Ribbonmics Aea n8 Manuale utente

ribbonmics & preamps since 1964

www.ribbonmics.com | tel: +1-626-798-9128 | fax: +1-626-798-2378

PHANTOM-POWERED RIBBON MICROPHONE

{OWNER’S MANUAL }

aea n8

{WELCOME}

Congratulations on your purchase of the AEA N8 phantom-powered

ribbon microphone and welcome to the AEA family. The AEA N8 was

designed to be the most open and natural sounding ribbon microphone

we could make. Conceived to render acoustic spaces as faithfully as

possible, the new N8 microphone excels in capturing drum overheads,

strings, classical ensembles, orchestras, and rooms. As such, it is the

ideal complement to the N22 microphone. But even when used up

close, such as on guitar and bass amps, the N8 delivers exceptional

clarity and warmth, while also taking EQ extremely well. Additionally,

the N8’s unobtrusive size and black finish is ideal for orchestral and TV

work, where microphones need to be easy to position and more or less

invisible.

Your N8 microphone is 100% handcrafted in Pasadena, CA. AEA is a

family owned company with a small crew of skilled technicians – most

of them being musicians themselves. Proudly independent, we still

manufacture all our ribbon microphones and preamps by hand from

locally sourced parts.

We hope that the N8 will help you capture many magical performances

that touch the heart. Read this manual thoroughly to make sure that you

get the best sound and longevity from your new microphone. Please

become part of the AEA community by sharing your experiences with

the N8 via e-mail, phone or our social media channels.

Wes Dooley

President of AEA

{TABLE OF CONTENTS}

WELCOME 2

INTRODUCTION 4

GENERAL GUIDELINES 4

APPLICATION ADVICE 5

Controlling Leakage 5

Proximity Effect 6

APPLICATION EXAMPLES 7

Drums and Percussion 7

Strings, Brass, and Reeds 8

Piano 8

Electric Guitar and Bass 9

PRECAUTIONS 9

Phantom-power 10

Wind Gusts 10

Tramp Iron 10

Microphone Positioning 11

Magnetic Stray Fields 11

SPECIFICATIONS 12

WARRANTY 14

SUPPORT 14

{INTRODUCTION}

The N8 is a side-address, phantom-powered ribbon microphone with a

bidirectional (or figure-of-8) pickup pattern. It was designed for distant

miking applications like drum overheads, rooms, strings, and classical

ensembles, but it is also well suited for up-close use. With phantom-

powered JFET electronics and a custom German transformer the N8

achieves optimal performance with a wide range of preamps ranging

from vintage high-end models to USB audio interfaces in home studio

setups. The N8 is the second member of AEA’s NUVO series. Rooted

in the RCA tradition just like other AEA ribbons, all NUVO microphones

are designed to offer a fresh approach to the ribbon transducer;

it represents Wes Dooley’s take on the evolution of the ribbon

microphone.

{GENERAL GUIDELINES}

The two sides of the N8 (front and back) are voiced exactly the

same. Keep in mind, however, that the backside has opposite polarity

compared to the front. Positive polarity is achieved by positioning the

side with the “NUVO” logo towards the sound source.

The supplied microphone clip will provide adequate vibration isolation in

most situations.

To maintain the best performance from your new AEA N8 microphone,

take note of these four basic rules:

1) Keep the microphone covered when it is not in use.

2) Always use a sturdy microphone stand.

3) Never expose the microphone to strong air turbulence.

4) Be nice to the microphone, and it will be nice to you.

1) Keeping the microphone covered when it is not in use will reduce the

possibility of damage that might result from a sudden gust of air coming

from air-conditioning or an open door or window. Place the supplied

protective bag (or a standard plastic bag) over the microphone when

it is not in use. For longer-term storage, replace the microphone in its

protective case.

2) While the N8 was designed to work well with all standard

microphone stands, a high-quality boom stand will still make your life

a little bit easier. If you are using a boom, make sure that it is properly

balanced and that the tripod legs are positioned appropriately to

prevent tipping.

3) Ribbon microphones can withstand very high SPL (sound pressure

levels) without difficulty, but can be damaged easily by a sudden, strong

gust of air or high levels of low frequency sound waves (like from a

kick drum or bass cabinet). This can stretch the ribbon, causing the

microphone to lose sensitivity and distort its frequency response. To

avoid possible damage, follow this simple procedure when positioning

the microphone. Put the back of your hand where the mic will be; if you

can feel the motion of air on your hand, place a pop-filter between the

microphone and the source of the air turbulence. When recording kick

drums or bass guitar cabinets, angle the microphone to make sure that

no wind blasts hit the ribbon head-on.

4) Your N8 is a valuable and important investment. Like any piece of

recording equipment or musical instrument, it requires common sense

and good basic care to keep it working properly. Given simple, basic

care as described above, your new microphone will perform admirably

for decades.

{APPLICATION ADVICE}

Controlling Leakage

A significant and ever-present challenge in contemporary studio

recording is minimizing “bleed” (also called “leakage” or “crosstalk”)

from nearby instruments into the various microphones. The deep nulls

of bidirectional ribbon microphones provide good rejection of unwanted

sounds, which also can be beneficial in sound reinforcement situations

where feedback is always a threat. While gobos can be effective in

isolating performers from each other, they introduce their own set of

problems - not the least of which are reflections in close proximity to

the performers and/or microphones that result in comb-filter distortions.

Because gobos usually are bulky, they also inhibit the ability of the

musicians to hear and see each other easily. Such a setup requires

complex and often cumbersome headphone monitor mixes for the

musicians.

Because the N8 has a bidirectional pattern, it has nulls at 90° / 270°

from the principal (front) axis. Projected in three dimensions, these nulls

produce a “plane of rejection” to the sides of the microphone that can

be used effectively to reduce leakage. Simply arrange the musicians

so that nearby instruments are placed in the “null” of their neighbor’s

microphone, and vice versa. Although this does not entirely eliminate the

need for gobos, it can significantly reduce their number.

Keep in mind that a certain degree of bleed doesn’t necessarily have

to be bad. For some styles and genres it can in fact be beneficial to

embrace a little bit of bleed in order to create cohesive and natural

sounding recordings. The important thing to listen for is whether or

not other instruments that bleed into a specific instrument microphone

still sound natural. You will generally find that well-designed ribbon

microphones like the N8 capture a natural off-axis sound, which means

that bleed from other instruments can contribute to the overall sound in

a pleasing way.

Proximity Effect

Proximity effect is a characteristic of all directional microphones; it

is a rise in low-frequency response that increases at closer working

distances. While this can be used to good effect, particularly with male

voices to give them an enhanced richness and depth, the potential trade

off is reduced articulation or clarity that can result from the masking

effect on the treble due to “excessive” bass boost.

Experienced vocalists instinctively locate the proper working distances

for the microphones they are using. From as early as the 1930s,

Frank Sinatra always kept one hand on the microphone stand while

singing. Some joked that he simply was steadying himself, but more

knowledgeable people noticed that he would bring the mic closer for

more intimate moments, and then move it farther away when he belted

out a line. This technique became known as “working the mic.”

Your N8 was designed to exhibit a balanced sound at relatively far

distances from the sound source; it works equally well placed close to

the source.

Application Examples

Your ears are obviously the best judge of microphone choice and

placement, but AEA has garnered a great deal of experience testing

the N8 in a variety of recording settings and by talking to experienced

musicians and engineers. As a result we suggest the following

guidelines to help you achieve optimal results when using the N8.

Watch the videos on our website (www.ribbonmics.com, www.

aeasessions.com) and on our YouTube channel

(www.youtube.com/AEAribbonmics) for more tips and tricks for our

microphones and preamps.

Drum Overheads, Rooms, and Percussion

When recording drums, there are many techniques to capturing the

sound of the kit. A good starting point is to use the N8s above the

kit as a spaced pair. Try positioning them a couple of feet above the

drummer’s head with a few feet of space in between the two mics.

Make sure to listen to the combined signal summed to mono to catch

potential comb filtering that could be caused by out-of-phase signals. A

quick technique that can help avoid phase problems is to keep an equal

distance between the two overhead mics and the snare or kick drum.

Another popular technique to record drum overheads is to setup the

mics in a Blumlein configuration (coincident pair at 90 degree angle)

above the head of the drummer with each mic pointing in a different

direction. This will give you a very wide image of the drums that sounds

like you are in sitting center stage.

Both of these techniques also work well for recording the sound of the

room. The closer that the N8s are positioned to the drummer, the more

direct sound and less reverb will be captured by the mics.

Strings, Brass, and Reed Instruments

Because the N8 has equal treble and bass response from a far distance,

it can be placed almost anywhere without sounding thin. Feel free to

position the mic both closer and further away than you normally would

with a condenser.

When recording acoustic instruments, a good starting point is to walk

around the room while the musician is playing. When you find a spot

where you like the sound, try positioning the N8 there and move to

taste.

For solo instruments, try placing the N8 a few feet away. This will give a

very up-close and personal sound. Set the microphone above or in front

of the instrument. The height of the mic in relation to the height of the

room can have a large impact on the sound.

When positioning the N8, try aiming the backside towards a complex

wall intersection. This can capture the reverberation of the room in an

interesting way.

For bass string instruments that are bowed and plucked, placing the

N8 about a foot away will give you a very nice and defined low end. The

proximity effect of the N8 can be used to your advantage.

For instrument sections, a good starting point is to place the N8 a few

meters away where the musicians have a nice balanced sound. Blumlein

configuration positioned at a distance of 4 - 6 meters from a section can

capture the sound with a lot depth.

The N8s can also be used with great results to capture an entire

orchestra. Try positioning the mic in the same way that you would for

sections, but from a much further distance. Two N8s on a stereo bar

facing outwards at 90 degrees can give you a realistic spacial image

that will sound like you are standing in front of the orchestra.

Piano

The N8 delivers a great sound as a close-up and distant mic on both

upright and grand pianos. On an grand piano we have found two

positions to be particularly useful.

1. Spaced pair of N8s looking at the hammers in the front. You will need

to remove the front cover of the grand piano. This position will yield a

very natural, hi-fi sound. It is common to pull the mics further out of the

piano then you would with a pair of condensers. You can change the

amount of natural room reverb by changing the distance between the

mics and piano.

2. Blumlein pair (coincident pair at 90 degree angle) of N8s positioned

on the side of the piano facing the player: one microphone pointing

towards the treble side of the piano, and the other microphone facing

towards the bass side that can result in a larger than life recording.

Electric Guitar and Bass

The N8 can handle very high sound pressure levels allowing you to

place it close to amplifiers. Watch out for wind blasts, percussive

players, and very loud bass cabinets that push air. The N8 has the least

amount of protection in it for a more open sound which means you

should be extra careful to avoid sudden blasts of wind.

Identify where the center of the speaker cone is located and place the

N8 a few inches away from the speaker pointing right at its center for

a very direct, “in-your-face” sound. This is the spot where you will get

the most high-frequency content. If it sounds too harsh, try moving the

microphone slightly off center of the speaker cone. You can also try

positioning the N8 at an angle. You will find that small differences in

positioning can make huge differences in the sound, so experiment until

you find the spot you like.

The N8 has much more proximity effect than the nearfield N22. This

can be an advantage when trying to thicken up a thin or tinny sounding

guitar.

For a more natural sound that captures the sound of the amp in your

room, try backing the microphone up a couple of feet.

{PRECAUTIONS}

Most ribbon microphones need little, if any, maintenance. Given proper

care they last for decades. Bing Crosby’s personal RCA-44BX (now in

the collection of the Pacific Pioneer Broadcasters in Hollywood) sounds

as good today as it did when he recorded his radio broadcasts in the

1940s. 9

A few simple precautions will help you to keep your AEA N8 working

well for life.

Phantom Power

Although the N8 needs a standard 48V phantom-power source to

operate, you should still make sure that phantom power is turned off

before plugging and unplugging the microphones. The loud pops that

occur when the microphone is plugged in with phantom-power engaged

can damage speakers, headphones, and ears. Since passive ribbon

microphones or other transformer-coupled microphones are particularly

sensitive to phantom-power, it is recommended to disengage phantom-

power before plugging and unplugging a habit.

Wind Gusts

A second and equally important rule is never to blow directly into a

ribbon microphone to test it. Strong air movement can stretch the

ribbon and while it may not break, it nonetheless could significantly

degrade the microphone’s performance. Using the mic outdoors

requires special care so that the wind does not damage the ribbon.

Nonetheless, using it outdoors requires special care to avoid wind

which can damage the ribbon. Indoors, however, it is also important to

avoid serious air movement from stage curtains, open windows, doors,

or air-conditioning systems. High SPL sound sources do not usually

pose a problem because most ribbon microphones can handle 130 dB

SPL or more without difficulty. It is only those “explosive” sources that

produce a strong blast of air, such as the bass port on an electric guitar

or bass amp, a guitar being plugged (or unplugged) while the amp level

is turned fully up, an on-axis kick-drum (particularly with a port on the

front head), that are potentially damaging. If you are unsure about how

much wind is hitting the microphone, place the back of your hand where

the microphone is going to be. If you can feel significant wind blasts,

angle the microphone or use a pop screen to avoid direct hits.

Tramp Iron

Minute iron particles, sometimes known as “tramp iron,” are common

within our environment. AEA ribbon microphones contain powerful

magnets that produce strong magnetic fields. These fields can attract

any ferric metal near the microphone that, if they are small enough, can

penetrate the outer screening and work their way inside the microphone.

Over time, this “tramp iron” can build up sufficiently in the magnetic gap

to rub against the ribbon causing distortion, electrical shorts or tearing

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