits to ribbon microphones. \u003cbr\u003e\u003cbr\u003eThe R-121 was developed through relatively recent advancements in magnetics, materials and mechanical construction techniques. The ribbon element's smooth frequency response and phase linearity, coupled with sensitivity levels surpassing those of \"classic\" ribbons, make this microphone an ideal choice for digital recording. The R121 delivers a consistent, natural acoustical performance with stunning realism. Widely used on electric guitars, brass instruments and drums, the R-121's figure-8 pattern also conveys superb ambiance and depth when used for room miking applications, orchestral and choral recordings. \u003cbr\u003e\u003cbr\u003eThe heart of the R 121 is its low mass, 2.5-micron, pure (99.99%) aluminum ribbon element. The R-121’s unique, patented offset-ribbon transducer assembly incorporates rare earth Neodymium magnets in a specially designed flux-frame, which forms a powerful magnetic field while reducing unwanted stray magnetic radiation. \u003cbr\u003e\u003cbr\u003eThe R-121’s offset-ribbon design positions the ribbon element towards the front of the microphone body, which allows for higher SPL handling on the front (logo) side and the option of a brighter response when recording lower SPL sound sources on the back side (3 feet and closer; phase reversed in this position). \u003cbr\u003e\u003cbr\u003e\u003cb\u003eRecommended Applications\u003c\/b\u003e \r\n\u003cul\u003e\r\n\u003cli\u003eClose miking \r\n\u003c\/li\u003e\n\u003cli\u003eElectric \u0026amp; acoustic guitar \r\n\u003c\/li\u003e\n\u003cli\u003eDrum overheads, kick drum (see manual for position), room miking \r\n\u003c\/li\u003e\n\u003cli\u003ePercussion instruments \r\n\u003c\/li\u003e\n\u003cli\u003eBrass, horn sections \r\n\u003c\/li\u003e\n\u003cli\u003eStrings - solo \u0026amp; sections \r\n\u003c\/li\u003e\n\u003cli\u003eAcoustic piano \r\n\u003c\/li\u003e\n\u003cli\u003eVocals \r\n\u003c\/li\u003e\n\u003cli\u003eLive events – recording and sound reinforcement\u003c\/li\u003e\n\u003c\/ul\u003e","brand":"Royer Labs","offers":[{"title":"Default Title","offer_id":44449231765607,"sku":"848","price":3198.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0658\/8848\/5479\/files\/royer-labs-r-121-matched_848_1.jpg?v=1787088235"},{"product_id":"royer-labs-r121-matte-black-chrome","title":"Royer Labs R-121 - Matte Black Chrome","description":"The \u003cb\u003eRoyer Labs R-121\u003c\/b\u003e is a thoroughly modern ribbon microphone designed for today's studio and live environments, exhibiting a flat frequency response and well balanced, panoramic sound field. Its ability to withstand 135 dB SPL @ 30 Hz makes it ideal for applications that were previously considered off limits to ribbon microphones. \u003cbr\u003e\u003cbr\u003eThe R-121 was developed through relatively recent advancements in magnetics, materials and mechanical construction techniques. The ribbon element's smooth frequency response and phase linearity, coupled with sensitivity levels surpassing those of \"classic\" ribbons, make this microphone an ideal choice for digital recording. The R121 delivers a consistent, natural acoustical performance with stunning realism. Widely used on electric guitars, brass instruments and drums, the R-121's figure-8 pattern also conveys superb ambiance and depth when used for room miking applications, orchestral and choral recordings. \u003cbr\u003e\u003cbr\u003eThe heart of the R 121 is its low mass, 2.5-micron, pure (99.99%) aluminum ribbon element. The R-121’s unique, patented offset-ribbon transducer assembly incorporates rare earth Neodymium magnets in a specially designed flux-frame, which forms a powerful magnetic field while reducing unwanted stray magnetic radiation. \u003cbr\u003e\u003cbr\u003eThe R-121’s offset-ribbon design positions the ribbon element towards the front of the microphone body, which allows for higher SPL handling on the front (logo) side and the option of a brighter response when recording lower SPL sound sources on the back side (3 feet and closer; phase reversed in this position). \u003cbr\u003e\u003cbr\u003e\u003cb\u003eRecommended Applications\u003c\/b\u003e \r\n\u003cul\u003e\r\n\u003cli\u003eClose miking \r\n\u003c\/li\u003e\n\u003cli\u003eElectric \u0026amp; acoustic guitar \r\n\u003c\/li\u003e\n\u003cli\u003eDrum overheads, kick drum (see manual for position), room miking \r\n\u003c\/li\u003e\n\u003cli\u003ePercussion instruments \r\n\u003c\/li\u003e\n\u003cli\u003eBrass, horn sections \r\n\u003c\/li\u003e\n\u003cli\u003eStrings - solo \u0026amp; sections \r\n\u003c\/li\u003e\n\u003cli\u003eAcoustic piano \r\n\u003c\/li\u003e\n\u003cli\u003eVocals \r\n\u003c\/li\u003e\n\u003cli\u003eLive events – recording and sound reinforcement\u003c\/li\u003e\n\u003c\/ul\u003e","brand":"Royer Labs","offers":[{"title":"Default Title","offer_id":44449231634535,"sku":"4591","price":1395.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0658\/8848\/5479\/files\/royer_r121_black_zoom_1.jpg?v=1787088235"},{"product_id":"royer-labs-r121-live","title":"Royer Labs R-121 Live Ribbon Microphone","description":"\u003cp\u003eThe \u003cstrong\u003eRoyer Labs R-121 Live\u003c\/strong\u003e is a ruggedized version of the popular R-121 ribbon microphone. The studio R-121 is tough and has been used on the road for years, but the increased durability of the R-121 Live gives FOH engineers greater confidence in the ribbon standing up to the rigors of the road.\u003c\/p\u003e\r\n\u003cp\u003eThe R-121 Live’s output level is comparable to a dynamic mic, and it delivers the warm, realistic tone that only a ribbon mic can. Along with its smooth, natural response, the R-121 Live virtually eliminates the shrill high-end often associated with live guitars and brass. Push up the faders and there’s the instrument in all its fullness and natural glory, minus the peaky highs that FOH and Monitor engineers spend so much of their careers fighting.\u003c\/p\u003e\r\n\u003cp\u003eThe R-121 Live is visually differentiated by its red logo. The ribbon element thickness is increased from 2.5 microns to 4-microns, giving the microphone greater durability and a slightly reduced high end response. Highs are often rolled off in live performances, but due to the R-121 Live’s exceptionally smooth high frequency response, it needs far less eq’ing than is usually required with condenser and dynamic microphones.\u003c\/p\u003e\r\n\u003cp\u003eThe R-121 Live is backed with Royer’s lifetime warranty to the original owner, and the first re-ribbon is free. Royer expect it to work as hard as you do, so they stand behind it the whole way. As with any high end microphone, proper storage during transit and careful handling during setup and breakdown is key to keeping the microphone in good working order.\u003c\/p\u003e\r\n\u003ch3 id=\"toc_0\"\u003eFIGURE-8 ON STAGE\u003c\/h3\u003e\r\n\u003cp\u003eThe R-121 Live’s pickup pattern is figure-8, which can be used to control stage bleed with great effect. Side rejection in the null points is strong – position the mics “ears” to face the offending instrument(s) and bleed will be virtually eliminated. The top and bottom of the microphone are also null points. If monitors are in close proximity to the rear side of the microphone, a positioning adjustment can place the monitors output in the mic’s null, isolating the monitor from the mic’s pickup areas.\u003c\/p\u003e\r\n\u003ch3 id=\"toc_1\"\u003ePATENTED OFFSET RIBBON TECHNOLOGY\u003c\/h3\u003e\r\n\u003cp\u003eThe R-121 Live’s proprietary offset ribbon transducer (Patent #6,434,252) is the first of its kind, positioning the ribbon element closer to the front (logo) side of the microphone. This arrangement gives the ribbon more room to move within the prime magnetic field while maintaining full frequency response on high SPL applications. It’s an integral piece of the magic of all Royer R-series microphones.\u003c\/p\u003e\r\n\u003ch3 id=\"toc_2\"\u003eTHE SOUND\u003c\/h3\u003e\r\n\u003cp\u003eThe R-121 accurately reproduces what you hear at the sound source. Most microphones add their own characteristics – they all serve a purpose and have their place on stage. But if your goal is to capture something the way it really sounds – that ripping electric guitar, that wailing trumpet, that full kit – and you’ve found that reproducing that sound was next to impossible, put up some Royer Live Series mics and get ready. The R-121’s response is flat and well balanced, with a deep, non-boomy low end, well defined and realistic mids, and a smooth and natural sounding high end response that’s never edgy or sibilant.\u003c\/p\u003e\r\n\u003cp\u003eWhen it’s time to mix the band, push up the faders and you’ll see why FOH engineers love their R-121’s on electric guitars and brass. When the instruments sound real, fitting them into the live mix is a breeze.\u003c\/p\u003e\r\n\u003ch3 id=\"toc_3\"\u003eLOUD GUITARS!\u003c\/h3\u003e\r\n\u003cp\u003eYour guitarist likes insane levels? No problem! The R-121 Live’s maximum SPL rating is 135 dB at 20 Hz and it can handle that all day, every day. In practical terms, that means you can put your R-121 in front of a souped up 100-watt Marshall and open it up without microphone distortion or damage to the ribbon.\u003c\/p\u003e\r\n\r\n\u003ch3 id=\"toc_5\"\u003eLIVE APPLICATIONS:\u003c\/h3\u003e\r\n\u003cul\u003e\r\n\u003cli\u003eElectric Guitar Amps\u003c\/li\u003e\r\n\u003cli\u003eBrass Instruments\u003c\/li\u003e\r\n\u003cli\u003eHorn Sections\u003c\/li\u003e\r\n\u003cli\u003ePercussion Instruments\u003c\/li\u003e\r\n\u003c\/ul\u003e","brand":"Royer Labs","offers":[{"title":"Default Title","offer_id":44449231732839,"sku":"10988","price":1499.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0658\/8848\/5479\/files\/royer-r-121-live_10988_1.jpg?v=1787088235"},{"product_id":"royer-labs-r122-matched-pair","title":"Royer Labs R-122 - Matched Pair","description":"The \u003cb\u003eRoyer R-122\u003c\/b\u003e is a compact, monaural, phantom powered ribbon \nmicrophone - the first ribbon microphone of its kind. Sonically similar \nto our R-121, the R-122 exhibits a flat frequency response and a well \nbalanced, panoramic soundfield, but it is 13 dB more sensitive, its \ntransient response is faster and its electronics provide an optimum \nload to the ribbon element at all times. Like the R-121, its ability to \nwithstand high SPL’s makes it ideal for applications that were previ- \nously considered off limits to ribbon microphones.\n\u003cbr\u003e\u003cbr\u003e \nThe R-122’s active electronics produce an output comparable to \nstudio condenser microphones and provide an optimum impedance \nto the ribbon element, preventing overdamping of the ribbon element \nand assuring consistent microphone performance. The high gain and \nlow output impedance of the R-122 allow it to operate with any micro- \nphone preamplifier with phantom power, including those of nominal gain and input \nimpedance characteristics. It is also well suited for use with long cable runs, which \ncan be helpful in live situations. \n\u003cbr\u003e\u003cbr\u003e\nThe R-122 utilizes a low mass, 2.5-micron, pure (99.99%) aluminum ribbon \nelement. The R-122's unique, patented offset-ribbon transducer assembly incorpo- \nrates rare earth Neodymium magnets in a specially designed flux frame, which \nforms a powerful magnetic field while reducing unwanted stray magnetic radiation. \nThe smooth frequency response and phase linearity of the R-122, coupled with its \nsophisticated active electronics system, enable the R-122 to deliver a consistent \nnatural acoustic performance with stunning realism. Frequency response is excel- \nlent regardless of the angle of sound striking the ribbon, and off-axis coloration is \nnegligible. \n\u003cbr\u003e\u003cbr\u003e\nThe R-122’s offset-ribbon design positions the ribbon element toward the front of \nthe microphone body, which allows for high SPL handling on the front (logo) side \nand the option of a slightly brighter response when recording lower SPL sound \nsources on the back side (3 feet and closer; phase reversed in this position). \n\n\u003cbr\u003e\u003cbr\u003e\n\n\u003cb\u003eRecommended Applications\u003c\/b\u003e\n\u003cul\u003e\n\u003cli\u003eClose and distant miking \n\u003c\/li\u003e\n\u003cli\u003eElectric and acoustic guitar \n\u003c\/li\u003e\n\u003cli\u003eVocals, commercial broadcast, voiceover \n\u003c\/li\u003e\n\u003cli\u003eBrass, horn sections \n\u003c\/li\u003e\n\u003cli\u003eDrum overheads, kick drum (see manual for position), room miking \n\u003c\/li\u003e\n\u003cli\u003ePercussion instruments \n\u003c\/li\u003e\n\u003cli\u003eStrings - solo \u0026amp; sections \n\u003c\/li\u003e\n\u003cli\u003eAcoustic piano, harp \n\u003c\/li\u003e\n\u003cli\u003eLive events - recording and sound reinforcement\u003c\/li\u003e\n\u003c\/ul\u003e","brand":"Royer Labs","offers":[{"title":"Default Title","offer_id":44449231700071,"sku":"849","price":3575.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0658\/8848\/5479\/files\/royer_r-122_pair_zoom.jpg?v=1787088235"},{"product_id":"royer-labs-r-122-mki","title":"Royer Labs R-122 MKI","description":"The \u003cb\u003eRoyer R-122\u003c\/b\u003e is a compact, monaural, phantom powered ribbon \r\nmicrophone - the first ribbon microphone of its kind. Sonically similar \r\nto our R-121, the R-122 exhibits a flat frequency response and a well \r\nbalanced, panoramic soundfield, but it is 13 dB more sensitive, its \r\ntransient response is faster and its electronics provide an optimum \r\nload to the ribbon element at all times. Like the R-121, its ability to \r\nwithstand high SPL’s makes it ideal for applications that were previ- \r\nously considered off limits to ribbon microphones.\r\n\u003cbr\u003e\u003cbr\u003e \r\nThe R-122’s active electronics produce an output comparable to \r\nstudio condenser microphones and provide an optimum impedance \r\nto the ribbon element, preventing overdamping of the ribbon element \r\nand assuring consistent microphone performance. The high gain and \r\nlow output impedance of the R-122 allow it to operate with any micro- \r\nphone preamplifier with phantom power, including those of nominal gain and input \r\nimpedance characteristics. It is also well suited for use with long cable runs, which \r\ncan be helpful in live situations. \r\n\u003cbr\u003e\u003cbr\u003e\r\nThe R-122 utilizes a low mass, 2.5-micron, pure (99.99%) aluminum ribbon \r\nelement. The R-122's unique, patented offset-ribbon transducer assembly incorpo- \r\nrates rare earth Neodymium magnets in a specially designed flux frame, which \r\nforms a powerful magnetic field while reducing unwanted stray magnetic radiation. \r\nThe smooth frequency response and phase linearity of the R-122, coupled with its \r\nsophisticated active electronics system, enable the R-122 to deliver a consistent \r\nnatural acoustic performance with stunning realism. Frequency response is excel- \r\nlent regardless of the angle of sound striking the ribbon, and off-axis coloration is \r\nnegligible. \r\n\u003cbr\u003e\u003cbr\u003e\r\nThe R-122’s offset-ribbon design positions the ribbon element toward the front of \r\nthe microphone body, which allows for high SPL handling on the front (logo) side \r\nand the option of a slightly brighter response when recording lower SPL sound \r\nsources on the back side (3 feet and closer; phase reversed in this position). \r\n\r\n\u003cbr\u003e\u003cbr\u003e\r\n\r\n\u003cb\u003eRecommended Applications\u003c\/b\u003e\r\n\u003cul\u003e\r\n\u003cli\u003eClose and distant miking \r\n\u003c\/li\u003e\n\u003cli\u003eElectric and acoustic guitar \r\n\u003c\/li\u003e\n\u003cli\u003eVocals, commercial broadcast, voiceover \r\n\u003c\/li\u003e\n\u003cli\u003eBrass, horn sections \r\n\u003c\/li\u003e\n\u003cli\u003eDrum overheads, kick drum (see manual for position), room miking \r\n\u003c\/li\u003e\n\u003cli\u003ePercussion instruments \r\n\u003c\/li\u003e\n\u003cli\u003eStrings - solo \u0026amp; sections \r\n\u003c\/li\u003e\n\u003cli\u003eAcoustic piano, harp \r\n\u003c\/li\u003e\n\u003cli\u003eLive events - recording and sound reinforcement\u003c\/li\u003e\n\u003c\/ul\u003e","brand":"Royer Labs","offers":[{"title":"Default Title","offer_id":44449231798375,"sku":"1464","price":1450.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0658\/8848\/5479\/files\/royer_r-122_zoom.jpg?v=1787088235"},{"product_id":"royer-labs-r122-single-matte-black-chrome","title":"Royer Labs R-122 - Matte Black Chrome","description":"The \u003cb\u003eRoyer R-122\u003c\/b\u003e is a compact, monaural, phantom powered ribbon \nmicrophone - the first ribbon microphone of its kind. Sonically similar \nto our R-121, the R-122 exhibits a flat frequency response and a well \nbalanced, panoramic soundfield, but it is 13 dB more sensitive, its \ntransient response is faster and its electronics provide an optimum \nload to the ribbon element at all times. Like the R-121, its ability to \nwithstand high SPL’s makes it ideal for applications that were previ- \nously considered off limits to ribbon microphones.\n\u003cbr\u003e\u003cbr\u003e \nThe R-122’s active electronics produce an output comparable to \nstudio condenser microphones and provide an optimum impedance \nto the ribbon element, preventing overdamping of the ribbon element \nand assuring consistent microphone performance. The high gain and \nlow output impedance of the R-122 allow it to operate with any micro- \nphone preamplifier with phantom power, including those of nominal gain and input \nimpedance characteristics. It is also well suited for use with long cable runs, which \ncan be helpful in live situations. \n\u003cbr\u003e\u003cbr\u003e\nThe R-122 utilizes a low mass, 2.5-micron, pure (99.99%) aluminum ribbon \nelement. The R-122's unique, patented offset-ribbon transducer assembly incorpo- \nrates rare earth Neodymium magnets in a specially designed flux frame, which \nforms a powerful magnetic field while reducing unwanted stray magnetic radiation. \nThe smooth frequency response and phase linearity of the R-122, coupled with its \nsophisticated active electronics system, enable the R-122 to deliver a consistent \nnatural acoustic performance with stunning realism. Frequency response is excel- \nlent regardless of the angle of sound striking the ribbon, and off-axis coloration is \nnegligible. \n\u003cbr\u003e\u003cbr\u003e\nThe R-122’s offset-ribbon design positions the ribbon element toward the front of \nthe microphone body, which allows for high SPL handling on the front (logo) side \nand the option of a slightly brighter response when recording lower SPL sound \nsources on the back side (3 feet and closer; phase reversed in this position). \n\n\u003cbr\u003e\u003cbr\u003e\n\n\u003cb\u003eRecommended Applications\u003c\/b\u003e\n\u003cul\u003e\n\u003cli\u003eClose and distant miking \n\u003c\/li\u003e\n\u003cli\u003eElectric and acoustic guitar \n\u003c\/li\u003e\n\u003cli\u003eVocals, commercial broadcast, voiceover \n\u003c\/li\u003e\n\u003cli\u003eBrass, horn sections \n\u003c\/li\u003e\n\u003cli\u003eDrum overheads, kick drum (see manual for position), room miking \n\u003c\/li\u003e\n\u003cli\u003ePercussion instruments \n\u003c\/li\u003e\n\u003cli\u003eStrings - solo \u0026amp; sections \n\u003c\/li\u003e\n\u003cli\u003eAcoustic piano, harp \n\u003c\/li\u003e\n\u003cli\u003eLive events - recording and sound reinforcement\u003c\/li\u003e\n\u003c\/ul\u003e","brand":"Royer Labs","offers":[{"title":"Default Title","offer_id":44449231863911,"sku":"4592","price":1850.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0658\/8848\/5479\/files\/royer_labs_r_122_matte_black_chrome.jpg?v=1787088235"},{"product_id":"royer-labs-r-122-live","title":"Royer Labs R-122 Live","description":"The \u003cspan style=\"font-weight: bold;\"\u003eRoyer R-122 Live\u003c\/span\u003e is a road-optimized version of our phantom powered R-122 ribbon microphone. The R-122 Live's output is on par with phantom powered condenser mics and it produces the warm, realistic sounds that only ribbon mics can deliver. Along with its smooth, natural response, the R-122 Live virtually eliminates the shrill high-end often encountered with live guitars, brass and drum cymbals. Push up the faders and there's the instrument in all its fullness, minus the peaky highs that FOH and Monitor engineers spend so much of their careers fighting.\u003cbr\u003e\u003cbr\u003e\u003cspan style=\"font-weight: bold;\"\u003eFeatures\u003c\/span\u003e\u003cbr\u003e\u003cul\u003e\n\u003cli\u003ePhantom powered circuitry provides high output and impedance matching\u003c\/li\u003e\n\u003cli\u003eHigh SPL Capabilities\u003c\/li\u003e\n\u003cli\u003eNo distortion up to maximum SPL rating\u003c\/li\u003e\n\u003cli\u003eExtremely low residual noise\u003c\/li\u003e\n\u003cli\u003eRibbon element is not affected by heat or humidity\u003c\/li\u003e\n\u003cli\u003eAbsence of high frequency phase distortion\u003c\/li\u003e\n\u003cli\u003eEqual sensitivity from front or back of element\u003c\/li\u003e\n\u003cli\u003eConsistent frequency response regardless of distance\u003c\/li\u003e\n\u003cli\u003eRear side of mic records slightly brighter when three feet or closer to sound source\u003c\/li\u003e\n\u003c\/ul\u003e\u003cbr\u003eThe R-122 Live contains a fully balanced, discrete head amplifier system utilizing a specially wound toroidal transformer and ultra-low noise FET's. This system is extremely quiet, can handle 135 dB SPL, and brings the R-122's sensitivity to -37 dB. The R-122 Live can be used on extremely long cable runs with minimal RF interference and signal loss, and the ribbon element cannot be damaged by phantom power, miswired cables or electrical glitches.\u003cbr\u003e\u003cbr\u003eThe R-122 Live is visually differentiated by its red logo. The ribbon element thickness is increased from 2.5-microns to 4-microns, giving the microphone greater durability and a slightly reduced high end response. Highs are often rolled off in live performances, but due to the R-122 Live's exceptionally smooth high frequency response, it needs far less eq'ing than is usually required with condenser and dynamic microphones.\u003cbr\u003e\u003cbr\u003eThe R-122 Live is backed with Royer's lifetime warranty to the original owner, and the first re-ribbon is free. We expect it to work as hard as you do, so we stand behind it the whole way. As with any high end microphone, proper storage during transit and careful handling during setup and breakdown is key to keeping the microphone in good working order.\u003cbr\u003e\u003cbr\u003e\u003cspan style=\"font-weight: bold;\"\u003eFigure-8's On Stage\u003c\/span\u003e\u003cbr\u003eThe R-122 Live's pickup pattern is figure-8, which can be used to control stage bleed with great effect. Side rejection in the null points is strong - position the mics \"ears\" to face the offending instrument(s) and bleed will be virtually eliminated. The top and bottom of the microphone are also null points. If monitors are in close proximity to the rear side of the microphone, a positioning adjustment can place the monitors output in the mic's null, isolating the monitor from the mic's pickup areas.\u003cbr\u003e\u003cbr\u003e\u003cspan style=\"font-weight: bold;\"\u003ePatented Offset Ribbon Technology\u003c\/span\u003e\u003cbr\u003eThe R-122 Live's proprietary offset ribbon transducer (Patent # 6,434,252) is the first of its kind, positioning the ribbon element closer to the front (logo) side of the microphone. This arrangement gives the ribbon more room to move within the prime magnetic field while maintaining full frequency response on high SPL applications. It's an integral piece of the magic of all Royer R-series microphones.\u003cbr\u003e\u003cbr\u003eThe R-122 Live accurately reproduces what you hear at the sound source. If your goal is to capture something the way it really sounds - that ripping electric guitar, that wailing trumpet, that full kit - and you've found that reproducing that sound was next to impossible, put up some Royer Live Series mics and get ready. The R-121's response is flat and well balanced, with a deep, non-boomy low end, well defined and realistic mids, and a smooth and natural sounding high end response that's never edgy or sibilant.\u003cbr\u003e\u003cbr\u003eThe R-122 Live is similar to the R-121 Live, but the faster transient response and larger size of the R-122 Live's audio transformer translates into more open highs and a tighter, more focused low end response. These characteristics make the R-122 an exceptional choice for live drum overheads, warm electric guitars, solo brass and saxophone, and percussion.\u003cbr\u003e\u003cbr\u003eWhen it's time to mix the band, push up the faders and you'll see why FOH engineers love their R-122 Live's. When the instruments sound real, fitting them into the live mix is a breeze.\u003cbr\u003e\u003cbr\u003e\u003cspan style=\"font-weight: bold;\"\u003eR-122 Live or R-121 Live?\u003c\/span\u003e\u003cbr\u003eBecause of the R-122's faster transient response and tighter low end, engineers often choose them over R-121's for drum overheads and percussion. R-121 Live's tend to edge out R-122 Live's on electric guitars and brass, but it's a matter of taste. If it's mostly electric guitars and\/or brass, we usually suggest going with the R-121 Live. The R-122 Live is just as good on these instruments, but you may not need (or want) the additional top-end openness (from the faster transient response) and you certainly won't need the higher sensitivity on these high SPL applications. If you plan on using the mics primarily for drum overheads and\/or percussion, we heartily recommend going with the R-122 Live.\u003cbr\u003e\u003cbr\u003e\u003cspan style=\"font-weight: bold;\"\u003eNote:\u003c\/span\u003e The R-122 Live puts out a lot of level when used to record very loud electric guitars. To keep from overdriving the front end of your mic pre, we recommend that you use a Shure or Neutrik 10dB in-line pad. As with many high-end microphones, the R-122 Live demands the full 48 volts when it's being pushed hard. Be sure your phantom power supply is putting out full power when tracking loud sound sources, as inadequate power can lead to loss of headroom and microphone distortion.","brand":"Royer Labs","offers":[{"title":"Default Title","offer_id":44449231994983,"sku":"12430","price":1750.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0658\/8848\/5479\/files\/royer_r-122_live_zoom.jpg?v=1787088236"},{"product_id":"royer-labs-r122v-tube-version","title":"Royer Labs R-122V Vacuum Tube Ribbon Microphone","description":"\u003cp\u003eThe \u003cstrong\u003eRoyer Labs R-122V\u003c\/strong\u003e is the pinnacle of the R-Series line, a world-class tube ribbon microphone exhibiting unparalleled richness, depth, and detail, particularly in the midrange frequencies. With a lushness that has to be heard to be truly appreciated, the R-122V offers the ultimate in ribbon microphone performance for those who insist on the very best.\u003c\/p\u003e\r\n\u003cp\u003eThe R-122V takes the Royer-pioneered concept of active ribbon microphone technology to an precedented level by incorporating vacuum tube electronics into the same proven transducer system used in the venerable R-121 and R-122 ribbon microphones. The high operating voltage of the vacuum tube provides headroom far beyond that available from a standard phantom power supply. Sonically this translates into unmatched clarity, detail, and airiness, along with the ability to handle brute SPL levels without flinching.\u003c\/p\u003e\r\n\u003ch3 id=\"toc_0\"\u003eTHE ELECTRONICS\u003c\/h3\u003e\r\n\u003cp\u003eThe R-122V’s head amplifier consists of a low-noise, triode-connected military grade 5840 vacuum tube. Designed for a wide range of applications, the R-122V offers superb transient response and the drive capabilities only a vacuum tube head amplifier can provide. The circuit is devoid of typical vacuum tube coloration.\u003c\/p\u003e\r\n\u003cp\u003eThe R-122V’s triode-configured cathode follower circuitry enables the microphone to drive long cable runs without sonic degradation or high-frequency loss. This capability is further enhanced by the R-122V’s dedicated power supply, which provides ample current to the vacuum tube electronics. Induced noise is virtually eliminated by the microphone’s fully balanced output, which is electrically isolated with a special purpose Jensen output transformer.\u003c\/p\u003e\r\n\u003cp\u003eLike the phantom powered R-122, the R-122V has far more level than non-powered ribbon microphones and its impedance matching circuitry places a perfect load on the ribbon element at all times. This allows the use of a wide variety of mic preamps without concern for gain and impedance matches, two critical issues with ribbon microphones. All of the R122V’s increased output comes from its large, specially designed toroidal transformer, so there is no additional noise associated with the microphone’s higher output.\u003c\/p\u003e\r\n\u003ch3 id=\"toc_1\"\u003ePATENTED OFFSET RIBBON TECHNOLOGY\u003c\/h3\u003e\r\n\u003cp\u003eThe R-122’s proprietary offset ribbon transducer (Patent Number: 6,434,252) positions the ribbon element closer to the front (logo) side of the microphone than the rear. This arrangement gives the ribbon more room to move within the prime magnetic field while maintaining full frequency response during high SPL recordings. It’s an integral piece of the magic of all Royer R-series microphones.\u003c\/p\u003e\r\n\r\n\u003ch3 id=\"toc_3\"\u003eAPPLICATIONS:\u003c\/h3\u003e\r\n\u003cul\u003e\r\n\u003cli\u003eOrchestral miking, close and distant\u003c\/li\u003e\r\n\u003cli\u003eStrings - solo \u0026amp; sections\u003c\/li\u003e\r\n\u003cli\u003eAcoustic Piano, Harp, etc.\u003c\/li\u003e\r\n\u003cli\u003eElectric Guitar\u003c\/li\u003e\r\n\u003cli\u003eAcoustic Guitar\u003c\/li\u003e\r\n\u003cli\u003eVocals, Commercial Broadcast, Voice Over\u003c\/li\u003e\r\n\u003cli\u003eBrass, Horn Sections\u003c\/li\u003e\r\n\u003cli\u003eDrum Overheads, Room Miking\u003c\/li\u003e\r\n\u003cli\u003ePercussion Instruments\u003c\/li\u003e\r\n\u003c\/ul\u003e","brand":"Royer Labs","offers":[{"title":"Default Title","offer_id":44449231896679,"sku":"6488","price":3399.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0658\/8848\/5479\/files\/royer-r-122v_6488_1.jpg?v=1787088236"},{"product_id":"royer-labs-r122v-tube-version-matched-pair","title":"Royer Labs R-122V Ribbon Mic Tube Version - Matched Pair","description":"The \u003cstrong\u003eRoyer R122V\u003c\/strong\u003e is a compact, monaural, bi-directional microphone, and is the first commercially produced vacuum tube ribbon microphone available.\u003cbr\u003e\u003cbr\u003e\u003cb\u003eSame large-ribbon transducer as R-121 and R-122, but hotter\u003c\/b\u003e \u003cbr\u003eA limited production vacuum tube studio ribbon microphone, the R-122V utilizes the same large-ribbon transducer assembly that is found in the R-121 and R-122 Active Ribbon microphones - providing a familiarity of sonic performance associated with the R-Series microphones. The R-122V exhibits a flat frequency response and a well-balanced sound field, and provides an output of -29dB, which is approximately 25dB hotter than an R121. Like its predecessors, the R-122V's ability to withstand high SPL levels makes it well suited for applications that were previously considered off limits to ribbon microphones. \u003cbr\u003e\u003cbr\u003e\u003cb\u003eExceptionally high SPL handling capacity\u003cbr\u003e\u003c\/b\u003eThe R-122V's offset-ribbon design positions the ribbon element toward the front of the microphone body. This design enables high SPL handling on the front (logo) side of the instrument, with the option of a slightly brighter response when recording via the microphone's back side (3 feet and closer; phase reversed in this position). \u003cbr\u003e\u003cbr\u003e\u003cb\u003eMilitary-grade 6AU6 tube\u003c\/b\u003e\u003cbr\u003eThe R122V's active electronics utilize a NOS (new old stock) U.S. built military 6AU6 vacuum tube and Royer's proprietary toroidal ribbon matching transformer (patent pending). A Jensen 8:1 ratio output transformer provides an electrically isolated, fully-balanced output signal. The R-122V can drive virtually any preamplifier and long cable runs (from power supply to preamp) with ease. The active circuitry provides optimum impedance to the ribbon element at all times, preventing over-damping of the ribbon element and assuring consistent microphone performance. The R-122V receives an extensive burning in procedure to assure proper settling of the vacuum tube. \u003cbr\u003e\u003cbr\u003e","brand":"Royer Labs","offers":[{"title":"Default Title","offer_id":44449231962215,"sku":"8143","price":6798.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0658\/8848\/5479\/files\/royer_r-122v_pair_zoom.jpg?v=1787088236"},{"product_id":"royerlabs-sf12","title":"Royer Labs SF-12 Stereo Ribbon Microphone","description":"The \u003cspan style=\"font-weight: bold;\"\u003eRoyer SF-12\u003c\/span\u003e stereo \r\ncoincident ribbon microphone combines high quality audio performance \r\nwith outstanding stereo separation and imaging. It is a modern ribbon \r\ndesign with no audible diffraction effects or cavity resonance. An SF-12\r\n is actually two matched ribbon microphones placed one above the other; \r\neach aimed 45 degrees from center in the classic Blumlein configuration.\r\n The frequency response is excellent regardless of the angle of sound \r\nstriking the ribbons and off-axis coloration is negligible.\u003cbr\u003e\r\n\u003cbr\u003e\r\nThe SF-12 utilizes two 1.8-micron ribbons, each weighing approximately \r\n1\/3 milligram and producing superb transient response. The two ribbon \r\ntransducers are magnet\/pole piece structures that produce a wide, \r\nuniform frequency response with no substantial peaks or dips. The case \r\nis ingot iron and forms part of the magnetic return circuit, an \r\neffective system with low leakage flux which accounts for the relatively\r\n high sensitivity in a trim package. The SF-12's extension cable comes \r\nwith a Y adapter that splits into separate 3-pin male XLR connectors \r\nlabeled \"Upper\" and \"Lower,\" for the upper and lower capsules of the \r\nmicrophone (when held vertically).\u003cbr\u003e\r\n\u003cbr\u003e\r\n\u003cspan style=\"font-weight: bold;\"\u003eFeatures\u003c\/span\u003e\u003cbr\u003e\r\n\u003cul\u003e\n\u003cli\u003eTrue stereophonic (Blumlein and M-S) recording from one \r\nmicrophone.\u003c\/li\u003e\n\u003cli\u003eHigh SPL capabilities.\u003c\/li\u003e\n\u003cli\u003eNo internal active electronics to overload or produce distortion \r\nup to maximum SPL rating.\u003c\/li\u003e\n\u003cli\u003eExtremely low residual noise.\u003c\/li\u003e\n\u003cli\u003eRibbon element not affected by heat or humidity.\u003c\/li\u003e\n\u003cli\u003eAbsence of high frequency phase distortion.\u003c\/li\u003e\n\u003cli\u003eEqual sensitivity from front or back of elements.\u003c\/li\u003e\n\u003cli\u003eConsistent frequency response regardless of distance.\u003c\/li\u003e\n\u003cli\u003eHigh efficiency, matching toroidal transformers.\u003c\/li\u003e\n\u003cli\u003eVery low magnetic leakage.\u003c\/li\u003e\n\u003c\/ul\u003e\r\nThe SF-12 is uncanny for creating \"you-are-there\" stereo recordings that\r\n capture not only the instrument being recorded, but, depending on \r\npositioning, the acoustic environment as well. If you pay careful \r\nattention to the sound of an instrument or ensemble in the recording \r\nenvironment, you will likely find a place where it sounds best to you. \r\nPosition the SF-12 in that place and you will capture that sound.\u003cbr\u003e\r\n\u003cbr\u003e\r\nA beautiful example can be found in the Orchestra section of the Royer \r\nDemonstration CD. An engineer used one well-positioned SF-12 to create a\r\n stunning recording of the Ukrainian Radio Television Orchestra. \r\n(Initially, the conductor was not happy with the engineer's desire to \r\nrecord with one microphone, but after hearing the results, the engineer \r\nhas been invited back to record the orchestra a number of times, with \r\nthe same one microphone, his SF-12.)\u003cbr\u003e\r\n\u003cbr\u003e\r\nThe SF-12 is an excellent choice for drum overheads, where its stereo \r\nimaging and realism help to create powerful, dynamic drum tracks. In a \r\njazz setting, recording the kit flat provides extremely natural sounding\r\n cymbals, tom-toms and snares. In rock and pop recordings where you'd \r\nlike to capture the meat of the kit but with more air on the cymbals to \r\nhelp them cut more aggressively, simply open the top end up with EQ. \r\nRibbons take EQ extremely well because they generate virtually no self \r\ndistortion. When you boost a frequency, even by many dB, you'll bring up\r\n only the musical response you're looking for without unpleasant \r\ndistortion artifacts joining the party.\u003cbr\u003e\r\n\u003cbr\u003e\r\n\u003cspan style=\"font-weight: bold;\"\u003eRecording in Mono\u003c\/span\u003e\u003cbr\u003e\r\nPhase compatibility between the two sides of the SF-12 is excellent, \r\nallowing you to combine the two channels for mono recording without \r\ncreating phase artifacts. This is particularly useful when capturing a \r\nwide sound field in mono; for instance, a singer who tends to move off \r\nthe \"sweet spot\" of a mono microphone. Either side of the SF-12 can also\r\n be used individually as a mono microphone.\u003cbr\u003e\r\n\u003cbr\u003e\r\n\u003cspan style=\"font-weight: bold;\"\u003eApplications\u003c\/span\u003e\u003cbr\u003e\r\n\u003cul\u003e\n\u003cli\u003eDrum Overheads\u003c\/li\u003e\n\u003cli\u003ePercussion Instruments\u003c\/li\u003e\n\u003cli\u003eBrass and Woodwinds\u003c\/li\u003e\n\u003cli\u003eHorn Sections\u003c\/li\u003e\n\u003cli\u003eAcoustic Piano\u003c\/li\u003e\n\u003cli\u003eHarp\u003c\/li\u003e\n\u003cli\u003eChoirs\u003c\/li\u003e\n\u003cli\u003eSolo Strings\u003c\/li\u003e\n\u003cli\u003eString Sections\u003c\/li\u003e\n\u003cli\u003eOrchestra\u003c\/li\u003e\n\u003cli\u003eAcoustic \u0026amp; Electric Guitars\u003c\/li\u003e\n\u003cli\u003eBackground Vocals\u003c\/li\u003e\n\u003cli\u003eAmbiance\u003c\/li\u003e\n\u003cli\u003eStereo to Mono\u003c\/li\u003e\n\u003c\/ul\u003e","brand":"Royer Labs","offers":[{"title":"Default Title","offer_id":44449231929447,"sku":"852","price":2999.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0658\/8848\/5479\/files\/royer-sf-12_852_1.jpg?v=1787088236"},{"product_id":"royer-labs-sf24","title":"Royer Labs SF-24 Phantom Powered Stereo Ribbon Microphone","description":"\u003cp\u003eThe \u003cstrong\u003eRoyer SF-24\u003c\/strong\u003e stereo ribbon microphone is a phantom powered version of the popular Royer SF-12 stereo ribbon microphone, combining the SF-12's high quality audio performance, outstanding stereo separation and imaging with Royer's exclusive active electronics system for ribbon microphones. The SF-24's output of -38 dB is a full 14 dB more sensitive than the non-powered Royer SF-12, putting its sensitivity on par with that of phantom powered condenser microphones. The unique electronics and custom designed FET's used in the SF-24 allow for ultra-quiet operation, with self-noise of lower than 18 dB.\u003c\/p\u003e\r\n\r\n\u003cp\u003eSF-24 a glance...\u003c\/p\u003e\r\n\r\n\u003cul\u003e\r\n\u003cli\u003eLike two matched ribbon mics in one package\u003c\/li\u003e\r\n\u003cli\u003eBecause the SF-24 is active, you can use just about any mic preamp with it\u003c\/li\u003e\r\n\u003cli\u003ePerfect impedance matching delivers sonic reality\u003c\/li\u003e\r\n\u003c\/ul\u003e\r\n\r\n\u003ch3 id=\"toc_0\"\u003eMATCHED PAIR IN ONE\u003c\/h3\u003e\r\n\r\n\u003cp\u003eLike an SF12, the SF24 is actually two matched ribbon microphones placed one above the other, each aimed 45 degrees from center in the classic Blumlein configuration. The magnet\/polepiece structure of each ribbon transducer allows a wide, uniform frequency range with no substantial peaks or dips, and the two 1.8-micron ribbons produce superb transient response. Frequency response is excellent regardless of the angle of sound striking the ribbons and off-axis coloration is negligible. The SF-24's extension cable comes with a Y adapter that splits into separate 3-pin male XLR connectors labeled \"Upper\" and \"Lower\" for the upper and lower capsules of the microphone (when held vertically).\u003c\/p\u003e\r\n\r\n\u003ch3 id=\"toc_1\"\u003eMORE TO GAIN...\u003c\/h3\u003e\r\n\r\n\u003cp\u003eRoyer's Active Series ribbon mics (SF-24 and R-122) are as sensitive as phantom powered condenser microphones, allowing you to use almost any mic preamplifier or board pre. Conventional ribbon microphones average 15 to 20 dB lower sensitivity than condenser mics, necessitating the use of high-quality, high-gain microphone preamplifiers for recording softer sound sources like acoustic instruments, vocals and room ambiance. The SF-24 contains two fully balanced, discrete head amplifier systems utilizing ultra-low noise FET's, each delivering a sensitivity of -38 dB. This lets you mate an SF-24 to any preamplifier with average gain characteristics. Even with quiet sound sources, you'll have enough gain to drive any recording medium.\u003c\/p\u003e\r\n\r\n\u003ch3 id=\"toc_2\"\u003eIMPEDANCE MATCHING\u003c\/h3\u003e\r\n\r\n\u003cp\u003eThe electronics in the SF24 provide a perfect load to the ribbon elements at all times, allowing the microphone to deliver 100% of its full sonic potential regardless of the input characteristics of the following mic-pre. Due to its low-impedance output, SF-24's can also be used on extremely long cable runs with minimal signal loss.\u003c\/p\u003e\r\n\r\n\u003cp\u003eA good impedance match is critical to ribbon microphones. Impedance mis-matching loads a ribbon improperly, resulting in loss of low end, diminished body, lowered sensitivity and an overall compromised performance. With our Active Series ribbon mics, the ribbon element lives in a perfect world. It sees an optimum impedance match at all times regardless of the following equipment, so its performance will never be compromised by the effects of improper loading. In addition, the ribbon element cannot be damaged by phantom power, electrical glitches or mis-wired cables.\u003c\/p\u003e","brand":"Royer Labs","offers":[{"title":"Default Title","offer_id":44449232060519,"sku":"2599","price":4999.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0658\/8848\/5479\/files\/royer_sf-24_zoom_f6ba7d28-fb69-4d62-bae3-67b42b54f93e.jpg?v=1787088236"},{"product_id":"royer-labs-sf-24v","title":"Royer Labs SF-24V Tube Stereo Ribbon Microphone","description":"The \u003cspan style=\"font-weight: bold;\"\u003eRoyer Labs SF-24V\u003c\/span\u003e vacuum\ntube stereo ribbon microphone is the pinnacle of our SF-series stereo\nmicrophones. The sound pickup is lush, smooth and natural, with\noutstanding stereo imaging and superb transient response. The tube\nelectronics provide increased midrange reach, unmatched clarity and\ndetail, and an airiness previously unheard of in ribbon mics. Utilizing\nthe same proprietary tube electronics as in our TEC Award winning\nR-122V ribbon microphones, the SF-24V delivers the ultimate in stereo\nribbon miking for the true connoisseur of recorded sound.\u003cbr\u003e\n\u003cbr\u003e\n\u003cspan style=\"font-weight: bold;\"\u003eFeatures\u003c\/span\u003e\u003cbr\u003e\n\u003cul\u003e\n\u003cli\u003eVacuum tube circuitry provides high output and impedance matching\u003c\/li\u003e\n\u003cli\u003eTrue stereophonic (Blumlein and M-S) recording from one coincident microphone\u003c\/li\u003e\n\u003cli\u003eHigh SPL capabilities\u003c\/li\u003e\n\u003cli\u003eNo distortion up to maximum SPL rating\u0026lt;\u003c\/li\u003e\n\u003cli\u003eExtremely low residual noise\u003c\/li\u003e\n\u003cli\u003eRibbon elements are not affected by heat or humidity\u003c\/li\u003e\n\u003cli\u003eAbsence of high frequency phase distortion\u003c\/li\u003e\n\u003cli\u003eEqual sensitivity from front or back of elements\u003c\/li\u003e\n\u003cli\u003eConsistent frequency response regardless of distance\u003c\/li\u003e\n\u003cli\u003eHigh efficiency, matching toroidal transformers\u003c\/li\u003e\n\u003cli\u003eVery low magnetic leakage\u003c\/li\u003e\n\u003c\/ul\u003e\nThe SF-24V’s independent tube circuits provide an output level of -38\ndB, suitable for use with any professional preamplifier. With\nself-noise of lower than 18 dB, the SF-24V’s ultra-quiet operation is\nsuitable for the most demanding classical and acoustic recording\napplications.\u003cbr\u003e\n\u003cbr\u003e\nLike an SF-12, the SF-24V is actually two matched ribbon microphones,\nplaced one above the other in a coincident pair, each aimed 45 degrees\nfrom center in the classic Blumlein configuration. The magnet\/pole\npiece structure of each ribbon transducer delivers a wide, uniform\nfrequency response with no substantial peaks or dips, and the\n1.8-micron ribbons produce superb transient response. Frequency\nresponse is excellent regardless of the angle of sound striking the\nribbons and off-axis coloration is negligible.\u003cbr\u003e\n\u003cbr\u003e\n\u003cspan style=\"font-weight: bold;\"\u003eApplications\u003c\/span\u003e\u003cbr\u003e\n\u003cul\u003e\n\u003cli\u003eOrchestra\u003c\/li\u003e\n\u003cli\u003eString Sections\u003c\/li\u003e\n\u003cli\u003eSolo Strings\u003c\/li\u003e\n\u003cli\u003eBrass and Woodwinds\u003c\/li\u003e\n\u003cli\u003eAcoustic Piano\u003c\/li\u003e\n\u003cli\u003eHarp\u003c\/li\u003e\n\u003cli\u003eChoirs\u003c\/li\u003e\n\u003cli\u003eDrum Overheads\u003c\/li\u003e\n\u003cli\u003ePercussion Instruments\u003c\/li\u003e\n\u003cli\u003eAcoustic Guitars\u003c\/li\u003e\n\u003cli\u003eLarge \u0026amp; Small Ensembles\u003c\/li\u003e\n\u003cli\u003eAmbiance\u003c\/li\u003e\n\u003cli\u003eStereo to Mono\u003c\/li\u003e\n\u003c\/ul\u003e\nThe SF-24V excels on full orchestra, choir and ensembles, classical\npiano, drum overheads, virtually all acoustic instruments, small vocal\ngroups, a wide variety of percussion instruments, as a room mic, etc.\u003cbr\u003e\n\u003cbr\u003e\nLike the SF-12, the SF-24V is uncanny for creating “you-are-there”\nstereo recordings that capture not only the instrument(s) being\nrecorded, but, depending on how the microphone is positioned, varying\ndegrees of the acoustical space. In addition, the increased sensitivity\nand impedance matching circuitry allows for more consistent results in\na variety of recording situations and with a wider selection of mic\npre’s.\u003cbr\u003e\n\u003cbr\u003e\n\u003cspan style=\"font-weight: bold;\"\u003eRecording in Mono\u003c\/span\u003e\u003cbr\u003e\nFor mono recording, phase compatibility between the two sides of the\nSF-24V is excellent, allowing you to combine the two channels perfectly\nin mono with no phase artifacts. This is particularly useful when\ncapturing a wide sound field in mono; for instance, a singer who tends\nto move off the “sweet spot” of a mono microphone. Each side of the\nSF-24V can also be used as an independent mono microphone.\u003cbr\u003e\n\u003cbr\u003e\n\u003cspan style=\"font-weight: bold;\"\u003eThe Electronics\u003c\/span\u003e\u003cbr\u003e\nThe SF-24V’s twin head amplifiers consist of low-noise,\ntriode-connected military grade 5840 vacuum tubes. Designed for a wide\nrange of applications, the SF-24V delivers -38 dB output and the drive\ncapabilities only vacuum tube head amplifiers can provide. The circuits\nare devoid of typical vacuum tube coloration.\u003cbr\u003e\n\u003cbr\u003e\nThe SF-24V’s triode-configured cathode follower circuitry enables the\nmicrophone to drive long cable runs without sonic degradation or\nhigh-frequency loss. This capability is further enhanced by the\nSF-24V's dedicated power supply, which provides ample current to the\nvacuum tube electronics. Induced noise is virtually eliminated by the\nmicrophone's fully balanced outputs, which are electrically isolated\nwith special purpose Jensen output transformers.\u003cbr\u003e\n\u003cbr\u003e\nThe SF-24V has far more level than non-powered ribbon microphones and\nits impedance matching circuitry places a perfect load on the ribbon\nelement at all times. This allows the use of a wide variety of mic\npreamps without concern for gain and impedance matches, two critical\nissues with ribbon microphones. In addition, the microphone’s\nelectronics shield the ribbon elements from any possibility of damage\nby phantom power, electrical glitches or miswired cables.\u003cbr\u003e\n\u003cbr\u003e\nIt is important to note that the SF-24V’s higher sensitivity creates no\nadditional self-noise. All of the SF-24V’s increased level comes from\nits large, specially wound toroidal transformers, so there is no\nadditional noise associated with the microphone's higher output. The\ntube system operates at less than unity, adding no noise of its own.","brand":"Royer Labs","offers":[{"title":"Default Title","offer_id":44449232027751,"sku":"14041","price":6999.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0658\/8848\/5479\/files\/royer_sf-24v_zoom.jpg?v=1787088236"},{"product_id":"se-electronics-rnr1-ribbon","title":"sE Electronics RNR1 Ribbon Microphone","description":"\u003cspan style=\"font-weight: bold;\"\u003eA leap in technology… The world’s first HF Ribbon mic\u003c\/span\u003e\u003cbr\u003e\r\nFor many decades Ribbon mics have been used by engineers for their\r\nextremely natural sounding reproduction of source material. The nature\r\nof their performance differs greatly from condenser mics, which by\r\ncomparison sound very ‘up front’ and lack the harmonic depth of a good\r\nribbon.\u003cbr\u003e\r\n\u003cbr\u003e\r\nEven at the high end of the market, the customary roll-off of almost\r\nall the top end frequencies has always been a major drawback. The\r\nfrustration with all ribbons is – depending on the model – little or no\r\nperformance past  7-10KHz, which is why condenser mics dominate the\r\nrecording market.\u003cbr\u003e\r\n\u003cbr\u003e\r\nThe traditional appeal of the condenser then has been the assumption of\r\nconsistent frequency response from 20Hz to 20KHz. The pay-off of course\r\nis that these mics require a certain degree of circuit board magic to\r\nachieve this, since the taughtness of the diaphragm – compared with\r\nrelatively slack ribbon membranes – means condensers tend to be more\r\n‘coloured’ in their sound.\u003cbr\u003e\r\n\u003cbr\u003e\r\nTraditionally engineers using ribbons, however expensive, have had to\r\naccept their significant limitations or have had to augment the\r\nrecording with a condenser mic to capture the high frequency absent\r\nfrom the ribbon output.\u003cbr\u003e\r\n\u003cbr\u003e\r\nSuch compromises have meant that ribbons have never been very widely accepted or used as a first choice for recording.\u003cbr\u003e\r\n\u003cbr\u003e\r\n\u003cspan style=\"font-weight: bold;\"\u003eNot any more!\u003c\/span\u003e\u003cbr\u003e\r\nRupert Neve’s new custom circuit design now allows high frequencies to\r\nbe captured and output from the capsule for the first time ever in\r\npristine detail. Standard performance of the \u003cspan style=\"font-weight: bold;\"\u003esE Electronics RNR1\u003c\/span\u003e\r\nis an unprecedented 20Hz to 25KHz – three times the frequency range of\r\neven the best available competitor ribbon mics on the market today!\u003cbr\u003e\r\n\u003cbr\u003e\r\nMore than this, Mr Neve’s hand-wound custom input and output\r\ntransformers create huge amounts of headroom and effectively lower the\r\nnoise levels by using gain stages to amplify the signal. The slight dip\r\nin the frequency response from 16-25KHz in the RNR 1 can therefore be\r\neffectively flattened if required, producing an almost perfectly flat\r\nresponse, way beyond what human ears can perceive. This is crucial in\r\nmaking the RNR-1 by far the best performing ribbon mic in the world\r\ntoday.\u003cbr\u003e\r\n\u003cbr\u003e\r\nThe RNR1’s faithful reproduction of fine harmonic material across the\r\nfrequency spectrum results in the unparalleled capturing of real sound.\r\nIndeed its ability to capture modulation from infinite harmonic\r\nfrequencies normally masked on any recording assures its revolutionary\r\nstatus and exemplary reputation.\u003cspan style=\"font-weight: bold;\"\u003e\u003c\/span\u003e\u003cbr\u003e\r\n\u003cbr\u003e\r\n\u003cspan style=\"font-weight: bold;\"\u003eDesign Comments\u003c\/span\u003e\u003cbr\u003e\r\n\u003cbr\u003e\r\n\u003cspan style=\"font-weight: bold;\"\u003eRupert Neve\u003c\/span\u003e\u003cbr\u003e\r\n‘Recent developments in the way that humans perceive sound are\r\ndemanding significant advances both in performance and the philosophy\r\nof audio processing. That which was “good enough” for light-hearted\r\namusement fails to satisfy the thoughtful listener – in fact deficient\r\nsound quality has been shown to result in frustration, even anger. The\r\nexperienced listener is aware of incredibly small sound pressure levels\r\nthat in many cases are beyond the conventional range of hearing.'\u003cbr\u003e\r\n\u003cbr\u003e\r\n'I have worked for some time on the designs for a new range of\r\nmicrophones – the concepts of which are actually already being\r\nimplemented in our own Rupert Neve Designs 5088 Console – namely\r\nutilizing Discrete Single-Sided Circuits and my custom designed\r\ntransformers.'\u003cbr\u003e\r\n\u003cbr\u003e\r\n'This new approach to analogue sound processing needs extreme care in\r\nits manufacture, as well as meticulous alignment of the embedded\r\ndiscrete op-amps and the delicate microphone elements. The association\r\nwith Siwei Zou and sE will provide an ideal partnership in terms of\r\ntheir masterly and enthusiastic commitment to innovation and quality\r\nthat have also been my own hallmarks for more than 50 years.’\u003cbr\u003e\r\n\u003cbr\u003e\r\n\u003cspan style=\"font-weight: bold;\"\u003eSiwei Zou\u003c\/span\u003e\u003cbr\u003e\r\n‘I have, for many years, admired the work of Mr. Neve, and now that we\r\nhave a chance to work together I am able to realise a quality level in\r\nmicrophone technology that no other manufacturer has managed to\r\nachieve. The excellence we have worked so hard to achieve in\r\nproduction, design and capsule technology at sE, coupled with the best\r\ntransformers this product area has ever seen, plus new cutting edge\r\ncircuit board design – which surpass anything I have ever heard before\r\n– means we are now able to produce high end mics, at a fraction of the\r\ncost of some other high end brand models, but which have a sound and\r\nperformance quality the likes of which this market has never seen\r\nbefore. This is a truly exciting time for sE and me personally.’\u003cbr\u003e\u003cbr\u003e\u003cspan style=\"font-weight: bold;\"\u003eSpecifications\u003c\/span\u003e\u003cbr\u003e\u003cul\u003e\n\u003cli\u003eAcoustic Operating Principle: Electrodynamic pressure gradient with active electronics\u003c\/li\u003e\n\u003cli\u003eGenerating Element: 2.5-micron aluminum ribbon\u003c\/li\u003e\n\u003cli\u003ePolar Pattern: Figure 8\u003c\/li\u003e\n\u003cli\u003eFrequency Response: 20Hz - 25KHz\u003c\/li\u003e\n\u003cli\u003eSensitivity: -32 dB (referenced 1v\/pa ±1dB)\u003c\/li\u003e\n\u003cli\u003eEquivalent Noise Level: 15dB (A weighted)\u003c\/li\u003e\n\u003cli\u003eOutput Impedance: 200 Ohms balanced\u003c\/li\u003e\n\u003cli\u003eRated Load Impedance: 1000 Ohms\u003c\/li\u003e\n\u003cli\u003eMax SPL: \u0026gt;135dB\u003c\/li\u003e\n\u003cli\u003eConnector: Male XLR 3 pin (Pin 2 Hot)\u003c\/li\u003e\n\u003c\/ul\u003e","brand":"sE Electronics","offers":[{"title":"Default Title","offer_id":44449232978023,"sku":"12946","price":1599.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0658\/8848\/5479\/files\/se_electronics_rnr1_zoom.jpg?v=1787088239"},{"product_id":"shure-ksm313-ne","title":"Shure KSM313\/NE Dual-Voice Ribbon Microphone","description":"\u003cp\u003eThe \u003cstrong\u003eShure KSM313\/NE\u003c\/strong\u003e is a premium bi-directional ribbon microphone for world-class audio and performance. The dual-voice design features discrete front-and-rear side sonic signatures for use with amplified instruments or intimate vocal applications. Assembled from state-of-the art transducers, transformers, and metals as the pinnacle of Shure quality for prestigious vocal and acoustic performances.\u003c\/p\u003e\r\n\u003cp\u003eThe high-tensile strength, toughness, and shape memory of Roswellite ribbon material replaces traditional foil ribbons for superior resilience at extreme SPLs.\u003c\/p\u003e\r\n\u003cp\u003eWith unique technology and application features, alongside superior materials and construction, Shure KSM Ribbon Microphones are the necessary choice for the world’s most accomplished studio and live performances.\u003c\/p\u003e","brand":"Shure","offers":[{"title":"Default Title","offer_id":44449234649191,"sku":"19394","price":1429.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0658\/8848\/5479\/files\/shure-ksm313ne-mic-23_19394_1.jpg?v=1787088247"},{"product_id":"shure-ksm353-ed","title":"Shure KSM353\/ED Bi-Directional Ribbon Microphone","description":"\u003cp\u003eThe \u003cstrong\u003eShure KSM353\/ED\u003c\/strong\u003e, a premium bi-directional ribbon microphone crafted for pristine audio in studio and concert hall applications, now comes with the A300SM ShureLock Wire Rope Shock Mount. Proprietary Roswellite technology provides revolutionary ribbon resilience and durability under extreme conditions. Hand assembled in the USA from state-of-the art transducers, transformers and metals as the pinnacle of Shure quality for prestigious vocal and acoustic performances.\u003c\/p\u003e\r\n\u003cp\u003eThe high-tensile strength, toughness and shape memory of Roswellite ribbon material replaces traditional foil ribbons for superior resilience at extreme SPLs.\u003c\/p\u003e\r\n\u003cp\u003eWith unique technology and application features, alongside superior materials and construction, Shure KSM Ribbon Microphones are the necessary choice for the world’s most accomplished studio and live performances.\u003c\/p\u003e","brand":"Shure","offers":[{"title":"Default Title","offer_id":44449234780263,"sku":"19393","price":3079.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0658\/8848\/5479\/files\/shure-ksm353-ed_19393_1_07623493-c130-45ac-b9da-42257988715e.jpg?v=1787088247"},{"product_id":"royer-labs-r-101","title":"Royer Labs R-101","description":"The \u003cspan style=\"font-weight: bold;\"\u003eRoyer R-101\u003c\/span\u003e is a new breed \r\nof modern ribbon microphone, designed for studio work and demanding live\r\n applications (particularly live electric guitar and brass). It \r\nincorporates many advancements pioneered by Royer Labs, including \r\nmulti-layered wind screening for superior protection from air blasts and\r\n plosives. The screening also provides reduced proximity effect, \r\nallowing for closer miking with less bass buildup. Throw it on a guitar \r\ncabinet, hit record, play it back, smile.\u003cbr\u003e\r\n\u003cbr style=\"font-weight: bold;\"\u003e\r\n\u003cspan style=\"font-weight: bold;\"\u003eFeatures\u003c\/span\u003e\u003cbr\u003e\r\n\u003cul\u003e\n\u003cli\u003eHigh SPL capabilities for electric guitar and percussion\u003c\/li\u003e\n\u003cli\u003eMulti-layered wind screen provides superior protection to ribbon element\u003c\/li\u003e\n\u003cli\u003eNo internal electronics to overload or produce distortion up to maximum SPL rating\u003c\/li\u003e\n\u003cli\u003eExtremely low residual noise\u003c\/li\u003e\n\u003cli\u003eRibbon element not affected by heat or humidity\u003c\/li\u003e\n\u003cli\u003eAbsence of high-frequency peaks, \"ringing\" and phase shifts\u003c\/li\u003e\n\u003cli\u003eEqual sensitivity from front or back of element\u003c\/li\u003e\n\u003c\/ul\u003e\r\nThe ribbon element's smooth frequency response and phase linearity \r\nimpart a warm, analog feel to digital recordings, where the depth and \r\nrealism on playback feels more like tape rolling than digits being \r\ncomputed. A perfect choice for electric guitars, brass instruments and \r\ndrums, the R-101's figure-8 pattern also conveys superb ambience and \r\ndepth when used for room miking applications.\u003cbr\u003e\r\n\u003cbr\u003e\r\n\u003cspan style=\"font-weight: bold;\"\u003ePatented Offset Ribbon Technology\u003c\/span\u003e\u003cbr\u003e\r\nThe R-101 incorporates Royer's patented offset-ribbon technology and a \r\nlow mass, 2.5-micron aluminum (99.9% pure) ribbon element. The ribbon \r\ntransducer's flux-frame and rare earth Neodymium magnets create a \r\npowerful magnetic field which increases sensitivity while reducing stray\r\n magnetic radiation.\u003cbr\u003e\r\n\u003cbr\u003e\r\nThe R-101's offset-ribbon transducer (Patent # 6,434,252) positions the \r\nribbon element towards the front (logo) side of the microphone body. \r\nThis proprietary arrangement gives the ribbon element more room to move \r\nwithin the prime magnetic field and maintain full frequency response \r\nduring high SPL recordings. It's an integral part of the magic in all \r\nRoyer R-series microphones.\u003cbr\u003e\r\n\u003cbr\u003e\r\nThe offset-ribbon transducer also gives you the option of a brighter \r\nresponse when recording lower SPL sound sources on the back side (3 feet\r\n and closer; phase reversed in this position). The back side of the mic \r\nis often preferred on vocals, acoustic guitars and other stringed \r\ninstruments.\u003cbr\u003e\r\n\u003cbr\u003e\r\n\u003cspan style=\"font-weight: bold;\"\u003eThe Warranty\u003c\/span\u003e\u003cbr\u003e\r\nLike all Royer mics, the R-101 comes with a lifetime warranty to the original owner and the first re-ribbon is free.","brand":"Royer Labs","offers":[{"title":"Default Title","offer_id":44449236123751,"sku":"16073","price":799.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0658\/8848\/5479\/files\/royer_r-101_1_zoom.jpg?v=1787088254"},{"product_id":"aea-ku4","title":"AEA KU4 Supercardioid Ribbon Microphone","description":"\u003cp\u003eWith a supercardioid polar pattern, rich ribbon tone, and extended top-end, the \u003cstrong\u003eAEA KU4\u003c\/strong\u003e's directionality allows it to be positioned almost anywhere without capturing room tone and bleed, making it one of the most flexible ribbon mics in production today.\u003c\/p\u003e  \u003ch3 id=\"toc_0\"\u003eA RIBBON WITHOUT ROOM TONE\u003c\/h3\u003e  \u003cp\u003eAEA’s KU4 is one of the most useful and unique ribbon microphones in the world. Its supercardioid polar pattern rejects bleed from other instruments and reflections in the room while retaining matchless top-end clarity. As the brightest mic in the AEA line, it retains the full spectrum sonic range that has made ribbon mics a staple in most of the world’s great recording studios. The KU4’s minimal proximity effect and accented mid-range make it an exceptional vocal mic that captures the presence and detail of a performance. Its near-field nature also lends to the close range recording of kick drums, strings, and woodwinds, providing a welcome brightness and balance in the mix.\u003c\/p\u003e  \u003ch3 id=\"toc_1\"\u003eTHE NEAR-FIELD SUPERCARDIOID\u003c\/h3\u003e  \u003cp\u003eThe KU4’s supercardioid polar pattern enables it to capture direct sound from a vocalist or instrument without room tone. This is an advantage when tracking musicians live in the same room or when used live on stage. With most figure-of-eight patterned ribbons, mic positioning can require a finesse to avoid other sources using the microphone’s nulls. The KU4 has none of these limitations.\u003c\/p\u003e  \u003cp\u003eBeing a near-field ribbon microphone, the microphone was designed to be positioned between one and 18 inches from the source. The mic’s proximity effect kicks in six inches away from the sound source. It can be placed close to an instrument while retaining a balanced frequency response. Unlike most traditional ribbon mics, think the KU4’s placement should be thought in terms of inches instead of feet. Of course, the KU4 can also be positioned at some distance from the sound source. It will just have a more balanced sound from up close. The KU4 can handle 140+ dB SPL at 1 kHz. That means it will not be hurt by loud sound sources.\u003c\/p\u003e  \u003ch3 id=\"toc_2\"\u003eAN ALTERNATIVE TO SIBILANT CONDENSERS\u003c\/h3\u003e  \u003cp\u003eAfter getting used to bright condenser microphones, sometimes traditional ribbon mics sound darker than desired. The KU4, with its unique bright character, has the best elements of both condensers and ribbons– specifically, a smooth midrange that doesn’t accentuate sibilance in the same way that condensers often do. The mic’s supercardioid polar pattern, bright voicing, and near-field design offer the flexibility to use it in the exact same way as a condenser. This problem-solving microphone can be used in virtually any recording situation.\u003c\/p\u003e  \u003ch3 id=\"toc_3\"\u003eA REINVENTION OF A CLASSIC MOTION PICTURE MICROPHONE\u003c\/h3\u003e  \u003cp\u003eThe KU4 is a redesign of the legendary RCA KU3A, a unidirectional microphone originally designed for boom use in Hollywood motion picture studios. It was RCA’s most expensive ribbon microphone and fewer than 600 units were ever manufactured. The KU3A combined the smooth ribbon sound of the classic RCA 44 with a unidirectional pattern, a wide sweet spot, and reduced proximity bass boost. It expanded the engineer’s range of placement choices and became a standard at film studios throughout the world.\u003c\/p\u003e  \u003cp\u003eToday, the KU3A is a rare collector’s item and only a handful of studios or rental houses own them. Original KU3As are notorious for their sonic inconsistencies due to production tolerances that included the use of the thick hair of English cows as a damping material. AEA engineered the KU4 from the ground up in order to recreate this seminal design while ensuring flawless consistency from unit to unit.\u003c\/p\u003e","brand":"AEA","offers":[{"title":"Default Title","offer_id":44449344061543,"sku":"16365","price":6249.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0658\/8848\/5479\/files\/aea_ku4_1_zoom.jpg?v=1787088636"},{"product_id":"aea-r44ce-ribbon-microphone","title":"AEA R44CE Ribbon Microphone","description":"\u003cp\u003eThe \u003cstrong\u003eAEA R44CE\u003c\/strong\u003e is an exact replica of the vintage RCA 44BX ribbon microphone, considered the most musical sounding microphone ever built. Many of the 20th century’s most iconic recordings were recorded by the R44. \u003c\/p\u003e\r\n\r\n\u003ch3 id=\"toc_0\"\u003eTHE FIRST GREAT MUSIC MICROPHONE\u003c\/h3\u003e\r\n\r\n\u003cp\u003eWhether it was the smooth brass section of the soundtrack of a classic Hollywood film, the velvety lushness of a jazz vocal or the larger-than-life drum sound of a classic rock recording, chances are an RCA 44-series ribbon microphone was used in the studio when the sound was created.\u003c\/p\u003e\r\n\r\n\u003cp\u003eIn use for more than 80 years in recording and broadcast studios throughout the world, the RCA 44 ribbon design is as rich in history as it is in sound and character. This instantly recognizable sound produces thunderous lows due to the strong proximity effect, full and rich midrange and a unique top end taking the edge off of harsh instruments.\u003c\/p\u003e\r\n\r\n\u003cp\u003eIn 1976, AEA decided to begin servicing the thousands of existing RCA ribbon mics in the world. By 1998, AEA had acquired 100 percent of the interchangeable parts used within the original RCA 44. That same year AEA debuted their R44 reissue — called the AEA R44C — using RCA’s original methods and techniques.\u003c\/p\u003e\r\n\r\n\u003ch3 id=\"toc_1\"\u003eTHE LEGENDARY BIG RIBBON SOUND\u003c\/h3\u003e\r\n\r\n\u003cp\u003eThe AEA R44 maintains an iconic legacy of great ribbon mics by delivering a rich sound full of character and color. Effective on a broad range of instruments and rooms, the R44 bolsters mids and lows while smoothing harsh high frequencies to produce a multi-dimensional sound unlike that of any microphone the world over. Used on everything from crooning vocalists to full orchestras, the R44 is the ideal choice to capture the tone of any voice or instrument while imparting its legendary ribbon character.\u003c\/p\u003e","brand":"AEA","offers":[{"title":"Default Title","offer_id":44449351729255,"sku":"16156","price":3849.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0658\/8848\/5479\/files\/aea_r44ce_50506f81-54d8-4c69-8718-6151b2152b58.jpg?v=1787088664"},{"product_id":"se-electronics-voodoo-vr1","title":"sE Electronics Voodoo VR1 Ribbon Microphone","description":"\u003cp\u003eThe \u003cstrong\u003esE Electronics Voodoo VR1\u003c\/strong\u003e ribbon microphone marks a new era in ribbon technology. Whereas most ribbon microphones have a dark, muted high-frequency response, the VR1 utilizes a clever mechanical device to achieve nearly full-range frequency response that extends well beyond that of most other ribbon microphones, approaching nearly 20 kHz. This provides an extended level of top-end detail, so the result includes not only the distinctly natural low-end and midrange that most ribbons provide, but also minimal loss in high frequency content. Guitar and brass tones retain their “edge”, cymbals still sound rich and full, and a supremely natural sound is achieved from top to bottom.\u003c\/p\u003e\r\n\r\n\u003cp\u003eAdditionally, the VR1 can handle very high sound pressure levels and thus can be utilized for applications not normally considered for most ribbon microphones, including loud brass, drums, and electric guitar cabinets, both in the studio and on stage.\u003c\/p\u003e\r\n\r\n\u003cp\u003eThe VR1 is a passive ribbon, so it does not require phantom power – though it is “phantom protected”, so it will not be damaged by accidental application of phantom power. Given its lower output, it is ideally suited for loud sources such as electric guitars, drum overheads, and brass.\u003c\/p\u003e","brand":"sE Electronics","offers":[{"title":"Default Title","offer_id":44449355071591,"sku":"16955","price":329.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0658\/8848\/5479\/files\/se-electronics-voodoo-vr1-24_16955_1.jpg?v=1787088681"},{"product_id":"se-electronics-voodoo-vr2","title":"sE Electronics Voodoo VR2 Ribbon Microphone","description":"\u003cp\u003eThe \u003cstrong\u003esE Electronics Voodoo VR-2 Active Ribbon Microphone\u003c\/strong\u003e marks a new era for ribbon mic technology – until now the only ribbon mic in the world to perform across 20 Hz - 20 kHz was the sE\/Rupert Neve collaboration, the RNR1, critically acclaimed as the best Ribbon mic in the world. This was achieved using state of the art transformers and a Rupert Neve designed circuit board to reveal HF usually absent. The Voodoo mics however achieve full frequency response using a new mechanical device (patent pending), designed by Siwei Zou, the company CEO.\u003c\/p\u003e\r\n\u003cp\u003eThis extraordinary technical achievement allows the traditional ribbon capsule to develop and capture frequencies from 20 Hz to 20 kHz like no other ribbon on the planet. The sound is revolutionary; where the RNR1 is simply a stunning mic in its own class entirely, the Voodoo range brings traditional ribbon sound to the project and commercial studio, but extends it to perform as well as most condensers do.\u003c\/p\u003e\r\n\u003cp\u003eThe result is superbly detailed and wonderfully open and natural sounding recordings of acoustic instruments and guitar cabs. The VR2 is an ‘active’ version of the VR1, which is the more traditional ‘passive’ ribbon design. These mics’ unique ability to perform, coupled with searingly good looks, are sure to make the VR1 and VR2 classics of their time.\u003c\/p\u003e","brand":"sE Electronics","offers":[{"title":"Default Title","offer_id":44449355169895,"sku":"16956","price":419.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0658\/8848\/5479\/files\/se-vr2_16956_1.jpg?v=1787088681"},{"product_id":"royer-labs-r-101-matched-pair","title":"Royer Labs R-101 - Matched Pair","description":"The \u003cspan style=\"font-weight: bold;\"\u003eRoyer R-101\u003c\/span\u003e is a new breed of modern ribbon microphone, designed for studio work and demanding live applications (particularly live electric guitar and brass). It incorporates many advancements pioneered by Royer Labs, including multi-layered wind screening for superior protection from air blasts and plosives. The screening also provides reduced proximity effect, allowing for closer miking with less bass buildup. Throw it on a guitar cabinet, hit record, play it back, smile.\u003cbr\u003e \u003cbr style=\"font-weight: bold;\"\u003e \u003cspan style=\"font-weight: bold;\"\u003eFeatures\u003c\/span\u003e\u003cbr\u003e \u003cul\u003e\n\u003cli\u003eHigh SPL capabilities for electric guitar and percussion\u003c\/li\u003e\n\u003cli\u003eMulti-layered wind screen provides superior protection to ribbon element\u003c\/li\u003e\n\u003cli\u003eNo internal electronics to overload or produce distortion up to maximum SPL rating\u003c\/li\u003e\n\u003cli\u003eExtremely low residual noise\u003c\/li\u003e\n\u003cli\u003eRibbon element not affected by heat or humidity\u003c\/li\u003e\n\u003cli\u003eAbsence of high-frequency peaks, \"ringing\" and phase shifts\u003c\/li\u003e\n\u003cli\u003eEqual sensitivity from front or back of element\u003c\/li\u003e\n\u003c\/ul\u003e The ribbon element's smooth frequency response and phase linearity impart a warm, analog feel to digital recordings, where the depth and realism on playback feels more like tape rolling than digits being computed. A perfect choice for electric guitars, brass instruments and drums, the R-101's figure-8 pattern also conveys superb ambience and depth when used for room miking applications.\u003cbr\u003e \u003cbr\u003e \u003cspan style=\"font-weight: bold;\"\u003ePatented Offset Ribbon Technology\u003c\/span\u003e\u003cbr\u003e The R-101 incorporates Royer's patented offset-ribbon technology and a low mass, 2.5-micron aluminum (99.9% pure) ribbon element. The ribbon transducer's flux-frame and rare earth Neodymium magnets create a powerful magnetic field which increases sensitivity while reducing stray magnetic radiation.\u003cbr\u003e \u003cbr\u003e The R-101's offset-ribbon transducer (Patent # 6,434,252) positions the ribbon element towards the front (logo) side of the microphone body. This proprietary arrangement gives the ribbon element more room to move within the prime magnetic field and maintain full frequency response during high SPL recordings. It's an integral part of the magic in all Royer R-series microphones.\u003cbr\u003e \u003cbr\u003e The offset-ribbon transducer also gives you the option of a brighter response when recording lower SPL sound sources on the back side (3 feet and closer; phase reversed in this position). The back side of the mic is often preferred on vocals, acoustic guitars and other stringed instruments.\u003cbr\u003e \u003cbr\u003e \u003cspan style=\"font-weight: bold;\"\u003eThe Warranty\u003c\/span\u003e\u003cbr\u003e Like all Royer mics, the R-101 comes with a lifetime warranty to the original owner and the first re-ribbon is free.","brand":"Royer Labs","offers":[{"title":"Default Title","offer_id":44449357529191,"sku":"17053","price":1648.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0658\/8848\/5479\/files\/royer_labs_r_101.jpg?v=1787088691"},{"product_id":"beyerdynamic-m-130-demo-deal","title":"beyerdynamic M 130 (Demo Deal)","description":"beyerdynamic is one of few microphone manufacturers world-wide that \nstill produce ribbon microphones. One of them is the legendary \u003cb\u003ebeyerdynamic M 130\u003c\/b\u003e.\n The M 130's unique double ribbon element has a superb transient \nresponse, creating a highly detailed sound with unequaled accuracy and \ntransparency. The bidirectional figure eight polar pattern effectively \nsuppresses unwanted interference from the sides. The M 130's balanced, \nuncolored sound handles a wide variety of applications. In conjunction \nwith the hypercardioid M 160, the M 130 is ideal for creating an \nauthentic stereo image through the use of the MS- (Mid-Side) technique.\n\u003cbr\u003e\u003cbr\u003e\nThe M 130 gives excellent results when the Mid-Side technique is used to\n record or broadcast a true stereo image. Its rugged Design handles the \ndemands of remote recording\/broadcast sessions as easily as those of the\n studio. Alone, the M 130 allows the recording of background audience \nnoise and concert hall \"ambience\" without unwanted resonances. In the \nrecording studio it is effective with backing vocal groups, percussion \nand mounted toms. The M 130's crisply articulated, uncolored sound is \nwell suited to such demanding audiophile applications as digital and \ndirect-to-disc recording.\n\u003cbr\u003e\u003cbr\u003e","brand":"beyerdynamic","offers":[{"title":"Default Title","offer_id":44449361363047,"sku":"13884","price":810.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0658\/8848\/5479\/files\/beyer_dynamic_m130_1.jpg?v=1787088707"},{"product_id":"beyerdynamic-m-260-demo-deal","title":"beyerdynamic M 260 (Demo Deal)","description":"The \u003cb\u003ebeyerdynamic M 260\u003c\/b\u003e is used for vocals and miking instruments at broadcast, recording and film studios. Its flat frequency response and natural, warm ribbon sonic profile make it a highly effective element of the digital recording process. The hypercardioid polar pattern provides an extremely high gain-before-feedback and elimination of lateral noise. The M 260 is equipped with a built-in high-pass-filter which compensates the close miking effect, when the microphone is applied very close to an instrument. The microphone also features a high insensitivity towards magnetic stray fields and extreme temperatures. The rugged grille protects the microphone system against accidental hits and kicks. \u003cbr\u003e\u003cbr\u003e","brand":"beyerdynamic","offers":[{"title":"Default Title","offer_id":44449361395815,"sku":"13866","price":327.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0658\/8848\/5479\/files\/beyer_dynamic_m260_1.jpg?v=1787088707"},{"product_id":"royer-labs-r-121-demo-deal","title":"Royer Labs R-121 (Demo Deal)","description":"The \u003cb\u003eRoyer Labs R-121\u003c\/b\u003e is a thoroughly modern ribbon microphone designed for today's studio and live environments, exhibiting a flat frequency response and well balanced, panoramic sound field. Its ability to withstand 135 dB SPL @ 30 Hz makes it ideal for applications that were previously considered off limits to ribbon microphones. \u003cbr\u003e\u003cbr\u003eThe R-121 was developed through relatively recent advancements in magnetics, materials and mechanical construction techniques. The ribbon element's smooth frequency response and phase linearity, coupled with sensitivity levels surpassing those of \"classic\" ribbons, make this microphone an ideal choice for digital recording. The R121 delivers a consistent, natural acoustical performance with stunning realism. Widely used on electric guitars, brass instruments and drums, the R-121's figure-8 pattern also conveys superb ambiance and depth when used for room miking applications, orchestral and choral recordings. \u003cbr\u003e\u003cbr\u003eThe heart of the R 121 is its low mass, 2.5-micron, pure (99.99%) aluminum ribbon element. 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However the KU3A is a rare microphone, a collector’s item, and few studios or rental houses own them.  Opportunities to work with a good KU3A are limited.\u003cbr\u003e\u003cbr\u003eWe are proud to expand your opportunities with the AEA KU4 featuring an RCA ribbon, interchangeable KU3A parts and consistent performance.\u003cbr\u003e\u003cbr\u003e\n\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eHow is the KU4 different from other ribbon microphones?\u003c\/strong\u003e\u003cbr\u003eThe KU4’s suppressed rear lobe is useful when the back of a figure-of-eight would pick up undesirable sounds.  The KU4’s reduced proximity bass boost facilitates closer micing and its low-tuned ribbon delivers solid, undistorted bass.  These characteristics make the KU4 well suited for modern studio production. \u003cbr\u003e\u003cbr\u003eIts lightly-tensioned, ultra low mass ribbon has a frequency response out to 40 kHz and fast, accurate transients.  There is no upper midrange ringing common to large condenser mics.  The KU4’s ribbon is well protected and its field-tech replaceable pole piece and ribbon assembly is a real convenience if an accident occurs.\u003cbr\u003e\u003cbr\u003eThe KU4 is your ticket to discovering why the KU3A has been part of high-end studio life for over 60 years.  AEA is honored to play a part in its history, and invites you to listen to the KU4 and claim your part of this legacy.\u003cbr\u003e\u003cbr\u003e\u003cstrong\u003eSpecifications\u003c\/strong\u003e\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003e\n\u003cstrong\u003eOperating Principle: Velocity microphone\u003c\/strong\u003e \n\u003cul\u003e\n\u003cli\u003eFrequency Response: Below 30 Hz to above 20 kHz\u003c\/li\u003e\n\u003cli\u003eMaximum SPL: 140 + dB SPL above 200Hz for 1% third harmonic\u003c\/li\u003e\n\u003cli\u003eOutput Sensitivity: 2.8 mV\/Pa into unloaded circuit\u003c\/li\u003e\n\u003cli\u003eOutput Impedance: 300 Ω nominal\u003c\/li\u003e\n\u003cli\u003eRecommended Load: 1.2 KΩ or greater\u003c\/li\u003e\n\u003cli\u003ePhantom power: Not required or recommended\u003c\/li\u003e\n\u003cli\u003ePolarity: Pin 2 high for positive pressure at the front of the microphone.\u003c\/li\u003e\n\u003cli\u003eConnector: XLR-3M wired to a 1.5 meter captive cable\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eOff Axis Response\u003c\/strong\u003e \n\u003cul\u003e\n\u003cli\u003ePolar Pattern: Supercardioid\u003c\/li\u003e\n\u003cli\u003eRelative Output at 180° (dB): -12\u003c\/li\u003e\n\u003cli\u003eAngle of Maximum Rejection: 135°\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eTransducer element\u003c\/strong\u003e \n\u003cul\u003e\n\u003cli\u003eRibbon Thickness: 1.8 microns ( .0000018 meter ) of pure aluminum\u003c\/li\u003e\n\u003cli\u003eRibbon Width: 0.082” (2.1 mm)\u003c\/li\u003e\n\u003cli\u003eRibbon Length: 1.25” (28.6 mm)\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eAccessories\u003c\/strong\u003e \n\u003cul\u003e\n\u003cli\u003eIncluded: Custom storage\/shipping case, stand adapter, manual and\u003c\/li\u003e\n\u003cli\u003eattached 1.5 meter microphone cable\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eLimited Warranty\u003c\/strong\u003e \n\u003cul\u003e\n\u003cli\u003eThree years parts and labor, shipping not included.\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e","brand":"AEA","offers":[{"title":"Default Title","offer_id":44449389772903,"sku":"18870","price":4499.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0658\/8848\/5479\/files\/aea_ku4_1_zoom_1.jpg?v=1787088819"},{"product_id":"coles-4050-single-ribbon-microphone","title":"Coles 4050 Single Ribbon Microphone","description":"\u003cp\u003eThe \u003cstrong\u003eColes 4050\u003c\/strong\u003e is the first stereo microphone designed by Coles Electroacoustics. The Coles 4050 is not only a stereo mic, but it transforms from its stereo configuration into two completely separate mono mics. Most places only include one mount with these microphones and charge extra for the 2nd. We found the extra one so handy that we're tossing it in at a discount.\u003c\/p\u003e\n\u003cp\u003eThe mount has magnets that allow the two mono mics to connect together transforming it into a stereo mic. 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