{"title":"AEA","description":"","products":[{"product_id":"aea-ku5a","title":"AEA KU5A","description":"\u003cdiv lang=\"en\"\u003e\n\n \u003cp\u003e\u003cstrong\u003eDas AEA KU5A\u003c\/strong\u003e ist ein aktives Bändchenmikrofon mit Supernierencharakteristik, das für Studio- und Live-Anwendungen entwickelt wurde, bei denen hohe Dämpfung und der klassische Klang eines Bändchenmikrofons unerlässlich sind. Dank seines robusten Bändchenelements und der aktiven Elektronik ermöglicht es Sängern und Instrumentalisten, nah am Mikrofon zu spielen und ist mit einer Vielzahl von Vorverstärkern kompatibel.\u003c\/p\u003e\n\n\u003cp\u003e Der KU5A verfügt über ein Frontadressen-Design, eine aktive Schaltung mit 48-V-Phantomspeisung, eine Ausgangsimpedanz von 92 Ω und einen zuschaltbaren Hochpassfilter bei 283 Hz zur Reduzierung des Nahbesprechungseffekts. Mit einem Frequenzgang von unter 20 Hz bis über 20 kHz und einem maximalen Schalldruckpegel von über 135 dB bewältigt er laute Schallquellen mühelos. Die interne Konstruktion optimiert die Unterdrückung von seitlich einfallendem Schall (bis zu einem Nullpunkt von ca. 135°) und ist für den robusten Einsatz im Studio und auf der Bühne ausgelegt.\u003c\/p\u003e\n\n\u003ch3\u003e HAUPTMERKMALE\u003c\/h3\u003e\n\n\u003cul\u003e\n\n\u003cli\u003e Aktives Bändchenmikrofon mit Supernierencharakteristik\u003c\/li\u003e\n\n\u003cli\u003e Frontbesprechungsdesign, geeignet für Gesang aus nächster Nähe, Gitarrenverstärker, Schlagzeug\u003c\/li\u003e\n\n \u003cli\u003eLanglebiges Flachbandelement und aktive Elektronik – robust für den Live-Einsatz\u003c\/li\u003e\n\n\u003cli\u003e Zuschaltbarer 6 dB\/Oktave Hochpassfilter bei 283 Hz\u003c\/li\u003e\n\n\u003cli\u003e Frequenzbereich: \u0026lt; 20 Hz bis \u0026gt; 20 kHz — erweiterte Bässe und sanfte Höhen\u003c\/li\u003e\n\n\u003cli\u003e Maximaler Schalldruckpegel: ~135 dB (1 kHz, 1% THD)\u003c\/li\u003e\n\n\u003cli\u003e Ausgangsimpedanz: 92 Ω; Benötigt 48 V Phantomspeisung\u003c\/li\u003e\n\n\u003cli\u003e Hervorragende Unterdrückung von Außengeräuschen für weniger Übersprechen und Umgebungsgeräusche\u003c\/li\u003e\n\n\n\u003c\/ul\u003e\n\n\u003ch3\u003e TECHNISCHE DATEN\u003c\/h3\u003e\n\n\u003cul\u003e\n\n\u003cli\u003e Funktionsprinzip: Druckgradientenaufnehmer (Band)\u003c\/li\u003e\n\n\u003cli\u003e Richtcharakteristik: Superniere (Endadresse)\u003c\/li\u003e\n\n\u003cli\u003e Frequenzgang: \u0026lt; 20 Hz – \u0026gt; 20 kHz\u003c\/li\u003e\n\n\u003cli\u003e Maximaler Schalldruckpegel: 135 dB SPL oder höher\u003c\/li\u003e\n\n\u003cli\u003e Empfindlichkeit: −43 dBV (bei 1 kHz, Leerlauf)\u003c\/li\u003e\n\n\u003cli\u003e Ausgangsimpedanz: 92 Ω Breitband\u003c\/li\u003e\n\n\u003cli\u003e Empfohlene Lastimpedanz: ≥ 1 kΩ\u003c\/li\u003e\n\n\u003cli\u003e Phantomspeisung: 48 V, 7 mA\u003c\/li\u003e\n\n\u003cli\u003e Hochpassfilter: 283 Hz, 6 dB\/Oktave (schaltbar)\u003c\/li\u003e\n\n\u003cli\u003e Abmessungen: ca. 20,3 cm Höhe × 7,6 cm Durchmesser; Gewicht: ca. 1,19 kg\u003c\/li\u003e\n\n\n\u003c\/ul\u003e\n\n\n\u003c\/div\u003e\n\n","brand":"AEA","offers":[{"title":"Default Title","offer_id":46825262743889,"sku":"41168","price":1637.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0729\/8741\/0769\/files\/AEAKU5A1.jpg?v=1762022764"},{"product_id":"aea-n8-nuvo","title":"AEA N8 NUVO","description":"\u003cdiv lang=\"en\"\u003e\n  \u003cp\u003e\u003cstrong\u003eAEA N8 NUVO\u003c\/strong\u003e is an active ribbon microphone in the NUVO series designed for far-field recording — the mono counterpart to the R88, with active electronics. A cylindrical body in matte black finish (225 mm × 42 mm), 1.8-micron aluminum ribbon at 59.7 mm × 4.7 mm, 16.5 Hz resonant tuning, and a German-made Lehle transformer (identical to the one in the A440 and R84A) operate in a unity-gain topology: the step-up transformer raises signal level while a JFET buffer lowers the output impedance to 92 Ω broadband without adding voltage gain. The N8 shares the same design philosophy and tonal character as the R88 MK2 — open, flat, far-field ribbon response — in a body ten times lighter and visually unobtrusive.\u003c\/p\u003e\n\n  \u003ch3\u003eFar-Field from 12 Inches to 20+ Feet — Flat Balance Without Proximity Effect\u003c\/h3\u003e\n  \u003cp\u003eThe N8's motor has no multi-layer proximity suppression screen like the N22 — it is tuned for placement at 12 inches and beyond, where the 59.7 mm Big Ribbon retains complete tonal balance: full low end, open top, and smooth midrange without transient compression. It has the widest frequency response in the NUVO lineup — together with the passive R88 MK2, the only two AEA microphones fully voiced for far-field capture. A pair of N8s in a Blumlein array reproduces the soundstage identically to the R88 MK2, but the active electronics eliminate the need for a dedicated high-gain ribbon preamp. The figure-8 pattern with up to 90 dB rejection at 90°\/270° in a vertical Decca tree or overhead configuration isolates the target ensemble from lateral reflections and acoustically poor side spaces.\u003c\/p\u003e\n\n  \u003ch3\u003eActive Electronics, Low-Profile Design and Stage Applications\u003c\/h3\u003e\n  \u003cp\u003eThe Lehle transformer and JFET buffer powered by 48 V phantom protect the ribbon from the supply voltage and reject electromagnetic interference from lighting rigs — critical on location recordings and live performances with large overhead rigs. The matte black finish and 225 mm × 42 mm body are practically invisible in orchestral and broadcast environments. Maximum SPL of 141 dB handles drums, cymbals, and brass sections while retaining dynamic range across quiet sources in the same recording pass. N8 ships with a storage case, mic clip, and protective sleeve. A pair of N8s with the NUVO Stereo Kit replicates the R88 configuration without a dedicated ribbon preamp.\u003c\/p\u003e\n\n  \u003ch3\u003eKEY FEATURES\u003c\/h3\u003e\n  \u003cul\u003e\n    \u003cli\u003eActive NUVO series ribbon microphone — far-field, mono counterpart to the R88\u003c\/li\u003e\n    \u003cli\u003eBig Ribbon — 1.8-micron aluminum, 59.7 mm × 4.7 mm (identical to R44)\u003c\/li\u003e\n    \u003cli\u003eActive unity-gain JFET electronics + Lehle transformer (identical to A440 and R84A)\u003c\/li\u003e\n    \u003cli\u003eOutput impedance: 92 Ω broadband (load-independent)\u003c\/li\u003e\n    \u003cli\u003eSensitivity: 8.3 mV\/Pa (–41.6 dBV) at 1 kHz, no load\u003c\/li\u003e\n    \u003cli\u003eMax SPL: 141 dB (1% THD harmonic distortion \u0026gt;1 kHz)\u003c\/li\u003e\n    \u003cli\u003ePower: P48 phantom, 7 mA\u003c\/li\u003e\n    \u003cli\u003ePolar pattern: figure-8 (bidirectional)\u003c\/li\u003e\n    \u003cli\u003eOff-axis rejection: up to 90 dB at 90°\/270°\u003c\/li\u003e\n    \u003cli\u003eRecommended working distance: 12 inches to 20+ feet (far-field)\u003c\/li\u003e\n    \u003cli\u003eFlat frequency response — no proximity compensation, widest bandwidth in NUVO line\u003c\/li\u003e\n    \u003cli\u003eMatte black finish — low profile for orchestral, broadcast, and TV use\u003c\/li\u003e\n    \u003cli\u003e16.5 Hz resonant tuning — direct lineage with RCA 44 and R84\u003c\/li\u003e\n    \u003cli\u003eAccessories: storage case, mic clip, protective sleeve\u003c\/li\u003e\n    \u003cli\u003eDimensions: 225 mm × 42 mm (max. diameter); weight approx. 340 g\u003c\/li\u003e\n    \u003cli\u003eHandmade in Pasadena, California, USA\u003c\/li\u003e\n  \u003c\/ul\u003e\n\n  \u003ch3\u003eTECHNICAL SPECIFICATIONS\u003c\/h3\u003e\n  \u003cul\u003e\n    \u003cli\u003eOperating principle: pressure gradient transducer (active, unity-gain JFET)\u003c\/li\u003e\n    \u003cli\u003ePolar pattern: figure-8 (bidirectional)\u003c\/li\u003e\n    \u003cli\u003eFrequency range: \u0026lt;20 Hz – \u0026gt;20 kHz\u003c\/li\u003e\n    \u003cli\u003eMax SPL: 141 dB (1% THD \u0026gt;1 kHz)\u003c\/li\u003e\n    \u003cli\u003eSensitivity: 8.3 mV\/Pa (–41.6 dBV) at 1 kHz, no load\u003c\/li\u003e\n    \u003cli\u003eOutput impedance: 92 Ω broadband\u003c\/li\u003e\n    \u003cli\u003eRecommended load impedance: ≥1 kΩ\u003c\/li\u003e\n    \u003cli\u003ePower: P48 phantom, 7 mA\u003c\/li\u003e\n    \u003cli\u003ePolarity: Pin 2 + for positive pressure at front\u003c\/li\u003e\n    \u003cli\u003eOff-axis rejection: up to 90 dB at 90°\/270° (horizontal)\u003c\/li\u003e\n    \u003cli\u003eRibbon thickness: 1.8 µm; width: 4.7 mm; length: 59.7 mm\u003c\/li\u003e\n    \u003cli\u003eResonant tuning: 16.5 Hz\u003c\/li\u003e\n    \u003cli\u003eOutput connector: XLR-3M\u003c\/li\u003e\n    \u003cli\u003eDimensions: 225 mm (H) × 42 mm (max. diameter)\u003c\/li\u003e\n    \u003cli\u003eWeight: approx. 340 g\u003c\/li\u003e\n    \u003cli\u003eMade in: USA (Pasadena, CA)\u003c\/li\u003e\n  \u003c\/ul\u003e\n\u003c\/div\u003e","brand":"AEA","offers":[{"title":"Default Title","offer_id":54014114464081,"sku":"27624","price":1349.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0729\/8741\/0769\/files\/AEAN8NUVO1.jpg?v=1781105436"},{"product_id":"aea-rpq3","title":"AEA RPQ3","description":"\u003cdiv lang=\"en\"\u003e\n  \u003cp\u003e\u003cstrong\u003eAEA RPQ3\u003c\/strong\u003e is a two-channel microphone preamplifier with CurveShaper EQ in a full 1U rack chassis — the third generation of Fred Forssell's JFET topology. With 68 kΩ input impedance (phantom off), a gain range of 7–85 dB, EIN of –130 dBu typical (40 Ω source), and THD+N of 0.0018% at 30 dB gain, the RPQ3 ranks among the cleanest two-channel preamps in serial production. The expanded CurveShaper EQ section with full ±20 dB range and sweepable tuning on both LF and HF bands distinguishes the RPQ3 from the TRP3 — the same Gen 3 circuit, with tone shaping available at the very start of the signal path.\u003c\/p\u003e\n\n  \u003ch3\u003e68 kΩ and CurveShaper — Correction at the Source Without Dynamic Loss\u003c\/h3\u003e\n  \u003cp\u003eThe 68 kΩ input impedance (phantom off) loads a passive ribbon the way it should be loaded — without high-frequency compression and without the dynamic limiting that appears at the typical 1.5–2.5 kΩ of standard preamps. With phantom engaged, impedance drops to 11.3 kΩ due to the feed resistors — still five times higher than the recommended minimum for a passive ribbon. CurveShaper EQ in the RPQ3 is a full dual-band parametric: LF sweeps 40–675 Hz, HF sweeps 2.5–30 kHz, with boost or cut of ±20 dB (wide mode) or ±10 dB (narrow mode). The Q factor of each band varies with frequency and gain settings in a way that keeps the correction musically transparent even at aggressive amounts — audible as shaping rather than processing. LF and HF LED indicators illuminate only when each band is engaged, removing any ambiguity about bypass status during a session.\u003c\/p\u003e\n\n  \u003ch3\u003ePost-Mic\/Pre-EQ Routing and Line Input — Complete Front End in One Unit\u003c\/h3\u003e\n  \u003cp\u003eThe Post-Mic\/Pre-EQ output is always active — the signal after the preamp stage but before the EQ section, available simultaneously with the main output. The Insert switch inserts an external processor between the preamp and EQ without repatchng the full signal chain. Each channel has a line input that bypasses the mic preamp stage, accepting direct line-level or Hi-Z sources via adapter. The internal linear power supply (115 V\/230 V switchable) keeps the external PSU out of the rack entirely; the aluminum 1U chassis with rear-panel IEC inlet installs cleanly in any studio rack. Three-color LED metering per channel (green –6 dBu \/ yellow variable \/ red +23 dBu) provides continuous level monitoring without a VU meter.\u003c\/p\u003e\n\n  \u003ch3\u003eKEY FEATURES\u003c\/h3\u003e\n  \u003cul\u003e\n    \u003cli\u003e2-channel AEA Gen 3 preamp with CurveShaper EQ, full 1U rack format\u003c\/li\u003e\n    \u003cli\u003eInput impedance: 68 kΩ (phantom off) \/ 11.3 kΩ (phantom on)\u003c\/li\u003e\n    \u003cli\u003eGain range: 7–85 dB (12-position switch +7 to +65 dB + output trim 0–+20 dB)\u003c\/li\u003e\n    \u003cli\u003eEIN: –130 dBu typical (40 Ω source) \/ –128 dBu typical (150 Ω source), unweighted\u003c\/li\u003e\n    \u003cli\u003eTHD+N: 0.0018% (1 kHz, 30 dB gain, +4 dBu output)\u003c\/li\u003e\n    \u003cli\u003eCurveShaper EQ LF: 40–675 Hz, ±20 dB \/ ±10 dB, continuously sweepable\u003c\/li\u003e\n    \u003cli\u003eCurveShaper EQ HF: 2.5–30 kHz, ±20 dB \/ ±10 dB, continuously sweepable\u003c\/li\u003e\n    \u003cli\u003eEQ switchable globally and per band; LF\/HF LED indicators\u003c\/li\u003e\n    \u003cli\u003ePost-Mic\/Pre-EQ output always active; Insert switch for external processor pre-EQ\u003c\/li\u003e\n    \u003cli\u003eLine input bypasses mic preamp stage per channel\u003c\/li\u003e\n    \u003cli\u003e+48 V phantom power per channel (switchable); polarity reverse per channel\u003c\/li\u003e\n    \u003cli\u003eMax input level: +20 dBu (minimum gain)\u003c\/li\u003e\n    \u003cli\u003eMax output level: +27 dBu (600 Ω load)\u003c\/li\u003e\n    \u003cli\u003eOutput impedance: 50 Ω\u003c\/li\u003e\n    \u003cli\u003e3-color LED level metering per channel (–6 dBu green \/ variable yellow \/ +23 dBu red)\u003c\/li\u003e\n    \u003cli\u003eInternal linear PSU, 115 V\/230 V switchable, IEC inlet\u003c\/li\u003e\n    \u003cli\u003eHandmade in Pasadena, California, USA\u003c\/li\u003e\n  \u003c\/ul\u003e\n\n  \u003ch3\u003eTECHNICAL SPECIFICATIONS\u003c\/h3\u003e\n  \u003cul\u003e\n    \u003cli\u003eChannels: 2\u003c\/li\u003e\n    \u003cli\u003eFormat: full rack, 1U\u003c\/li\u003e\n    \u003cli\u003eInput impedance: 68 kΩ (phantom off) \/ 11.3 kΩ (phantom on)\u003c\/li\u003e\n    \u003cli\u003eOutput impedance: 50 Ω\u003c\/li\u003e\n    \u003cli\u003eGain range: 7 dB – 85 dB\u003c\/li\u003e\n    \u003cli\u003eEIN: –130 dBu typical (40 Ω) \/ –128 dBu typical (150 Ω), unweighted\u003c\/li\u003e\n    \u003cli\u003eTHD+N: 0.0018% (1 kHz, 30 dB gain, +4 dBu output)\u003c\/li\u003e\n    \u003cli\u003eFrequency response (30 dB gain): –0.6 dB at 10 Hz, –3 dB at 160 kHz\u003c\/li\u003e\n    \u003cli\u003eFrequency response (85 dB gain): –3 dB at 10 Hz and 160 kHz\u003c\/li\u003e\n    \u003cli\u003eMax input level: +20 dBu (minimum gain)\u003c\/li\u003e\n    \u003cli\u003eMax output level: +27 dBu (600 Ω)\u003c\/li\u003e\n    \u003cli\u003eEQ LF: 40–675 Hz, ±20 dB \/ ±10 dB\u003c\/li\u003e\n    \u003cli\u003eEQ HF: 2.5–30 kHz, ±20 dB \/ ±10 dB\u003c\/li\u003e\n    \u003cli\u003ePhantom power: +48 V (per channel, switchable)\u003c\/li\u003e\n    \u003cli\u003ePolarity reverse: yes (per channel)\u003c\/li\u003e\n    \u003cli\u003ePower: internal linear PSU, 115 V\/230 V switchable, IEC inlet\u003c\/li\u003e\n    \u003cli\u003eMade in: USA (Pasadena, CA)\u003c\/li\u003e\n  \u003c\/ul\u003e\n\u003c\/div\u003e","brand":"AEA","offers":[{"title":"Default Title","offer_id":54014121279825,"sku":"52366","price":1879.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0729\/8741\/0769\/files\/AEARPQ31.jpg?v=1781105391"},{"product_id":"aea-r88-mk2","title":"AEA R88 MK2","description":"\u003cdiv lang=\"en\"\u003e\n  \u003cp\u003e\u003cstrong\u003eAEA R88 MK2\u003c\/strong\u003e is a passive stereo ribbon microphone in a fixed Blumlein configuration — two Big Ribbon elements at 1.8-micron (59.7 mm × 4.7 mm), 16.5 Hz resonant tuning, and 1:28 step-up transformers per channel, identical to the R84, housed in a matte black cylindrical body with technical fabric covering the central ribbon section. The MK2 revision from 2010 replaced the original R88's fixed mounting frame with a new, more mobile swivel adapter and reduced the body mass while keeping identical electronics and tonal character. The R88 MK2 is the passive counterpart to the active R88A — same motor and sound, without the SPL headroom limitations inherent in active electronics.\u003c\/p\u003e\n\n  \u003ch3\u003eTwo Undamped Big Ribbons in Blumlein — 165+ dB SPL and Full Bandwidth\u003c\/h3\u003e\n  \u003cp\u003eA passive undamped Big Ribbon is the only transducer design in current serial production rated at 165+ dB SPL at 1% THD above 1 kHz — a ceiling no active ribbon or condenser microphone reaches. In practice this means the R88 MK2's two transducers capture the full dynamic range of an ensemble or drum kit without clipping anywhere a live performance could reach. Where the active R88A runs out of headroom at 141 dB, the passive MK2 continues linearly. The 16.5 Hz tuning and 59.7 mm ribbon deliver coherent response from 20 Hz upward without mechanical resonances in the audible band. The Blumlein configuration — upper transducer handling L-R, lower transducer handling front-back — supports M\/S decoding with any standard sum-and-difference matrix without repositioning the microphone.\u003c\/p\u003e\n\n  \u003ch3\u003ePassive Circuit, Preamp Requirements and Overhead Installation\u003c\/h3\u003e\n  \u003cp\u003eThe R88 MK2 requires no phantom power — 48 V is not recommended. Sensitivity of 2.5 mV\/Pa (–52 dBV) and 270 Ω output impedance require a preamp with at least 60 dB of gain, –127 dBu EIN or better, and input impedance of at least 1.5 kΩ — the same requirements as the passive R84. Blackbird Studios in Nashville keeps an R88 in every recording room. The locking angle adapter and the direct 5\/8-inch fly-overhead thread make the R88 MK2 practical for permanent installations in large halls, concert venues, churches, and theatres. The 4.5 m captive XLR-5M cable terminates via the included breakout cable into 2 × XLR-3M — no external splitter adapter required.\u003c\/p\u003e\n\n  \u003ch3\u003eKEY FEATURES\u003c\/h3\u003e\n  \u003cul\u003e\n    \u003cli\u003ePassive stereo ribbon microphone — fixed Blumlein configuration (90°), coaxial\u003c\/li\u003e\n    \u003cli\u003eTwo Big Ribbon 1.8-micron elements — 59.7 mm × 4.7 mm, 16.5 Hz tuning (identical to R84\/R44)\u003c\/li\u003e\n    \u003cli\u003e1:28 step-up transformer per channel\u003c\/li\u003e\n    \u003cli\u003ePolar pattern: two figure-8 in fixed 90° Blumlein (or M\/S with external decoder)\u003c\/li\u003e\n    \u003cli\u003eMax SPL: 165+ dB (1% THD harmonic distortion \u0026gt;1 kHz) — per channel\u003c\/li\u003e\n    \u003cli\u003eSensitivity: 2.5 mV\/Pa (–52 dBV) into unloaded circuit — per channel\u003c\/li\u003e\n    \u003cli\u003eOutput impedance: 270 Ω nominal\u003c\/li\u003e\n    \u003cli\u003eRecommended load impedance: ≥1.2 kΩ\u003c\/li\u003e\n    \u003cli\u003ePhantom power: not required or recommended\u003c\/li\u003e\n    \u003cli\u003eOff-axis rejection: –35 dB at 90°\/270° (both channels)\u003c\/li\u003e\n    \u003cli\u003eRecommended working distance: 16 inches to 20+ feet (far-field)\u003c\/li\u003e\n    \u003cli\u003eMK2 mount: swivel angle adapter replacing original fixed frame; fly-overhead thread (5\/8\")\u003c\/li\u003e\n    \u003cli\u003eConnector: XLR-5M; 4.5 m breakout cable (XLR-5F → 2 × XLR-3M) included\u003c\/li\u003e\n    \u003cli\u003eAccessories: swivel adapter, zippered carrying case, protective sleeve\u003c\/li\u003e\n    \u003cli\u003eDimensions: 381 mm (H) × 64 mm (body diameter); weight approx. 2.6 kg with cable\u003c\/li\u003e\n    \u003cli\u003eHandmade in Pasadena, California, USA\u003c\/li\u003e\n  \u003c\/ul\u003e\n\n  \u003ch3\u003eTECHNICAL SPECIFICATIONS (per channel)\u003c\/h3\u003e\n  \u003cul\u003e\n    \u003cli\u003eOperating principle: pressure gradient transducer (passive, undamped)\u003c\/li\u003e\n    \u003cli\u003ePolar pattern: figure-8 — two transducers in fixed 90° Blumlein configuration\u003c\/li\u003e\n    \u003cli\u003eFrequency range: 20 Hz – \u0026gt;20 kHz\u003c\/li\u003e\n    \u003cli\u003eMax SPL: 165+ dB (1% THD \u0026gt;1 kHz)\u003c\/li\u003e\n    \u003cli\u003eSensitivity: 2.5 mV\/Pa (–52 dBV) into unloaded circuit\u003c\/li\u003e\n    \u003cli\u003eOutput impedance: 270 Ω nominal\u003c\/li\u003e\n    \u003cli\u003eRecommended load impedance: ≥1.2 kΩ\u003c\/li\u003e\n    \u003cli\u003ePhantom power: not required or recommended\u003c\/li\u003e\n    \u003cli\u003ePolarity: Pin 2 and 4 + for positive pressure at front\u003c\/li\u003e\n    \u003cli\u003eOff-axis rejection: –35 dB at 90°\/270° (horizontal and vertical)\u003c\/li\u003e\n    \u003cli\u003eRibbon thickness: 1.8 µm; width: 4.7 mm; length: 59.7 mm\u003c\/li\u003e\n    \u003cli\u003eResonant tuning: 16.5 Hz; transformer ratio 1:28\u003c\/li\u003e\n    \u003cli\u003eOutput connector: XLR-5M (pins 2\/3 upper channel, pins 4\/5 lower channel)\u003c\/li\u003e\n    \u003cli\u003eDimensions: 381 mm (H) × 64 mm (body diameter)\u003c\/li\u003e\n    \u003cli\u003eWeight: approx. 2.6 kg (with cable)\u003c\/li\u003e\n    \u003cli\u003eMade in: USA (Pasadena, CA)\u003c\/li\u003e\n  \u003c\/ul\u003e\n\u003c\/div\u003e","brand":"AEA","offers":[{"title":"Default Title","offer_id":54014121312593,"sku":"16963","price":2699.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0729\/8741\/0769\/files\/AEAR88mk21.jpg?v=1781105421"},{"product_id":"aea-r88a","title":"AEA R88A","description":"\u003cdiv lang=\"en\"\u003e\n  \u003cp\u003e\u003cstrong\u003eAEA R88A\u003c\/strong\u003e is an active stereo ribbon microphone in a fixed Blumlein configuration — the active version of the R88mk2, built with 1:110 toroidal transformers and JFET electronics identical to those in the A440 and R84A. Two Big Ribbon elements at 1.8-micron (59.7 mm × 4.7 mm), 16.5 Hz resonant tuning, and the large black body are shared with the R88mk2; active electronics deliver +12 dB of output over the passive version and a stable 92 Ω broadband output impedance, load-independent. The R88A is visually distinguished by its red 4.5 m breakout cable (XLR-5F to 2 × XLR-3M) instead of the black cable on the R88mk2.\u003c\/p\u003e\n\n  \u003ch3\u003eBlumlein in One Body — Far-Field Capture and Complete Stereo Image\u003c\/h3\u003e\n  \u003cp\u003eBoth ribbon transducers are mounted coaxially at 90° inside a single body, eliminating the angular alignment problem and phase inconsistencies inherent in setting up a Blumlein pair from two separate microphones. Recommended working distance is 16 inches to 20+ feet: the active electronics allow closer placement than the R88mk2, opening practical applications on drum overheads, piano, and brass sections. In orchestral, choral, and scoring sessions the R88A captures the full soundstage with natural stereo imaging — without mono summation artifacts and without the tonal channel differences that are unavoidable when using non-matched microphone pairs. Together with the mono N8, the R88A shares the widest frequency response in the AEA line — the only two AEA microphones optimized for full far-field capture.\u003c\/p\u003e\n\n  \u003ch3\u003e+12 dB Output, Phantom Power and Universal Preamp Compatibility\u003c\/h3\u003e\n  \u003cp\u003eThe 1:110 toroidal transformers and JFET impedance buffer raise sensitivity from the passive R88mk2 level (~2.5 mV\/Pa) to 7.4 mV\/Pa (–42.6 dBV) — the R88A delivers a higher output level than most condenser microphones at the same working distances. Higher output removes the preamp self-noise problem in quiet-source applications and at the large working distances standard to the R88 configuration. Active electronics protect the ribbons from phantom power and reject electromagnetic interference on long cable runs — essential on location sessions with large lighting rigs. Blackbird Studios in Nashville keeps five R88s on hand; engineers Joe Chiccarelli, Vance Powell, and John Cuniberti use the R88 as a single-microphone solution for entire ensemble recordings in one room.\u003c\/p\u003e\n\n  \u003ch3\u003eKEY FEATURES\u003c\/h3\u003e\n  \u003cul\u003e\n    \u003cli\u003eActive version of R88mk2 — two Big Ribbon 1.8-micron elements (59.7 mm × 4.7 mm), 16.5 Hz tuning\u003c\/li\u003e\n    \u003cli\u003eFixed Blumlein configuration: two figure-8 transducers at 90°, coaxial\u003c\/li\u003e\n    \u003cli\u003e1:110 toroidal transformers + JFET electronics (identical to A440 and R84A)\u003c\/li\u003e\n    \u003cli\u003e+12 dB output over passive R88mk2\u003c\/li\u003e\n    \u003cli\u003eSensitivity: 7.4 mV\/Pa (–42.6 dBV) into unloaded circuit (per channel)\u003c\/li\u003e\n    \u003cli\u003eOutput impedance: 92 Ω broadband (load-independent)\u003c\/li\u003e\n    \u003cli\u003eMax SPL: 141 dB (1% THD harmonic distortion \u0026gt;1 kHz)\u003c\/li\u003e\n    \u003cli\u003ePower: P48 phantom, 7 mA per channel (14 mA total)\u003c\/li\u003e\n    \u003cli\u003ePolar pattern: two figure-8 transducers in fixed 90° Blumlein pair\u003c\/li\u003e\n    \u003cli\u003eOff-axis rejection: –35 dB at 90°\/270° (both channels)\u003c\/li\u003e\n    \u003cli\u003eRecommended working distance: 16 inches to 20+ feet (far-field)\u003c\/li\u003e\n    \u003cli\u003eConnector: XLR-5M; red 4.5 m breakout cable (XLR-5F → 2 × XLR-3M) included\u003c\/li\u003e\n    \u003cli\u003eAccessories: swivel mount adapter, carrying case, protective sleeve\u003c\/li\u003e\n    \u003cli\u003eDimensions: 381 mm (H) × 99 mm (diameter); weight: 2.8 kg\u003c\/li\u003e\n    \u003cli\u003eHandmade in Pasadena, California, USA\u003c\/li\u003e\n  \u003c\/ul\u003e\n\n  \u003ch3\u003eTECHNICAL SPECIFICATIONS (per channel)\u003c\/h3\u003e\n  \u003cul\u003e\n    \u003cli\u003eOperating principle: pressure gradient transducer (active, JFET)\u003c\/li\u003e\n    \u003cli\u003ePolar pattern: figure-8 — two transducers in fixed 90° Blumlein configuration\u003c\/li\u003e\n    \u003cli\u003eFrequency range: \u0026lt;20 Hz – \u0026gt;20 kHz\u003c\/li\u003e\n    \u003cli\u003eMax SPL: 141 dB (1% THD \u0026gt;1 kHz)\u003c\/li\u003e\n    \u003cli\u003eSensitivity: 7.4 mV\/Pa (–42.6 dBV) into unloaded circuit\u003c\/li\u003e\n    \u003cli\u003eOutput impedance: 92 Ω broadband\u003c\/li\u003e\n    \u003cli\u003eRecommended load impedance: ≥1 kΩ\u003c\/li\u003e\n    \u003cli\u003ePower: P48 phantom, 7 mA per channel\u003c\/li\u003e\n    \u003cli\u003ePolarity: Pin 2 and 4 + for positive pressure at front\u003c\/li\u003e\n    \u003cli\u003eRibbon thickness: 1.8 µm; width: 4.7 mm; length: 59.7 mm (per transducer)\u003c\/li\u003e\n    \u003cli\u003eResonant tuning: 16.5 Hz\u003c\/li\u003e\n    \u003cli\u003eOutput connector: XLR-5M\u003c\/li\u003e\n    \u003cli\u003eDimensions: 381 mm (H) × 99 mm (diameter)\u003c\/li\u003e\n    \u003cli\u003eWeight: 2.8 kg\u003c\/li\u003e\n    \u003cli\u003eMade in: USA (Pasadena, CA)\u003c\/li\u003e\n  \u003c\/ul\u003e\n\u003c\/div\u003e","brand":"AEA","offers":[{"title":"Default Title","offer_id":54014121836881,"sku":"50960","price":3090.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0729\/8741\/0769\/files\/AEAR88AActiveStereoRibbonMic.jpg?v=1781105376"},{"product_id":"aea-r84a","title":"AEA R84A","description":"\u003cdiv lang=\"en\"\u003e\n  \u003cp\u003e\u003cstrong\u003eAEA R84A\u003c\/strong\u003e is an active Big Ribbon microphone powered by 48 V phantom — the direct active counterpart to the passive R84. The pill-shaped body, 1.8-micron aluminum ribbon at 59.7 mm × 4.7 mm, 16.5 Hz resonant tuning, and German-made Lehle transformer are identical to the R84. Active JFET electronics — the same topology used in the A440 and the TRP\/RPQ preamp series — deliver +12 dB of output over the passive version and a broadband output impedance of 92 Ω, load-independent regardless of the preamp's input impedance. The R84A was previously manufactured under the name A840. Its distinctive 18-karat gold-plated grille basket distinguishes it from the black grille of the passive R84.\u003c\/p\u003e\n\n  \u003ch3\u003eActive Electronics and Impedance Stability — Big Ribbon Through Any Signal Chain\u003c\/h3\u003e\n  \u003cp\u003eA passive Big Ribbon is a 270 Ω nominal source — its tonal balance and output level shift measurably with the input impedance of the connected preamp. A preamp at 1.5 kΩ loads the ribbon differently than the same unit presenting 10 kΩ, altering the low-end character and overall level. The R84A's active JFET buffer and Lehle step-up transformer output at 92 Ω broadband regardless of load, keeping the Big Ribbon's tonal character consistent across any preamp — from a tube La Chapell to a Mackie Onyx. The +12 dB gain over the R84 brings output to condenser-level sensitivity while maintaining a noise floor comparable to the passive version. Active electronics fully isolate the ribbon from the phantom supply, eliminating the risk of ribbon damage from 48 V applied through a TRS cable or a failed phantom rail.\u003c\/p\u003e\n\n  \u003ch3\u003eTwo Voices and Road-Ready Format\u003c\/h3\u003e\n  \u003cp\u003eLike the passive R92, the R84A's motor produces deliberately different tonalities between the front and rear lobes of its figure-8 pattern — the front face runs brighter with more midrange presence, while the rear face is smoother and more forgiving of sibilance and transient aggression. The compact body (295 mm, 1.36 kg) and universal preamp compatibility make the R84A a standard touring ribbon — the same tonal character regardless of the quality of the preamp at the venue. In orchestral and scoring applications, the higher output and stable impedance remove the need for the high-gain, high-impedance ribbon-specific preamp that was a prerequisite for the passive R84.\u003c\/p\u003e\n\n  \u003ch3\u003eKEY FEATURES\u003c\/h3\u003e\n  \u003cul\u003e\n    \u003cli\u003eActive version of the R84 — identical Big Ribbon 1.8-micron element (59.7 mm × 4.7 mm), 16.5 Hz tuning\u003c\/li\u003e\n    \u003cli\u003eActive JFET electronics + Lehle transformer (Germany) — same topology as A440 and TRP\/RPQ preamps\u003c\/li\u003e\n    \u003cli\u003e+12 dB output over passive R84\u003c\/li\u003e\n    \u003cli\u003eOutput impedance: 92 Ω broadband (load-independent)\u003c\/li\u003e\n    \u003cli\u003eSensitivity: 6.3 mV\/Pa (–44 dBV) into unloaded circuit\u003c\/li\u003e\n    \u003cli\u003eMax SPL: 141+ dB (1% THD harmonic distortion \u0026gt;1 kHz)\u003c\/li\u003e\n    \u003cli\u003ePower: P48 phantom, 7 mA\u003c\/li\u003e\n    \u003cli\u003eRibbon fully isolated from phantom supply — safe with any preamp\u003c\/li\u003e\n    \u003cli\u003ePolar pattern: figure-8 (bidirectional)\u003c\/li\u003e\n    \u003cli\u003eDual tonality: front (brighter, more presence) \/ rear (smoother, reduced sibilance)\u003c\/li\u003e\n    \u003cli\u003e18-karat gold-plated grille basket — distinguishes R84A from passive R84\u003c\/li\u003e\n    \u003cli\u003eSide-address pill-shaped body — mobile use and tight placement angles\u003c\/li\u003e\n    \u003cli\u003eOff-axis rejection: up to 90 dB at 90°\/270°\u003c\/li\u003e\n    \u003cli\u003e3 m captive cable, XLR-3M; softcase and manual included\u003c\/li\u003e\n    \u003cli\u003eDimensions: 295 mm (H) × 99 mm (W) × 64 mm (D); weight: 1.36 kg with cable\u003c\/li\u003e\n    \u003cli\u003eHandmade in Pasadena, California, USA\u003c\/li\u003e\n  \u003c\/ul\u003e\n\n  \u003ch3\u003eTECHNICAL SPECIFICATIONS\u003c\/h3\u003e\n  \u003cul\u003e\n    \u003cli\u003eOperating principle: pressure gradient transducer (active, JFET)\u003c\/li\u003e\n    \u003cli\u003ePolar pattern: figure-8 (bidirectional)\u003c\/li\u003e\n    \u003cli\u003eFrequency range: \u0026lt;20 Hz – \u0026gt;20 kHz\u003c\/li\u003e\n    \u003cli\u003eMax SPL: 141+ dB (1% THD \u0026gt;1 kHz)\u003c\/li\u003e\n    \u003cli\u003eSensitivity: 6.3 mV\/Pa (–44 dBV) into unloaded circuit\u003c\/li\u003e\n    \u003cli\u003eOutput impedance: 92 Ω broadband\u003c\/li\u003e\n    \u003cli\u003eRecommended load impedance: ≥1 kΩ\u003c\/li\u003e\n    \u003cli\u003ePower: P48 phantom, 7 mA\u003c\/li\u003e\n    \u003cli\u003ePolarity: Pin 2 + for positive pressure at front\u003c\/li\u003e\n    \u003cli\u003eOff-axis rejection: up to 90 dB at 90°\/270° (horizontal)\u003c\/li\u003e\n    \u003cli\u003eRibbon thickness: 1.8 µm; width: 4.7 mm; length: 59.7 mm\u003c\/li\u003e\n    \u003cli\u003eResonant tuning: 16.5 Hz\u003c\/li\u003e\n    \u003cli\u003eConnector: XLR-3M on 3 m captive cable\u003c\/li\u003e\n    \u003cli\u003eDimensions: 295 mm (H) × 99 mm (W) × 64 mm (D)\u003c\/li\u003e\n    \u003cli\u003eWeight: 1.36 kg (with cable)\u003c\/li\u003e\n    \u003cli\u003eMade in: USA (Pasadena, CA)\u003c\/li\u003e\n  \u003c\/ul\u003e\n\u003c\/div\u003e","brand":"AEA","offers":[{"title":"Default Title","offer_id":54014121869649,"sku":"42563","price":1699.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0729\/8741\/0769\/files\/AEAR84A_fd49fae5-540e-49ff-ad79-ae5e9e828ce9.jpg?v=1781105368"},{"product_id":"aea-a440","title":"AEA A440","description":"\u003cdiv lang=\"en\"\u003e\n  \u003cp\u003e\u003cstrong\u003eAEA A440\u003c\/strong\u003e is an active Big Ribbon microphone powered by 48 V phantom — the active counterpart to the R44C, built around JFET electronics designed by Fred Forssell (Forssell Technologies) and a German-made Lehle transformer. The 1.8-micron aluminum ribbon at 59.7 mm × 4.7 mm from NOS RCA material, the X-Motor with two additional magnets, the bronze investment cast yoke, and the hand-polished cushion mount are identical to the R44CX. Active JFET electronics powered by P48 phantom deliver +18 dB of output over the R44C and a self-noise floor of 9 dB(A), making the A440 one of the quietest microphones of any type in serial production.\u003c\/p\u003e\n\n  \u003ch3\u003e30 mV\/Pa, 9 dB(A) — Big Ribbon Sound with Any Preamp\u003c\/h3\u003e\n  \u003cp\u003ePassive Big Ribbon microphones in far-field applications — Decca tree, orchestral room mics, overhead ambisonic arrays — demand over 70 dB of clean gain, restricting preamp compatibility to a narrow range of high-gain designs. The A440's 30 mV\/Pa sensitivity (–33.5 dBV) and 92 Ω broadband output impedance deliver a signal level higher than most condenser microphones, fully compatible with any preamp from an SSL console to a USB audio interface. The dynamic range of approximately 127 dB (136 dB SPL max minus 9 dB(A) noise floor) is among the widest achievable by any type of studio microphone. The tonal character of the Big Ribbon — dense low end with strong proximity effect, full midrange, and a gently rolling top end — remains unchanged from the R44C and R44CX. Active electronics isolate the ribbon from load impedance: the A440's tonal balance is load-independent, unlike passive ribbons whose frequency response shifts with preamp input impedance.\u003c\/p\u003e\n\n  \u003ch3\u003eRibbon Protection and Far-Field Applications\u003c\/h3\u003e\n  \u003cp\u003eIn passive microphones, phantom power can destroy the ribbon element if the cable is unbalanced or if one phantom supply rail develops a fault. In the A440, the internal JFET circuit completely isolates the ribbon from the phantom supply — the microphone is safe with any preamp delivering 48 V. Applications where the A440 removes the limitations of the passive R44: scoring sessions and orchestral recording (low self-noise at large working distances), Decca tree configurations (high sensitivity eliminates the need for dedicated high-gain preamps), location recording and broadcast (compatibility with the full range of portable preamps and interfaces). Externally, the A440 is distinguished from the R44C by its classic RCA umber-colored transformer case — brown instead of the standard black-and-silver radio finish.\u003c\/p\u003e\n\n  \u003ch3\u003eKEY FEATURES\u003c\/h3\u003e\n  \u003cul\u003e\n    \u003cli\u003eActive version of the R44CX — X-Motor, same Big Ribbon 1.8-micron element (59.7 mm × 4.7 mm) NOS RCA\u003c\/li\u003e\n    \u003cli\u003eActive JFET electronics (designed by Fred Forssell) + Lehle transformer (Germany)\u003c\/li\u003e\n    \u003cli\u003e+18 dB output over R44C — higher sensitivity than most condenser microphones\u003c\/li\u003e\n    \u003cli\u003eSelf-noise: 9 dB(A) — among the quietest microphones in serial production\u003c\/li\u003e\n    \u003cli\u003eDynamic range: approx. 127 dB (136 dB SPL max – 9 dB(A))\u003c\/li\u003e\n    \u003cli\u003ePolar pattern: figure-8 (bidirectional)\u003c\/li\u003e\n    \u003cli\u003eSensitivity: 30 mV\/Pa (–33.5 dBV) into unloaded circuit\u003c\/li\u003e\n    \u003cli\u003eOutput impedance: 92 Ω broadband\u003c\/li\u003e\n    \u003cli\u003eMax SPL: 136+ dB (1% THD harmonic distortion \u0026gt;1 kHz)\u003c\/li\u003e\n    \u003cli\u003ePower: P48 phantom, 7 mA\u003c\/li\u003e\n    \u003cli\u003eRibbon fully isolated from phantom supply — safe with any preamp\u003c\/li\u003e\n    \u003cli\u003eRCA umber-colored transformer case — distinguishes A440 from R44C\/CE\u003c\/li\u003e\n    \u003cli\u003eBronze investment cast yoke, hand-polished cushion mount (identical to R44CX)\u003c\/li\u003e\n    \u003cli\u003e3 m cloth-covered Accusound Silver Studio Pro captive cable, XLR-3M\u003c\/li\u003e\n    \u003cli\u003eAccessories: AEA 44VC vertical case, zippered canvas bag, stand adapter\u003c\/li\u003e\n    \u003cli\u003eDimensions: 315 mm (H) × 117 mm (W) × 83 mm (D); weight approx. 3.43 kg with cable\u003c\/li\u003e\n    \u003cli\u003eHandmade in Pasadena, California, USA\u003c\/li\u003e\n  \u003c\/ul\u003e\n\n  \u003ch3\u003eTECHNICAL SPECIFICATIONS\u003c\/h3\u003e\n  \u003cul\u003e\n    \u003cli\u003eOperating principle: pressure gradient transducer (active, JFET)\u003c\/li\u003e\n    \u003cli\u003ePolar pattern: figure-8 (bidirectional)\u003c\/li\u003e\n    \u003cli\u003eFrequency range: 20 Hz – \u0026gt;20 kHz\u003c\/li\u003e\n    \u003cli\u003eMax SPL: 136+ dB (1% THD \u0026gt;1 kHz)\u003c\/li\u003e\n    \u003cli\u003eSensitivity: 30 mV\/Pa (–33.5 dBV) into unloaded circuit\u003c\/li\u003e\n    \u003cli\u003eSelf-noise: 9 dB(A)\u003c\/li\u003e\n    \u003cli\u003eOutput impedance: 92 Ω broadband\u003c\/li\u003e\n    \u003cli\u003eRecommended load impedance: ≥1 kΩ\u003c\/li\u003e\n    \u003cli\u003ePower: P48 phantom, 7 mA\u003c\/li\u003e\n    \u003cli\u003ePolarity: Pin 2 + for positive pressure at front\u003c\/li\u003e\n    \u003cli\u003eOff-axis rejection: –35 dB at 90°\/270° (horizontal and vertical)\u003c\/li\u003e\n    \u003cli\u003eRibbon thickness: 1.8 µm; width: 4.7 mm; length: 59.7 mm\u003c\/li\u003e\n    \u003cli\u003eMotor: X-Motor (+2 magnets vs. R44C)\u003c\/li\u003e\n    \u003cli\u003eConnector: XLR-3M on 3 m cloth-covered Accusound Silver Studio Pro captive cable\u003c\/li\u003e\n    \u003cli\u003eDimensions: 315 mm (H) × 117 mm (W) × 83 mm (D)\u003c\/li\u003e\n    \u003cli\u003eWeight: approx. 3.43 kg (with cable)\u003c\/li\u003e\n    \u003cli\u003eMade in: USA (Pasadena, CA)\u003c\/li\u003e\n  \u003c\/ul\u003e\n\u003c\/div\u003e","brand":"AEA","offers":[{"title":"Default Title","offer_id":54014121902417,"sku":"27622","price":7489.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0729\/8741\/0769\/files\/AEAA4401.jpg?v=1781105356"},{"product_id":"aea-ku4","title":"AEA KU4","description":"\u003cdiv lang=\"en\"\u003e\n  \u003cp\u003e\u003cstrong\u003eAEA KU4\u003c\/strong\u003e is a passive supercardioid ribbon microphone — the only ribbon microphone with a supercardioid polar pattern in current serial production. It is based on the RCA KU3A (catalog number M-10001), a unidirectional ribbon microphone from the 1950s designed for overhead boom use in Hollywood motion picture studios, of which fewer than 600 units were ever built. The KU4 achieves its supercardioid pattern through a precision-milled aluminum acoustic labyrinth that delays rear-arriving sound to produce phase cancellation of the rear lobe — no English cow hair as in the original RCA. The 1.8-micron ribbon at 28,6 mm × 2.1 mm from NOS RCA material is substantially shorter and narrower than the Big Ribbon used across the R44 series — closer in size to the RCA 77 family, but with a fixed pattern and a more natural-sounding unidirectional response.\u003c\/p\u003e\n\n  \u003ch3\u003eSupercardioid Ribbon — Upper-Mid Presence, No Resonances, No Bleed\u003c\/h3\u003e\n  \u003cp\u003eThe shorter ribbon element produces a pronounced upper-midrange accent — the KU4 is the brightest microphone in the AEA lineup. That midrange presence makes vocals, strings, and woodwinds read clearly in a mix without EQ, delivering ribbon smoothness without condenser harshness. Reduced proximity effect compared to the Big Ribbon designs allows close miking at 1–18 inches without the low-frequency buildup that makes most ribbon microphones unpredictable at this range. The suppressed rear lobe eliminates lateral bleed from adjacent instruments and early reflections off low ceilings, making the KU4 the practical ribbon choice for live tracking sessions and acoustically untreated spaces. Frequency response extends above 40 kHz with no upper-midrange resonances that are typical of large-diaphragm condenser capsules. The pole piece and ribbon assembly are field-tech replaceable without sending the unit to a service center.\u003c\/p\u003e\n\n  \u003ch3\u003ePassive Circuit and Preamp Requirements\u003c\/h3\u003e\n  \u003cp\u003eThe KU4 requires no phantom power — 48 V is not recommended. Sensitivity of 2.8 mV\/Pa (–51 dBV) and 300 Ω nominal output impedance require a preamp with at least 60 dB of gain and input impedance above 1.2 kΩ — the same requirements as the passive R84 and R44 series. The grille basket and yoke are interchangeable with an original RCA KU3A. The microphone ships with a 1.5-meter captive cable, a custom storage\/shipping case, and a stand adapter; the cushion mount yoke is derived from the R44 series design.\u003c\/p\u003e\n\n  \u003ch3\u003eKEY FEATURES\u003c\/h3\u003e\n  \u003cul\u003e\n    \u003cli\u003eThe only passive supercardioid ribbon microphone in serial production\u003c\/li\u003e\n    \u003cli\u003ePolar pattern: supercardioid — precision-milled aluminum acoustic labyrinth suppresses rear lobe\u003c\/li\u003e\n    \u003cli\u003eBased on RCA KU3A — fewer than 600 original units ever built\u003c\/li\u003e\n    \u003cli\u003e1.8-micron aluminum ribbon — 28.6 mm × 2.1 mm (NOS RCA material)\u003c\/li\u003e\n    \u003cli\u003eShorter ribbon: more upper-mid presence and brighter tonal character than Big Ribbon designs\u003c\/li\u003e\n    \u003cli\u003eReduced proximity effect — close miking at 1–18 inches without low-end excess\u003c\/li\u003e\n    \u003cli\u003eResponse to above 40 kHz, no upper-midrange resonances\u003c\/li\u003e\n    \u003cli\u003eMax SPL: 140+ dB (1% THD harmonic distortion \u0026gt;200 Hz)\u003c\/li\u003e\n    \u003cli\u003eSensitivity: 2.8 mV\/Pa (–51 dBV) into unloaded circuit\u003c\/li\u003e\n    \u003cli\u003eOutput impedance: 300 Ω nominal\u003c\/li\u003e\n    \u003cli\u003eRecommended load impedance: ≥1.2 kΩ\u003c\/li\u003e\n    \u003cli\u003ePhantom power: not required or recommended\u003c\/li\u003e\n    \u003cli\u003eField-tech replaceable pole piece and ribbon assembly\u003c\/li\u003e\n    \u003cli\u003eGrille basket and yoke interchangeable with original RCA KU3A\u003c\/li\u003e\n    \u003cli\u003e1.5 m captive cable, XLR-3M; storage case and stand adapter included\u003c\/li\u003e\n    \u003cli\u003eDimensions: 324 mm (H) × 117 mm (W) × 95 mm (D); weight: 2.15 kg with cable\u003c\/li\u003e\n    \u003cli\u003eHandmade in Pasadena, California, USA\u003c\/li\u003e\n  \u003c\/ul\u003e\n\n  \u003ch3\u003eTECHNICAL SPECIFICATIONS\u003c\/h3\u003e\n  \u003cul\u003e\n    \u003cli\u003eOperating principle: pressure gradient transducer (passive)\u003c\/li\u003e\n    \u003cli\u003ePolar pattern: supercardioid\u003c\/li\u003e\n    \u003cli\u003eFrequency range: \u0026lt;30 Hz – \u0026gt;20 kHz (extended to \u0026gt;40 kHz)\u003c\/li\u003e\n    \u003cli\u003eMax SPL: 140+ dB (1% THD \u0026gt;200 Hz)\u003c\/li\u003e\n    \u003cli\u003eSensitivity: 2.8 mV\/Pa (–51 dBV) into unloaded circuit\u003c\/li\u003e\n    \u003cli\u003eOutput impedance: 300 Ω nominal\u003c\/li\u003e\n    \u003cli\u003eRecommended load impedance: ≥1.2 kΩ\u003c\/li\u003e\n    \u003cli\u003ePhantom power: not required or recommended\u003c\/li\u003e\n    \u003cli\u003ePolarity: Pin 2 + for positive pressure at front\u003c\/li\u003e\n    \u003cli\u003eRibbon thickness: 1.8 µm; width: 2.1 mm; length: 28.6 mm\u003c\/li\u003e\n    \u003cli\u003eRibbon material: corrugated aluminum (NOS RCA material)\u003c\/li\u003e\n    \u003cli\u003eConnector: XLR-3M on 1.5 m captive cable\u003c\/li\u003e\n    \u003cli\u003eDimensions: 324 mm (H) × 117 mm (W) × 95 mm (D)\u003c\/li\u003e\n    \u003cli\u003eWeight: 2.15 kg (with cable)\u003c\/li\u003e\n    \u003cli\u003eMade in: USA (Pasadena, CA)\u003c\/li\u003e\n  \u003c\/ul\u003e\n\u003c\/div\u003e","brand":"AEA","offers":[{"title":"Default Title","offer_id":54014124851537,"sku":"27623","price":6869.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0729\/8741\/0769\/files\/AEAKU4.jpg?v=1781105346"},{"product_id":"aea-r44c","title":"AEA R44C","description":"\u003cdiv lang=\"en\"\u003e\n  \u003cp\u003e\u003cstrong\u003eAEA R44C\u003c\/strong\u003e is a passive ribbon microphone — a museum-quality replica of the 1936–1938 RCA 44BX and the flagship model of the R44 series. The 1.8-micron aluminum ribbon at 59.7 mm × 4.7 mm is made from material originally manufactured for RCA. The undamped motor uses neodymium permanent magnets, 16.5 Hz resonant tuning, and a transformer interchangeable with the original RCA 44BX. Construction is at museum grade: a bronze investment cast yoke in place of the original RCA zinc yoke (which corrodes over decades), a hand-polished cushion mount, and a cloth-covered Accusound Silver Studio Pro cable. The black-and-silver \"radio finish\" with polished chrome grille distinguishes the R44C from the CE and CX variants.\u003c\/p\u003e\n\n  \u003ch3\u003eUndamped 59.7 mm Ribbon — Ninety Years of Tonality in Modern Production\u003c\/h3\u003e\n  \u003cp\u003eThe R44C combines the original American undamped ribbon design with British RCA Ltd. engineering modifications that reduce weight and hum sensitivity. The longest ribbon in current production (59.7 mm) tuned to 16.5 Hz operates without mechanical resonances in the 20 Hz–20 kHz band — dense, articulate low end with strong proximity effect at close range, full midrange, and a smooth, gradually rolling top end with a characteristic ~2 dB\/octave tilt from low to high. This tonal balance — warm, three-dimensional, and consistently flattering — is what engineers like Bruce Swedien (vocals), Joe Chicarelli (saxophone), and Allen Sides (electric guitar) reached for across a full mic locker. Maximum SPL of 165+ dB at 1% THD provides unlimited headroom on loud sources — the passive ribbon does not saturate in conditions where active microphones would.\u003c\/p\u003e\n\n  \u003ch3\u003eConstruction Standards and Preamp Requirements\u003c\/h3\u003e\n  \u003cp\u003eAll mechanical, acoustic, and electrical components of the R44C are interchangeable with an original RCA 44BX — ribbon, transformer, motor parts. AEA manufactures every component in-house using original RCA ribbon material. The R44C requires no phantom power — 48 V can damage the ribbon. Sensitivity of 2.25 mV\/Pa (–53 dBV) and 270 Ω output impedance require a preamp with at least 60 dB of gain and input impedance above 1.2 kΩ for full frequency response and dynamic range. For loud sources, any console preamp presenting above 5 kΩ is adequate. The microphone ships with a 3-meter cloth-covered Accusound Silver Studio Pro captive cable, a zippered canvas bag, and an AEA 44VC vertical carrying case.\u003c\/p\u003e\n\n  \u003ch3\u003eKEY FEATURES\u003c\/h3\u003e\n  \u003cul\u003e\n    \u003cli\u003eMuseum-quality RCA 44BX replica — flagship model of the R44 series\u003c\/li\u003e\n    \u003cli\u003e1.8-micron aluminum ribbon — 59.7 mm × 4.7 mm, ribbon material originally produced for RCA\u003c\/li\u003e\n    \u003cli\u003eUndamped ribbon design — 16.5 Hz resonant tuning, longest ribbon in current production\u003c\/li\u003e\n    \u003cli\u003ePolar pattern: figure-8 (bidirectional)\u003c\/li\u003e\n    \u003cli\u003eMax SPL: 165+ dB (1% THD harmonic distortion \u0026gt;1 kHz)\u003c\/li\u003e\n    \u003cli\u003eSensitivity: 2.25 mV\/Pa (–53 dBV) into unloaded circuit\u003c\/li\u003e\n    \u003cli\u003eOutput impedance: 270 Ω broadband\u003c\/li\u003e\n    \u003cli\u003eRecommended load impedance: ≥1.2 kΩ\u003c\/li\u003e\n    \u003cli\u003ePhantom power: not required or recommended\u003c\/li\u003e\n    \u003cli\u003eAll parts interchangeable with original RCA 44BX\u003c\/li\u003e\n    \u003cli\u003eBronze investment cast yoke, hand-polished cushion mount\u003c\/li\u003e\n    \u003cli\u003eBlack-and-silver \"radio finish\" with polished chrome grille\u003c\/li\u003e\n    \u003cli\u003eBlack AEA badge (vs. red badge on X-Motor versions)\u003c\/li\u003e\n    \u003cli\u003e3 m cloth-covered Accusound Silver Studio Pro captive cable, XLR-3M\u003c\/li\u003e\n    \u003cli\u003eAccessories: AEA 44VC vertical case, zippered canvas bag, stand adapter\u003c\/li\u003e\n    \u003cli\u003eDimensions: 311 mm (H) × 117 mm (W) × 83 mm (D); weight approx. 3.43 kg\u003c\/li\u003e\n    \u003cli\u003eHandmade in Pasadena, California, USA\u003c\/li\u003e\n  \u003c\/ul\u003e\n\n  \u003ch3\u003eTECHNICAL SPECIFICATIONS\u003c\/h3\u003e\n  \u003cul\u003e\n    \u003cli\u003eOperating principle: pressure gradient transducer (passive, undamped)\u003c\/li\u003e\n    \u003cli\u003ePolar pattern: figure-8 (bidirectional)\u003c\/li\u003e\n    \u003cli\u003eFrequency range: \u0026lt;20 Hz – \u0026gt;20 kHz\u003c\/li\u003e\n    \u003cli\u003eMax SPL: 165+ dB (1% THD \u0026gt;1 kHz)\u003c\/li\u003e\n    \u003cli\u003eSensitivity: 2.25 mV\/Pa (–53 dBV) into unloaded circuit\u003c\/li\u003e\n    \u003cli\u003eOutput impedance: 270 Ω broadband\u003c\/li\u003e\n    \u003cli\u003eRecommended load impedance: ≥1.2 kΩ\u003c\/li\u003e\n    \u003cli\u003ePhantom power: not required or recommended\u003c\/li\u003e\n    \u003cli\u003ePolarity: Pin 2 + for positive pressure at front\u003c\/li\u003e\n    \u003cli\u003eOff-axis rejection: up to 90 dB at 90°\/270° (horizontal)\u003c\/li\u003e\n    \u003cli\u003eRibbon thickness: 1.8 µm; width: 4.7 mm; length: 59.7 mm\u003c\/li\u003e\n    \u003cli\u003eResonant tuning: 16.5 Hz\u003c\/li\u003e\n    \u003cli\u003eConnector: XLR-3M on 3 m cloth-covered Accusound Silver Studio Pro captive cable\u003c\/li\u003e\n    \u003cli\u003eDimensions: 311 mm (H) × 117 mm (W) × 83 mm (D)\u003c\/li\u003e\n    \u003cli\u003eWeight: approx. 3.43 kg\u003c\/li\u003e\n    \u003cli\u003eMade in: USA (Pasadena, CA)\u003c\/li\u003e\n  \u003c\/ul\u003e\n\u003c\/div\u003e","brand":"AEA","offers":[{"title":"Default Title","offer_id":54014125179217,"sku":"27625","price":5149.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0729\/8741\/0769\/files\/AEAR44C1.jpg?v=1781105329"},{"product_id":"aea-r44ce","title":"AEA R44CE","description":"\u003cdiv lang=\"en\"\u003e\n  \u003cp\u003e\u003cstrong\u003eAEA R44CE\u003c\/strong\u003e is a passive ribbon microphone — the cost-effective version of the R44C with identical internal components, ribbon element, and transformer, differing only in exterior finish. A black transformer case with white logo, satin nickel formed-steel yoke, one-piece cushion mount, and starquad XLR cable replace the R44C's bronze investment cast yoke, hand-polished mount, and cloth-covered Accusound Silver Studio Pro cable. The 1.8-micron ribbon at 59.7 mm × 4.7 mm from ribbon material produced for RCA, the 16.5 Hz resonant tuning, and the transformer are identical to the R44C and the original 1936–1938 RCA 44BX.\u003c\/p\u003e\n\n  \u003ch3\u003eR44C Sound at a Lower Cost\u003c\/h3\u003e\n  \u003cp\u003eThe R44CE is the only point in the R44 line where the difference between models is purely cosmetic, not acoustic. The undamped 59.7 mm ribbon tuned to 16.5 Hz — the longest and lowest-tuned ribbon in current production — delivers the same tonal character as the R44C: dense, articulate low end with strong proximity effect at close range, full midrange, and a smooth, gently rolling top end. The characteristic ~2 dB\/octave tilt from low to high produces the warmth and three-dimensionality that makes the 44 design consistently flattering for vocals, brass, and strings. Maximum SPL of 165+ dB means the passive ribbon handles loud sources without clip in situations where active microphones could saturate. Off-axis rejection to 90 dB at 90°\/270° allows effective use of the figure-8 pattern for mid\/side or Blumlein arrays with a pair.\u003c\/p\u003e\n\n  \u003ch3\u003ePassive Circuit, Preamp Requirements and RCA 44 Interoperability\u003c\/h3\u003e\n  \u003cp\u003eThe R44CE requires no phantom power — 48 V can damage the ribbon. Sensitivity of 2.25 mV\/Pa (–53 dBV) and 270 Ω output impedance require a preamp with at least 60 dB of gain and input impedance above 1.2 kΩ — the same requirements as the R44C. All mechanical and acoustic components of the R44 series are interchangeable with the original RCA 44BX. The microphone ships with a 3-meter starquad captive cable terminated in XLR-3M and an AEA 44VC vertical carrying case. The X-Motor modification (+6 dB output) is available as the R44CXE variant.\u003c\/p\u003e\n\n  \u003ch3\u003eKEY FEATURES\u003c\/h3\u003e\n  \u003cul\u003e\n    \u003cli\u003ePassive RCA 44BX replica — identical internals to R44C, cost-effective exterior finish\u003c\/li\u003e\n    \u003cli\u003e1.8-micron aluminum ribbon — 59.7 mm × 4.7 mm, ribbon material originally produced for RCA\u003c\/li\u003e\n    \u003cli\u003eUndamped ribbon design — 16.5 Hz resonant tuning, longest ribbon in current production\u003c\/li\u003e\n    \u003cli\u003ePolar pattern: figure-8 (bidirectional)\u003c\/li\u003e\n    \u003cli\u003eMax SPL: 165+ dB (1% THD harmonic distortion \u0026gt;1 kHz)\u003c\/li\u003e\n    \u003cli\u003eSensitivity: 2.25 mV\/Pa (–53 dBV) into unloaded circuit\u003c\/li\u003e\n    \u003cli\u003eOutput impedance: 270 Ω broadband\u003c\/li\u003e\n    \u003cli\u003eRecommended load impedance: ≥1.2 kΩ\u003c\/li\u003e\n    \u003cli\u003ePhantom power: not required or recommended\u003c\/li\u003e\n    \u003cli\u003eAll parts interchangeable with original RCA 44BX\u003c\/li\u003e\n    \u003cli\u003eSatin nickel formed-steel yoke, black transformer case with white logo\u003c\/li\u003e\n    \u003cli\u003eBlack badge (vs. red badge on X-Motor versions)\u003c\/li\u003e\n    \u003cli\u003e3 m starquad captive cable, XLR-3M; AEA 44VC vertical case included\u003c\/li\u003e\n    \u003cli\u003eDimensions: 311 mm (H) × 117 mm (W) × 83 mm (D); weight: 2.65 kg\u003c\/li\u003e\n    \u003cli\u003eHandmade in Pasadena, California, USA\u003c\/li\u003e\n  \u003c\/ul\u003e\n\n  \u003ch3\u003eTECHNICAL SPECIFICATIONS\u003c\/h3\u003e\n  \u003cul\u003e\n    \u003cli\u003eOperating principle: pressure gradient transducer (passive, undamped)\u003c\/li\u003e\n    \u003cli\u003ePolar pattern: figure-8 (bidirectional)\u003c\/li\u003e\n    \u003cli\u003eFrequency range: \u0026lt;20 Hz – \u0026gt;20 kHz\u003c\/li\u003e\n    \u003cli\u003eMax SPL: 165+ dB (1% THD \u0026gt;1 kHz)\u003c\/li\u003e\n    \u003cli\u003eSensitivity: 2.25 mV\/Pa (–53 dBV) into unloaded circuit\u003c\/li\u003e\n    \u003cli\u003eOutput impedance: 270 Ω broadband\u003c\/li\u003e\n    \u003cli\u003eRecommended load impedance: ≥1.2 kΩ\u003c\/li\u003e\n    \u003cli\u003ePhantom power: not required or recommended\u003c\/li\u003e\n    \u003cli\u003ePolarity: Pin 2 + for positive pressure at front\u003c\/li\u003e\n    \u003cli\u003eOff-axis rejection: up to 90 dB at 90°\/270° (horizontal)\u003c\/li\u003e\n    \u003cli\u003eRibbon thickness: 1.8 µm; width: 4.7 mm; length: 59.7 mm\u003c\/li\u003e\n    \u003cli\u003eResonant tuning: 16.5 Hz\u003c\/li\u003e\n    \u003cli\u003eConnector: XLR-3M on 3 m starquad captive cable\u003c\/li\u003e\n    \u003cli\u003eDimensions: 311 mm (H) × 117 mm (W) × 83 mm (D)\u003c\/li\u003e\n    \u003cli\u003eWeight: 2.65 kg\u003c\/li\u003e\n    \u003cli\u003eMade in: USA (Pasadena, CA)\u003c\/li\u003e\n  \u003c\/ul\u003e\n\u003c\/div\u003e","brand":"AEA","offers":[{"title":"Default Title","offer_id":54014125211985,"sku":"27626","price":4199.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0729\/8741\/0769\/files\/AEAR44CE1.jpg?v=1781105319"},{"product_id":"aea-r44cx","title":"AEA R44CX","description":"\u003cdiv lang=\"en\"\u003e\n  \u003cp\u003e\u003cstrong\u003eAEA R44CX\u003c\/strong\u003e is a passive ribbon microphone — a museum-quality replica of the RCA 44BX with the X-Motor modification. Two additional neodymium magnets in the motor increase output by 6 dB over the R44C and the original RCA 44BX with no active electronics. All mechanical and acoustic components — the 1.8-micron ribbon at 59.7 mm × 4.7 mm made from material produced for RCA, the transformer, the motor parts — are interchangeable with an original 1936–1938 RCA 44BX. The R44CX is externally identical to the R44C (bronze investment cast yoke, hand-polished cushion mount, cloth-covered Accusound Silver Studio Pro cable) and distinguished only by a red badge in place of the black-and-silver one.\u003c\/p\u003e\n\n  \u003ch3\u003eX-Motor and 4.47 mV\/Pa — Wide Dynamic Range Without Active Electronics\u003c\/h3\u003e\n  \u003cp\u003eThe X-Motor modification — invented by AEA — adds two permanent magnets to the ribbon motor, raising sensitivity from 2.25 mV\/Pa (R44C) to 4.47 mV\/Pa (–47 dBV), a 6 dB increase with no change in tonal character. The undamped, long ribbon at 59.7 mm tuned to 16.5 Hz — the longest and lowest-tuned ribbon in current production — preserves full dynamic headroom without clip at SPLs above 165 dB. In practice the higher output translates to better SNR on quiet sources, a wider dynamic range in scoring and orchestral sessions, and broader preamp compatibility without specific high-impedance or high-gain requirements. The tonal character — rich low end, relaxed top, smooth midrange with a characteristic 2 dB\/octave tilt from low to high — is unchanged from the R44C.\u003c\/p\u003e\n\n  \u003ch3\u003eMuseum-Grade Construction and Preamp Requirements\u003c\/h3\u003e\n  \u003cp\u003eThe bronze investment cast yoke is superior to the original RCA zinc yokes, which corrode over decades. The cushion mount is hand-polished; the cable is cloth-covered Accusound Silver Studio Pro. The R44CX requires no phantom power — 48 V can damage the ribbon. Sensitivity of 4.47 mV\/Pa and 270 Ω output impedance still require a preamp with at least 60 dB of gain and input impedance above 1.2 kΩ, though the higher X-Motor output broadens compatible preamp options compared to the R44C. The microphone ships with a 3-meter captive cable, an AEA 44VC vertical carrying case, and a zippered canvas bag.\u003c\/p\u003e\n\n  \u003ch3\u003eKEY FEATURES\u003c\/h3\u003e\n  \u003cul\u003e\n    \u003cli\u003ePassive RCA 44BX replica with X-Motor modification (+6 dB output vs. R44C)\u003c\/li\u003e\n    \u003cli\u003e1.8-micron aluminum ribbon — 59.7 mm × 4.7 mm, ribbon material originally produced for RCA\u003c\/li\u003e\n    \u003cli\u003eUndamped ribbon design — 16.5 Hz resonant tuning, longest ribbon in current production\u003c\/li\u003e\n    \u003cli\u003ePolar pattern: figure-8 (bidirectional)\u003c\/li\u003e\n    \u003cli\u003eMax SPL: 165+ dB (1% THD harmonic distortion \u0026gt;1 kHz)\u003c\/li\u003e\n    \u003cli\u003eSensitivity: 4.47 mV\/Pa (–47 dBV) into unloaded circuit\u003c\/li\u003e\n    \u003cli\u003eOutput impedance: 270 Ω broadband\u003c\/li\u003e\n    \u003cli\u003eRecommended load impedance: ≥1.2 kΩ\u003c\/li\u003e\n    \u003cli\u003ePhantom power: not required or recommended\u003c\/li\u003e\n    \u003cli\u003eAll parts interchangeable with original RCA 44BX\u003c\/li\u003e\n    \u003cli\u003eBronze investment cast yoke, hand-polished cushion mount\u003c\/li\u003e\n    \u003cli\u003eRed badge distinguishes X-Motor version from standard R44C\u003c\/li\u003e\n    \u003cli\u003e3 m cloth-covered Accusound Silver Studio Pro captive cable, XLR-3M\u003c\/li\u003e\n    \u003cli\u003eAccessories: AEA 44VC vertical case, zippered canvas bag\u003c\/li\u003e\n    \u003cli\u003eDimensions: 311 mm (H) × 117 mm (W) × 83 mm (D); weight: 3.43 kg with cable\u003c\/li\u003e\n    \u003cli\u003eHandmade in Pasadena, California, USA\u003c\/li\u003e\n  \u003c\/ul\u003e\n\n  \u003ch3\u003eTECHNICAL SPECIFICATIONS\u003c\/h3\u003e\n  \u003cul\u003e\n    \u003cli\u003eOperating principle: pressure gradient transducer (passive, undamped)\u003c\/li\u003e\n    \u003cli\u003ePolar pattern: figure-8 (bidirectional)\u003c\/li\u003e\n    \u003cli\u003eFrequency range: \u0026lt;20 Hz – \u0026gt;20 kHz\u003c\/li\u003e\n    \u003cli\u003eMax SPL: 165+ dB (1% THD \u0026gt;1 kHz)\u003c\/li\u003e\n    \u003cli\u003eSensitivity: 4.47 mV\/Pa (–47 dBV) into unloaded circuit\u003c\/li\u003e\n    \u003cli\u003eOutput impedance: 270 Ω broadband\u003c\/li\u003e\n    \u003cli\u003eRecommended load impedance: ≥1.2 kΩ\u003c\/li\u003e\n    \u003cli\u003ePhantom power: not required or recommended\u003c\/li\u003e\n    \u003cli\u003ePolarity: Pin 2 + for positive pressure at front\u003c\/li\u003e\n    \u003cli\u003eOff-axis rejection: up to 90 dB at 90°\/270° (horizontal)\u003c\/li\u003e\n    \u003cli\u003eRibbon thickness: 1.8 µm; width: 4.7 mm; length: 59.7 mm\u003c\/li\u003e\n    \u003cli\u003eX-Motor modification: +2 magnets, +6 dB output vs. R44C\u003c\/li\u003e\n    \u003cli\u003eConnector: XLR-3M on 3 m cloth-covered Accusound Silver Studio Pro captive cable\u003c\/li\u003e\n    \u003cli\u003eDimensions: 311 mm (H) × 117 mm (W) × 83 mm (D)\u003c\/li\u003e\n    \u003cli\u003eWeight: 3.43 kg (with cable)\u003c\/li\u003e\n    \u003cli\u003eMade in: USA (Pasadena, CA)\u003c\/li\u003e\n  \u003c\/ul\u003e\n\u003c\/div\u003e","brand":"AEA","offers":[{"title":"Default Title","offer_id":54014126293329,"sku":"27627","price":5895.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0729\/8741\/0769\/files\/AEAR44CX1.jpg?v=1781105310"},{"product_id":"aea-r44cxe","title":"AEA R44CXE","description":"\u003cdiv lang=\"en\"\u003e\n  \u003cp\u003e\u003cstrong\u003eAEA R44CXE\u003c\/strong\u003e is a passive ribbon microphone with the X-Motor modification — the R44CE variant fitted with two additional magnets that increase output by 6 dB over the original RCA 44BX. The 1.8-micron aluminum ribbon at 59.7 mm × 4.7 mm, the transformer, and the resonant tuning use ribbon material originally manufactured for RCA — identical across all R44 series variants. Externally, the R44CXE differs from the R44CX in its one-piece cushion mount, formed steel yoke with satin nickel finish, and a red badge instead of black. Electronics and tonality are identical to the R44CX.\u003c\/p\u003e\n\n  \u003ch3\u003eX-Motor — 6 dB More Output, Same RCA 44 Character\u003c\/h3\u003e\n  \u003cp\u003eThe X-Motor modification adds two permanent magnets to the ribbon motor, increasing the magnetic field in the gap and raising the signal induction by 6 dB. The tonal character — the classic undamped RCA 44BX sound of the 1936–1938 period, with full, smooth low end, relaxed high frequencies, and a well-defined midrange — remains unchanged. The 6 dB of additional output translates directly to a higher signal-to-noise ratio when tracking quiet sources, a wider dynamic range in orchestral and scoring sessions, and more working margin with preamps of moderate gain. The passive, undamped ribbon design — the only such construction still in continuous production for over 50 years — provides maximum headroom without clip at SPLs above 165 dB.\u003c\/p\u003e\n\n  \u003ch3\u003ePassive Circuit, Preamp Requirements and RCA 44 Interoperability\u003c\/h3\u003e\n  \u003cp\u003eThe R44CXE requires no phantom power — all R44 series microphones are passive and vulnerable to 48 V with unbalanced cabling. Sensitivity of 2.25 mV\/Pa (–53 dBV) and 270 Ω output impedance require a preamp with at least 60 dB of gain and an input impedance above 1.2 kΩ. All mechanical and acoustic components of the R44 series are interchangeable with an original RCA 44BX — ribbon, transformer, motor parts. AEA manufactures 100% of the internal components in-house or from ribbon material originally produced for RCA. The microphone is supplied with a 3-meter starquad captive cable terminated in XLR-3M and an AEA 44VC vertical carrying case.\u003c\/p\u003e\n\n  \u003ch3\u003eKEY FEATURES\u003c\/h3\u003e\n  \u003cul\u003e\n    \u003cli\u003ePassive RCA 44BX ribbon with X-Motor modification (+6 dB output vs. R44CE\/R44C)\u003c\/li\u003e\n    \u003cli\u003eIdentical electronics and tonality to the R44CX — differs only in exterior finish\u003c\/li\u003e\n    \u003cli\u003e1.8-micron aluminum ribbon — 59.7 mm × 4.7 mm, ribbon material originally produced for RCA\u003c\/li\u003e\n    \u003cli\u003eUndamped ribbon design — longest ribbon and lowest resonant tuning of any ribbon in production\u003c\/li\u003e\n    \u003cli\u003ePolar pattern: figure-8 (bidirectional)\u003c\/li\u003e\n    \u003cli\u003eMax SPL: 165+ dB (1% THD harmonic distortion \u0026gt;1 kHz)\u003c\/li\u003e\n    \u003cli\u003eSensitivity: 2.25 mV\/Pa (–53 dBV) into unloaded circuit\u003c\/li\u003e\n    \u003cli\u003eOutput impedance: 270 Ω nominal\u003c\/li\u003e\n    \u003cli\u003eRecommended load impedance: ≥1.2 kΩ\u003c\/li\u003e\n    \u003cli\u003ePhantom power: not required or recommended\u003c\/li\u003e\n    \u003cli\u003eAll parts interchangeable with original RCA 44BX\u003c\/li\u003e\n    \u003cli\u003eRed badge distinguishes X-Motor version from standard R44CE\u003c\/li\u003e\n    \u003cli\u003e3 m starquad captive cable, XLR-3M; AEA 44VC vertical case included\u003c\/li\u003e\n    \u003cli\u003eDimensions: 311 mm (H) × 117 mm (W) × 83 mm (D); weight approx. 3.4 kg with cable\u003c\/li\u003e\n    \u003cli\u003eHandmade in Pasadena, California, USA\u003c\/li\u003e\n  \u003c\/ul\u003e\n\n  \u003ch3\u003eTECHNICAL SPECIFICATIONS\u003c\/h3\u003e\n  \u003cul\u003e\n    \u003cli\u003eOperating principle: pressure gradient transducer (passive, undamped)\u003c\/li\u003e\n    \u003cli\u003ePolar pattern: figure-8 (bidirectional)\u003c\/li\u003e\n    \u003cli\u003eFrequency range: 20 Hz – 15 kHz\u003c\/li\u003e\n    \u003cli\u003eMax SPL: 165+ dB (1% THD \u0026gt;1 kHz)\u003c\/li\u003e\n    \u003cli\u003eSensitivity: 2.25 mV\/Pa (–53 dBV) into unloaded circuit\u003c\/li\u003e\n    \u003cli\u003eOutput impedance: 270 Ω nominal\u003c\/li\u003e\n    \u003cli\u003eRecommended load impedance: ≥1.2 kΩ\u003c\/li\u003e\n    \u003cli\u003ePhantom power: not required or recommended\u003c\/li\u003e\n    \u003cli\u003ePolarity: Pin 2 + for positive pressure at front\u003c\/li\u003e\n    \u003cli\u003eOff-axis rejection: up to 90 dB at 90°\/270° (horizontal)\u003c\/li\u003e\n    \u003cli\u003eRibbon thickness: 1.8 µm; width: 4.7 mm; length: 59.7 mm\u003c\/li\u003e\n    \u003cli\u003eX-Motor modification: +2 magnets, +6 dB output vs. R44CE\u003c\/li\u003e\n    \u003cli\u003eConnector: XLR-3M on 3 m starquad captive cable\u003c\/li\u003e\n    \u003cli\u003eDimensions: 311 mm (H) × 117 mm (W) × 83 mm (D)\u003c\/li\u003e\n    \u003cli\u003eWeight: approx. 3.4 kg (with cable)\u003c\/li\u003e\n    \u003cli\u003eMade in: USA (Pasadena, CA)\u003c\/li\u003e\n  \u003c\/ul\u003e\n\u003c\/div\u003e","brand":"AEA","offers":[{"title":"Default Title","offer_id":54014127046993,"sku":"27628","price":4627.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0729\/8741\/0769\/files\/AEAR44CXE1.jpg?v=1781105299"},{"product_id":"aea-r84","title":"AEA R84","description":"\u003cdiv lang=\"en\"\u003e\n  \u003cp\u003e\u003cstrong\u003eAEA R84\u003c\/strong\u003e is a passive ribbon microphone in the Big Ribbon format, introduced in 2000 as a more compact and accessible version of the R44C. The 1.8-micron aluminum ribbon at 59.7 mm × 4.7 mm, the transformer, and the 16.5 Hz resonant tuning are identical to the R44C; the motor uses modern design techniques with stronger but smaller permanent magnets. The result is classic RCA 44 tonality with extended top-end response, reduced proximity effect, and better mechanical vibration isolation in a body weighing 1.36 kg instead of the R44C's 3.6 kg.\u003c\/p\u003e\n\n  \u003ch3\u003eBig Ribbon and 16.5 Hz Tuning — Dynamics and Low End Without Resonance\u003c\/h3\u003e\n  \u003cp\u003eRibbon resonant tuning below the audible band (16.5 Hz) means the R84 exhibits no mechanical resonances in the 20 Hz–20 kHz range — a common problem with shorter ribbon elements and condenser capsules that show audible response peaks. In practice this translates to smooth, coherent low-frequency reproduction of drums and bass instruments, accurate transient attack without exaggeration, and a high-frequency rolloff that avoids the harshness of condenser designs. Proximity effect is present but less pronounced than in the R44C — at 12–24 inches the R84 holds a tonal balance comparable to what the R44C delivers at roughly 3 feet. This makes it practical for close-miking (amplifiers, brass, percussion) as well as medium-distance applications (vocals, acoustic instruments, strings). Maximum SPL of 165+ dB handles speaker-level signals from cranked amplifiers without any external attenuator.\u003c\/p\u003e\n\n  \u003ch3\u003ePassive Signal Path and Preamp Requirements\u003c\/h3\u003e\n  \u003cp\u003eThe R84 requires no phantom power and is not recommended with it — 48 V can damage the ribbon if the cable or preamp circuit is unbalanced or develops a fault. Sensitivity of 2.5 mV\/Pa (–52 dBV) is higher than the R44C (1.8 mV\/Pa) and substantially higher than the Coles 4038 (0.5 mV\/Pa), but still demands a preamp with at least 60 dB of gain and a load impedance above 1.2 kΩ for full frequency response. For loud sources, any console preamp presenting above 5 kΩ is adequate; for quiet sources or distance recording, AEA's dedicated ribbon preamps are recommended. The microphone ships with a 3-meter captive cable terminating in XLR-3M, a shockmount, and a foam-lined carrying case.\u003c\/p\u003e\n\n  \u003ch3\u003eKEY FEATURES\u003c\/h3\u003e\n  \u003cul\u003e\n    \u003cli\u003ePassive Big Ribbon — same ribbon element, tuning (16.5 Hz), and transformer as the R44C\u003c\/li\u003e\n    \u003cli\u003eModern motor with stronger magnets — extended HF and reduced proximity effect vs. R44C\u003c\/li\u003e\n    \u003cli\u003ePolar pattern: figure-8 (bidirectional)\u003c\/li\u003e\n    \u003cli\u003eMax SPL: 165+ dB (1% THD harmonic distortion \u0026gt;1 kHz)\u003c\/li\u003e\n    \u003cli\u003eSensitivity: 2.5 mV\/Pa (–52 dBV) into unloaded circuit\u003c\/li\u003e\n    \u003cli\u003eOutput impedance: 270 Ω nominal\u003c\/li\u003e\n    \u003cli\u003eRecommended load impedance: ≥1.2 kΩ\u003c\/li\u003e\n    \u003cli\u003ePhantom power: not required or recommended\u003c\/li\u003e\n    \u003cli\u003eSmooth top-end response — extended and controlled vs. R44C, no condenser harshness\u003c\/li\u003e\n    \u003cli\u003eOff-axis rejection: –35 dB at 90°\/270° (both axes)\u003c\/li\u003e\n    \u003cli\u003e3 m captive cable, XLR-3M connector\u003c\/li\u003e\n    \u003cli\u003eAccessories: shockmount, 3 m cable, foam-lined carrying case\u003c\/li\u003e\n    \u003cli\u003eDimensions: 295 mm (H) × 99 mm (W) × 64 mm (D); weight: 1.36 kg with cable\u003c\/li\u003e\n    \u003cli\u003eHandmade in Pasadena, California, USA\u003c\/li\u003e\n  \u003c\/ul\u003e\n\n  \u003ch3\u003eTECHNICAL SPECIFICATIONS\u003c\/h3\u003e\n  \u003cul\u003e\n    \u003cli\u003eOperating principle: pressure gradient transducer (passive)\u003c\/li\u003e\n    \u003cli\u003ePolar pattern: figure-8 (bidirectional)\u003c\/li\u003e\n    \u003cli\u003eFrequency range: \u0026lt;20 Hz – \u0026gt;20 kHz\u003c\/li\u003e\n    \u003cli\u003eMax SPL: 165+ dB (1% THD \u0026gt;1 kHz)\u003c\/li\u003e\n    \u003cli\u003eSensitivity: 2.5 mV\/Pa (–52 dBV) into unloaded circuit\u003c\/li\u003e\n    \u003cli\u003eOutput impedance: 270 Ω nominal\u003c\/li\u003e\n    \u003cli\u003eRecommended load impedance: ≥1.2 kΩ\u003c\/li\u003e\n    \u003cli\u003ePhantom power: not required or recommended\u003c\/li\u003e\n    \u003cli\u003ePolarity: Pin 2 + for positive pressure at front\u003c\/li\u003e\n    \u003cli\u003eOff-axis rejection: –35 dB at 90°\/270° (horizontal and vertical)\u003c\/li\u003e\n    \u003cli\u003eRibbon thickness: 1.8 µm; width: 4.7 mm; length: 59.7 mm\u003c\/li\u003e\n    \u003cli\u003eRibbon material: corrugated aluminum\u003c\/li\u003e\n    \u003cli\u003eResonant tuning: 16.5 Hz\u003c\/li\u003e\n    \u003cli\u003eConnector: XLR-3M on 3 m captive cable\u003c\/li\u003e\n    \u003cli\u003eDimensions: 295 mm (H) × 99 mm (W) × 64 mm (D)\u003c\/li\u003e\n    \u003cli\u003eWeight: 1.36 kg (with cable); 1.8 kg (with case)\u003c\/li\u003e\n    \u003cli\u003eMade in: USA (Pasadena, CA)\u003c\/li\u003e\n  \u003c\/ul\u003e\n\u003c\/div\u003e","brand":"AEA","offers":[{"title":"Default Title","offer_id":54014128619857,"sku":"25527","price":1444.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0729\/8741\/0769\/files\/AEAR841.jpg?v=1781105287"},{"product_id":"aea-n22","title":"AEA N22","description":"\u003cdiv lang=\"en\"\u003e\n  \u003cp\u003e\u003cstrong\u003eAEA N22\u003c\/strong\u003e is an active ribbon microphone from the NUVO series, designed for near-field recording applications. A 41 mm cylindrical body in satin nickel finish houses a 1.8-micron Big Ribbon at 59.7 mm × 4.7 mm, active JFET electronics with a German-made Lehle transformer (identical to the one in the A440 and R84A), and a multi-layer screen of fabric and metal mesh that suppresses proximity effect and protects the ribbon acoustically — not electronically. The N22 was the first microphone in the NUVO series and the first to make Big Ribbon technology practical for direct close-miking without a separate pop filter.\u003c\/p\u003e\n\n  \u003ch3\u003eNear-Field Design and Upper-Mid Presence\u003c\/h3\u003e\n  \u003cp\u003eThe N22's motor is voiced for 1–18 inches of working distance. Within this range the microphone holds tonal balance without the low-frequency buildup that makes most ribbon mics unwieldy at close range. A sensitivity lift around 3 kHz gives vocals, electric guitars, drums, and bass cabs a degree of mix presence without EQ — a distinction from classic ribbon designs with their characteristically recessed midrange. The multi-layer screen is effective enough for vocal use without an additional pop filter, according to AEA's own guidance. The top end rolls off gently above 5 kHz — no condenser harshness, the smoothness typical of ribbon transducers, with enough extension to capture definition and detail in the upper midrange.\u003c\/p\u003e\n\n  \u003ch3\u003eActive Electronics — Full Resolution with Any Preamp\u003c\/h3\u003e\n  \u003cp\u003eThe Lehle step-up transformer delivers +12 dB of output over a passive ribbon — sensitivity of 6.2 mV\/Pa (–44.1 dBV) produces a usable level from a USB audio interface without any inline booster or dedicated high-gain ribbon preamp. Output impedance of 92 Ω broadband is load-independent, meaning the tonal character remains consistent regardless of which preamp the mic connects to. Active JFET circuitry powered by 48 V phantom suppresses electromagnetic interference on long cable runs and in environments with large lighting rigs. Maximum SPL of 141 dB handles guitar amplifier speakers and drums without risk to the ribbon element.\u003c\/p\u003e\n\n  \u003ch3\u003eKEY FEATURES\u003c\/h3\u003e\n  \u003cul\u003e\n    \u003cli\u003eActive NUVO series ribbon microphone — near-field, side-address\u003c\/li\u003e\n    \u003cli\u003eBig Ribbon — 1.8-micron aluminum, 59.7 mm × 4.7 mm\u003c\/li\u003e\n    \u003cli\u003eActive JFET electronics + Lehle transformer (Germany) — +12 dB output vs. passive ribbon\u003c\/li\u003e\n    \u003cli\u003eOutput impedance: 92 Ω broadband\u003c\/li\u003e\n    \u003cli\u003eSensitivity: 6.2 mV\/Pa (–44.1 dBV) at 1 kHz, no load\u003c\/li\u003e\n    \u003cli\u003eMax SPL: 141 dB (1% THD harmonic distortion \u0026gt;1 kHz)\u003c\/li\u003e\n    \u003cli\u003ePower: P48 phantom, 7 mA\u003c\/li\u003e\n    \u003cli\u003ePolar pattern: figure-8 (bidirectional)\u003c\/li\u003e\n    \u003cli\u003e~3 kHz presence lift — mix readability without EQ\u003c\/li\u003e\n    \u003cli\u003eMulti-layer acoustic screen — proximity reduction and wind blast protection\u003c\/li\u003e\n    \u003cli\u003eRecommended working distance: 1–18 inches (near-field)\u003c\/li\u003e\n    \u003cli\u003eOff-axis rejection: up to 90 dB at 90°\/270°\u003c\/li\u003e\n    \u003cli\u003eSatin nickel finish, 41 mm body diameter\u003c\/li\u003e\n    \u003cli\u003eAccessories: storage case, shockmount mic clip, protective sleeve\u003c\/li\u003e\n    \u003cli\u003eDimensions: 225 mm × 41 mm (diameter); weight approx. 335 g\u003c\/li\u003e\n    \u003cli\u003eHandmade in Pasadena, California, USA\u003c\/li\u003e\n  \u003c\/ul\u003e\n\n  \u003ch3\u003eTECHNICAL SPECIFICATIONS\u003c\/h3\u003e\n  \u003cul\u003e\n    \u003cli\u003eOperating principle: pressure gradient transducer\u003c\/li\u003e\n    \u003cli\u003ePolar pattern: figure-8 (bidirectional)\u003c\/li\u003e\n    \u003cli\u003eFrequency range: \u0026lt;20 Hz – \u0026gt;20 kHz\u003c\/li\u003e\n    \u003cli\u003eMax SPL: 141 dB (1% THD \u0026gt;1 kHz)\u003c\/li\u003e\n    \u003cli\u003eSensitivity: 6.2 mV\/Pa (–44.1 dBV) at 1 kHz, no load\u003c\/li\u003e\n    \u003cli\u003eOutput impedance: 92 Ω broadband\u003c\/li\u003e\n    \u003cli\u003eRecommended load impedance: ≥1 kΩ\u003c\/li\u003e\n    \u003cli\u003ePower: P48 phantom, 7 mA\u003c\/li\u003e\n    \u003cli\u003eRibbon thickness: 1.8 µm; width: 4.7 mm; length: 59.7 mm\u003c\/li\u003e\n    \u003cli\u003eRibbon material: corrugated aluminum\u003c\/li\u003e\n    \u003cli\u003eOutput connector: XLR-3M\u003c\/li\u003e\n    \u003cli\u003eDimensions: 225 mm (H) × 41 mm (diameter)\u003c\/li\u003e\n    \u003cli\u003eWeight: approx. 335 g\u003c\/li\u003e\n    \u003cli\u003eMade in: USA (Pasadena, CA)\u003c\/li\u003e\n  \u003c\/ul\u003e\n\u003c\/div\u003e","brand":"AEA","offers":[{"title":"Default Title","offer_id":54014129439057,"sku":"25528","price":1236.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0729\/8741\/0769\/files\/AEAN221.jpg?v=1781105272"},{"product_id":"aea-n8-stereo-kit","title":"AEA N8 STEREO KIT","description":"\u003cdiv lang=\"en\"\u003e\n  \u003cp\u003e\u003cstrong\u003eAEA N8 NUVO Stereo Kit\u003c\/strong\u003e is a matched pair of active ribbon microphones N8 with a complete stereo rigging package — SMS stereo bar, NUVO Blumlein Coupler, two windscreens, and an SKB travel case. The N8 is the second microphone in the NUVO series: the same body, 1.8-micron Big Ribbon at 59.7 mm × 4.7 mm, and Lehle transformer as the N22, but with a fundamentally different motor tuning — open, flat, far-field voicing modeled on the design philosophy of the R88. The kit was developed at the request of engineer John Kurlander (The Beatles, Lord of the Rings) for fast, precise stereo setups on a single stand.\u003c\/p\u003e\n\n  \u003ch3\u003eFar-Field — Flat Balance from 12 Inches to 20+ Feet\u003c\/h3\u003e\n  \u003cp\u003eThe N8 is the active mono equivalent of the R88: the same minimalist acoustic design, the same ribbon element as the flagship R44, and the same commitment to tonal neutrality. The motor has no multi-layer proximity-suppressing screen like the N22 — the N8 retains its full tonal balance, including low end and top-end detail, at working distances from 12 inches to beyond 20 feet. A Blumlein pair of N8s above a drum kit captures the full kit with natural stereo spread and the complete dynamic range of cymbals and toms. For orchestral, choral, or ensemble recording, the pair maintains low-end coherence and spatial accuracy regardless of mic placement distance. The frequency response is the flattest in the NUVO lineup — smooth between 200 Hz and 5 kHz with a gentle rolloff of approximately 6 dB\/octave above 5 kHz, and no proximity-compensation LF attenuation.\u003c\/p\u003e\n\n  \u003ch3\u003eActive Electronics and Stereo Configurations on a Single Stand\u003c\/h3\u003e\n  \u003cp\u003eThe Lehle transformer (identical to the one used in the A440 and R84A) delivers +12 dB of output over a passive ribbon and holds 92 Ω broadband output impedance — the N8 pair works at full resolution with any preamp without gain or impedance matching concerns. Sensitivity of 8.3 mV\/Pa and 141 dB SPL handling span the range from piano and solo strings to drums and large ensembles. The NUVO Blumlein Coupler locks both microphones head-to-head in a 90° Blumlein array or near-coincident configuration; the SMS Stereo Bar provides flexible positioning on any standard stand. The matte black finish and compact 225 mm × 42 mm profile make the pair nearly invisible in orchestral recording and broadcast environments. Factory-matched pair removes the need for channel-level calibration between sessions.\u003c\/p\u003e\n\n  \u003ch3\u003eKEY FEATURES\u003c\/h3\u003e\n  \u003cul\u003e\n    \u003cli\u003eTwo matched NUVO N8 active ribbon microphones — far-field voicing\u003c\/li\u003e\n    \u003cli\u003eBig Ribbon — 1.8-micron aluminum, 59.7 mm × 4.7 mm (identical to R44)\u003c\/li\u003e\n    \u003cli\u003eActive JFET electronics + Lehle transformer (Germany) — +12 dB output vs. passive ribbon\u003c\/li\u003e\n    \u003cli\u003eOutput impedance: 92 Ω broadband\u003c\/li\u003e\n    \u003cli\u003eSensitivity: 8.3 mV\/Pa (–41.6 dBV) at 1 kHz, no load\u003c\/li\u003e\n    \u003cli\u003eMax SPL: 141 dB (1% THD harmonic distortion \u0026gt;1 kHz)\u003c\/li\u003e\n    \u003cli\u003ePower: P48 phantom, 7 mA (per microphone)\u003c\/li\u003e\n    \u003cli\u003ePolar pattern: figure-8 (bidirectional) — both microphones\u003c\/li\u003e\n    \u003cli\u003eFlat far-field frequency response — no proximity compensation above 30 cm\u003c\/li\u003e\n    \u003cli\u003eRecommended working distance: 12 inches to 20+ feet\u003c\/li\u003e\n    \u003cli\u003eOff-axis rejection: –35 dB at 90°\/270° (both axes)\u003c\/li\u003e\n    \u003cli\u003eMatte black finish — low-profile for orchestral and broadcast use\u003c\/li\u003e\n    \u003cli\u003eKit contents: 2 × N8, SMS Stereo Bar, NUVO Blumlein Coupler, 2 × windscreen, SKB case\u003c\/li\u003e\n    \u003cli\u003eMicrophone dimensions: 225 mm × 42 mm (max. diameter); weight approx. 340 g (each)\u003c\/li\u003e\n    \u003cli\u003eHandmade in Pasadena, California, USA\u003c\/li\u003e\n  \u003c\/ul\u003e\n\n  \u003ch3\u003eTECHNICAL SPECIFICATIONS (per microphone)\u003c\/h3\u003e\n  \u003cul\u003e\n    \u003cli\u003eOperating principle: pressure gradient transducer\u003c\/li\u003e\n    \u003cli\u003ePolar pattern: figure-8 (bidirectional)\u003c\/li\u003e\n    \u003cli\u003eFrequency range: \u0026lt;20 Hz – \u0026gt;20 kHz\u003c\/li\u003e\n    \u003cli\u003eMax SPL: 141 dB (1% THD \u0026gt;1 kHz)\u003c\/li\u003e\n    \u003cli\u003eSensitivity: 8.3 mV\/Pa (–41.6 dBV) at 1 kHz, no load\u003c\/li\u003e\n    \u003cli\u003eOutput impedance: 92 Ω broadband\u003c\/li\u003e\n    \u003cli\u003eRecommended load impedance: ≥1 kΩ\u003c\/li\u003e\n    \u003cli\u003ePower: P48 phantom, 7 mA\u003c\/li\u003e\n    \u003cli\u003eRibbon thickness: 1.8 µm; width: 4.7 mm; length: 59.7 mm\u003c\/li\u003e\n    \u003cli\u003eRibbon material: corrugated aluminum\u003c\/li\u003e\n    \u003cli\u003eSelf-noise: approx. 18 dB(A)\u003c\/li\u003e\n    \u003cli\u003eOutput connector: XLR-3M\u003c\/li\u003e\n    \u003cli\u003eDimensions: 225 mm (H) × 42 mm (max. diameter)\u003c\/li\u003e\n    \u003cli\u003eWeight: approx. 340 g\u003c\/li\u003e\n    \u003cli\u003eMade in: USA (Pasadena, CA)\u003c\/li\u003e\n  \u003c\/ul\u003e\n\u003c\/div\u003e","brand":"AEA","offers":[{"title":"Default Title","offer_id":54014130127185,"sku":"29696","price":3399.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0729\/8741\/0769\/files\/AEAN8STEREOKIT1.jpg?v=1781105245"},{"product_id":"aea-n22-stereo-kit","title":"AEA N22 STEREO KIT","description":"\u003cdiv lang=\"en\"\u003e\n  \u003cp\u003e\u003cstrong\u003eAEA N22 NUVO Stereo Kit\u003c\/strong\u003e is a matched pair of active ribbon microphones N22 with a complete stereo rigging package — SMS stereo bar, NUVO Blumlein Coupler, two windscreens, and an SKB travel case. The N22 is the first microphone in the NUVO series: a cylindrical body in satin nickel finish, 1.8-micron Big Ribbon at 59.7 mm × 4.7 mm, active JFET electronics with a German-made Lehle transformer (identical to the one used in the A440 and R84A), and a multi-layer acoustic screen that suppresses proximity effect. The kit was developed at the request of engineer John Kurlander (The Beatles, Lord of the Rings, Skyrim) for fast and precise stereo setup on a single stand.\u003c\/p\u003e\n\n  \u003ch3\u003eBig Ribbon in the Near Field — Proximity Control and Ribbon Protection\u003c\/h3\u003e\n  \u003cp\u003eMost passive Big Ribbon microphones are voiced for medium and far-field placement — close work produces low-end buildup that requires EQ correction. The N22 solves this acoustically: a multi-layer screen of fabric and metal mesh damps the proximity effect and simultaneously protects the ribbon from wind blasts. The mic can be placed directly in front of a guitar amplifier speaker or a vocalist without a separate pop filter. A characteristic presence lift around 3 kHz distinguishes the N22 from traditional ribbon voicings and allows it to sit in a mix without EQ. A Blumlein pair of N22s above a drum kit, piano, or ensemble delivers a balanced stereo image with natural depth and controlled low end at working distances from a few inches to about a meter.\u003c\/p\u003e\n\n  \u003ch3\u003eActive Electronics and Blumlein Coupler on a Single Stand\u003c\/h3\u003e\n  \u003cp\u003eThe Lehle transformer provides 12 dB of additional output over a passive ribbon and maintains 92 Ω broadband output impedance — the N22 operates at full resolution from a USB audio interface without requiring a dedicated high-gain preamp. Sensitivity of 6.2 mV\/Pa (–44.1 dBV) and 141 dB SPL handling cover the range from quiet acoustic instruments to drums and amplifiers. The NUVO Blumlein Coupler locks both microphones head-to-head in a precise 90° figure-8 Blumlein array or near-coincident configuration; the SMS Stereo Bar provides flexible positioning on any standard stand. The matched pair removes the need for level calibration between sessions.\u003c\/p\u003e\n\n  \u003ch3\u003eKEY FEATURES\u003c\/h3\u003e\n  \u003cul\u003e\n    \u003cli\u003eTwo matched NUVO N22 active ribbon microphones\u003c\/li\u003e\n    \u003cli\u003eBig Ribbon — 1.8-micron aluminum, 59.7 mm × 4.7 mm\u003c\/li\u003e\n    \u003cli\u003eActive JFET electronics + Lehle transformer (Germany) — +12 dB output vs. passive ribbon\u003c\/li\u003e\n    \u003cli\u003eOutput impedance: 92 Ω broadband\u003c\/li\u003e\n    \u003cli\u003eSensitivity: 6.2 mV\/Pa (–44.1 dBV) at 1 kHz, no load\u003c\/li\u003e\n    \u003cli\u003eMax SPL: 141 dB (1% THD harmonic distortion \u0026gt;1 kHz)\u003c\/li\u003e\n    \u003cli\u003ePower: P48 phantom, 7 mA (per microphone)\u003c\/li\u003e\n    \u003cli\u003ePolar pattern: figure-8 (bidirectional) — both microphones\u003c\/li\u003e\n    \u003cli\u003eMulti-layer acoustic screen — proximity reduction and wind blast protection\u003c\/li\u003e\n    \u003cli\u003eRecommended working distance: 1–18 inches (near-field)\u003c\/li\u003e\n    \u003cli\u003eOff-axis rejection: up to 90 dB at 90°\/270°\u003c\/li\u003e\n    \u003cli\u003eKit contents: 2 × N22, SMS Stereo Bar, NUVO Blumlein Coupler, 2 × windscreen, SKB case\u003c\/li\u003e\n    \u003cli\u003eMicrophone dimensions: 225 mm × 41 mm (diameter); weight approx. 335 g (each)\u003c\/li\u003e\n    \u003cli\u003eHandmade in Pasadena, California, USA\u003c\/li\u003e\n  \u003c\/ul\u003e\n\n  \u003ch3\u003eTECHNICAL SPECIFICATIONS (per microphone)\u003c\/h3\u003e\n  \u003cul\u003e\n    \u003cli\u003eOperating principle: pressure gradient transducer\u003c\/li\u003e\n    \u003cli\u003ePolar pattern: figure-8 (bidirectional)\u003c\/li\u003e\n    \u003cli\u003eFrequency range: \u0026lt;20 Hz – \u0026gt;20 kHz\u003c\/li\u003e\n    \u003cli\u003eMax SPL: 141 dB (1% THD \u0026gt;1 kHz)\u003c\/li\u003e\n    \u003cli\u003eSensitivity: 6.2 mV\/Pa (–44.1 dBV) at 1 kHz, no load\u003c\/li\u003e\n    \u003cli\u003eOutput impedance: 92 Ω broadband\u003c\/li\u003e\n    \u003cli\u003eRecommended load impedance: ≥1 kΩ\u003c\/li\u003e\n    \u003cli\u003ePower: P48 phantom, 7 mA\u003c\/li\u003e\n    \u003cli\u003eRibbon thickness: 1.8 µm; width: 4.7 mm; length: 59.7 mm\u003c\/li\u003e\n    \u003cli\u003eRibbon material: corrugated aluminum\u003c\/li\u003e\n    \u003cli\u003eOutput connector: XLR-3M\u003c\/li\u003e\n    \u003cli\u003eDimensions: 225 mm (H) × 41 mm (diameter)\u003c\/li\u003e\n    \u003cli\u003eWeight: approx. 335 g\u003c\/li\u003e\n    \u003cli\u003eMade in: USA (Pasadena, CA)\u003c\/li\u003e\n  \u003c\/ul\u003e\n\u003c\/div\u003e","brand":"AEA","offers":[{"title":"Default Title","offer_id":54014130454865,"sku":"29697","price":3240.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0729\/8741\/0769\/files\/AEAN22STEREOKIT1.jpg?v=1781105235"},{"product_id":"aea-r92","title":"AEA R92","description":"\u003cdiv lang=\"en\"\u003e\n  \u003cp\u003e\u003cstrong\u003eAEA R92\u003c\/strong\u003e is a passive ribbon microphone in a side-address format, engineered specifically for close-miking applications. The Big Ribbon element — 1.8-micron aluminum at 59.7 mm × 4.7 mm, with the same 16.5 Hz tuning and transformer as the flagship R44 — is housed in a new acoustic motor that suppresses proximity effect and delivers a flat tonal balance at 6–12 inches from the source. The pill-shaped body with its integrated shock mount and 360° swivel yoke distinguishes the R92 from most passive ribbon designs that require a separate shockmount and stand adapter.\u003c\/p\u003e\n\n  \u003ch3\u003eTwo Voices from One Ribbon — Front and Back as Distinct Tonalities\u003c\/h3\u003e\n  \u003cp\u003eThe R92 is the only passive AEA ribbon with deliberately asymmetric frequency voicing between the two lobes of its figure-8 pattern. The front face (marked by the AEA logo) is the \"crisp\" side — extended, clear top-end with pronounced midrange definition, suited for electric guitar, brass, and percussion where transient attack detail is essential for mix clarity. The back face is the \"smooth\" side — a classic gentle high-frequency rolloff reminiscent of the RCA 44, which softens harsh transients and handles aggressive sources more flatteringly. Both lobes share the same ribbon element and transformer; the tonal difference is entirely acoustic, derived from the housing geometry. Maximum SPL of 165+ dB makes the R92 one of the few passive ribbons that can be placed directly in front of a cranked guitar amplifier speaker without risk to the element.\u003c\/p\u003e\n\n  \u003ch3\u003ePassive Signal Path and Preamp Requirements\u003c\/h3\u003e\n  \u003cp\u003eThe R92 requires no phantom power and is not recommended with it — 48 V can destroy the ribbon element if the cable or preamp circuit is unbalanced or develops a fault. As a passive mic it needs a minimum of 60 dB gain and a load impedance of at least 1.2 kΩ to preserve full frequency response and dynamic range. For loud sources like guitar amplifiers, any console preamp presenting above 5 kΩ is adequate. For quiet acoustic sources or distance miking, AEA's own preamps (TRP3, TRP500, RPQ3, RPQ500) provide the optimal impedance match. The microphone ships with a 3-meter captive cable terminating in XLR-3M.\u003c\/p\u003e\n\n  \u003ch3\u003eKEY FEATURES\u003c\/h3\u003e\n  \u003cul\u003e\n    \u003cli\u003ePassive Big Ribbon — same ribbon element, tuning (16.5 Hz), and transformer as the R44\u003c\/li\u003e\n    \u003cli\u003ePolar pattern: figure-8 (bidirectional)\u003c\/li\u003e\n    \u003cli\u003eDual tonality: front \"crisp\" (extended HF, mid presence) \/ rear \"smooth\" (classic HF rolloff)\u003c\/li\u003e\n    \u003cli\u003eSide-address format with integrated shock mount yoke\u003c\/li\u003e\n    \u003cli\u003e360° swivel mount — flexible positioning in tight spaces\u003c\/li\u003e\n    \u003cli\u003eFlat tonal balance at 15–30 cm from source (proximity effect compensated)\u003c\/li\u003e\n    \u003cli\u003eMax SPL: 165+ dB (1% THD harmonic distortion \u0026gt;1 kHz)\u003c\/li\u003e\n    \u003cli\u003eSensitivity: 1.8 mV\/Pa (–55 dBV) into unloaded circuit\u003c\/li\u003e\n    \u003cli\u003eOutput impedance: 270 Ω broadband\u003c\/li\u003e\n    \u003cli\u003eRecommended load impedance: ≥1.2 kΩ\u003c\/li\u003e\n    \u003cli\u003ePhantom power: not required or recommended\u003c\/li\u003e\n    \u003cli\u003e3 m captive cable, XLR-3M connector\u003c\/li\u003e\n    \u003cli\u003eDimensions: 190 mm (H) × 74 mm (W) × 64 mm (D); weight approx. 0.9 kg with cable\u003c\/li\u003e\n    \u003cli\u003eHandmade in Pasadena, California, USA\u003c\/li\u003e\n  \u003c\/ul\u003e\n\n  \u003ch3\u003eTECHNICAL SPECIFICATIONS\u003c\/h3\u003e\n  \u003cul\u003e\n    \u003cli\u003eOperating principle: pressure gradient transducer (passive)\u003c\/li\u003e\n    \u003cli\u003ePolar pattern: figure-8 (bidirectional)\u003c\/li\u003e\n    \u003cli\u003eFrequency range: \u0026lt;20 Hz – \u0026gt;20 kHz\u003c\/li\u003e\n    \u003cli\u003eMax SPL: 165+ dB (1% THD \u0026gt;1 kHz)\u003c\/li\u003e\n    \u003cli\u003eSensitivity: 1.8 mV\/Pa (–55 dBV) into unloaded circuit\u003c\/li\u003e\n    \u003cli\u003eOutput impedance: 270 Ω broadband\u003c\/li\u003e\n    \u003cli\u003eRecommended load impedance: ≥1.2 kΩ\u003c\/li\u003e\n    \u003cli\u003ePhantom power: not required or recommended\u003c\/li\u003e\n    \u003cli\u003ePolarity: Pin 2 + for positive pressure at front\u003c\/li\u003e\n    \u003cli\u003eOff-axis rejection: up to 90 dB at 90°\/270° (horizontal axis)\u003c\/li\u003e\n    \u003cli\u003eRibbon thickness: 1.8 µm; width: 4.7 mm; length: 59.7 mm\u003c\/li\u003e\n    \u003cli\u003eRibbon material: corrugated aluminum\u003c\/li\u003e\n    \u003cli\u003eResonant tuning: 16.5 Hz\u003c\/li\u003e\n    \u003cli\u003eConnector: XLR-3M on 3 m captive cable\u003c\/li\u003e\n    \u003cli\u003eDimensions: 190 mm × 74 mm × 64 mm; weight approx. 0.9 kg\u003c\/li\u003e\n    \u003cli\u003eMade in: USA (Pasadena, CA)\u003c\/li\u003e\n  \u003c\/ul\u003e\n\u003c\/div\u003e","brand":"AEA","offers":[{"title":"Default Title","offer_id":54014131274065,"sku":"29700","price":1259.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0729\/8741\/0769\/files\/AEAR921.jpg?v=1781105223"},{"product_id":"aea-trp500","title":"AEA TRP500","description":"\u003cdiv lang=\"en\"\u003e\n  \u003cp\u003e\u003cstrong\u003eAEA TRP500\u003c\/strong\u003e is a single-channel microphone preamplifier in API 500 format, built on a DC-coupled JFET circuit with 100 kΩ input impedance (phantom off) and up to 85 dB of gain. As AEA's first third-generation preamp in modular format, the TRP500 brings the topology and sonic character of the classic TRP into a 500-series slot — no input transformer, minimal signal path, and self-noise below –128 dBu typical with a 40 Ω source.\u003c\/p\u003e\n\n  \u003ch3\u003e100 kΩ and DC Coupling — Full Bandwidth Without Restriction\u003c\/h3\u003e\n  \u003cp\u003eThe 100 kΩ input impedance (phantom off) is the highest value in the AEA lineup and among the highest available in 500-series format preamps optimized for ribbons. With phantom engaged, impedance drops to 11.9 kΩ due to the phantom feed resistors — still several times higher than the 1.5–2.5 kΩ of standard mic preamps, maintaining the impedance advantage with condenser and vintage high-impedance dynamic sources. DC coupling extends the low-frequency response below 10 Hz and speeds recovery to linear operation after transient overloads — subsonic content and impulse peaks don't generate LF tails in the signal path. At 85 dB gain, bandwidth measures –1 dB below 20 Hz and above 100 kHz; at 30 dB gain, ±0.6 dB below 10 Hz through 200 kHz. EIN below –128 dBu (unweighted, 40 Ω source), typically –130 dBu.\u003c\/p\u003e\n\n  \u003ch3\u003eHPF, Phantom and 500-Series Power Isolation\u003c\/h3\u003e\n  \u003cp\u003eA first-order high-pass filter (6 dB\/oct) with –3 dB selectable at 115 Hz or 230 Hz handles proximity effect and mechanical rumble before the signal enters any downstream EQ. The twelve-position gain switch (+7 to +65 dB) combined with a continuous output trim (0 to +20 dB) delivers 7–85 dB total range with repeatable session-to-session settings. THD+N is 0.0017% at 30 dB gain. The 500-series format means power comes from the lunchbox chassis, keeping the switching supply outside the audio circuit entirely — at 85 dB of gain, any power supply noise inside the preamp enclosure would be directly audible. Maximum input before 1% THD is 21.5 dBu at minimum gain, requiring a clean-power 500-series chassis for optimal headroom.\u003c\/p\u003e\n\n  \u003ch3\u003eKEY FEATURES\u003c\/h3\u003e\n  \u003cul\u003e\n    \u003cli\u003eAPI 500 Series format, 1 slot\u003c\/li\u003e\n    \u003cli\u003eSingle-channel DC-coupled JFET preamp, 85 dB gain\u003c\/li\u003e\n    \u003cli\u003eInput impedance: 100 kΩ (phantom off) \/ 11.9 kΩ (phantom on)\u003c\/li\u003e\n    \u003cli\u003eGain range: 7–85 dB (12-position switch +7 to +65 dB + output trim 0–+20 dB)\u003c\/li\u003e\n    \u003cli\u003eEIN: \u0026lt;–128 dBu (22 Hz–22 kHz, unweighted, 40 Ω source); typically –130 dBu\u003c\/li\u003e\n    \u003cli\u003eTHD+N: 0.0017% (1 kHz, 30 dB gain, +4 dBu output)\u003c\/li\u003e\n    \u003cli\u003eBandwidth (85 dB): –1 dB below 20 Hz and \u0026gt;100 kHz; –2.5 dB below 10 Hz and \u0026gt;200 kHz\u003c\/li\u003e\n    \u003cli\u003eBandwidth (30 dB): +0\/–0.6 dB below 10 Hz through 200 kHz\u003c\/li\u003e\n    \u003cli\u003eMax input level: 21.5 dBu (1% THD, minimum gain)\u003c\/li\u003e\n    \u003cli\u003eHPF: –3 dB at 115 Hz or 230 Hz, 6 dB\/oct (switchable)\u003c\/li\u003e\n    \u003cli\u003e+48 V phantom power (switchable)\u003c\/li\u003e\n    \u003cli\u003ePolarity reverse: yes\u003c\/li\u003e\n    \u003cli\u003ePower: API 500 chassis (±16 V rails), 130 mA draw\u003c\/li\u003e\n    \u003cli\u003eHandmade in Pasadena, California, USA\u003c\/li\u003e\n  \u003c\/ul\u003e\n\n  \u003ch3\u003eTECHNICAL SPECIFICATIONS\u003c\/h3\u003e\n  \u003cul\u003e\n    \u003cli\u003eFormat: API 500 Series, 1 slot\u003c\/li\u003e\n    \u003cli\u003eInput type: DC-coupled JFET, transformerless\u003c\/li\u003e\n    \u003cli\u003eInput impedance: 100 kΩ (phantom off) \/ 11.9 kΩ (phantom on)\u003c\/li\u003e\n    \u003cli\u003eGain range: 7 dB – 85 dB\u003c\/li\u003e\n    \u003cli\u003eEIN: \u0026lt;–128 dBu (22 Hz–22 kHz, unweighted, 40 Ω); typically –130 dBu\u003c\/li\u003e\n    \u003cli\u003eTHD+N: 0.0017% (1 kHz, 30 dB gain, +4 dBu output)\u003c\/li\u003e\n    \u003cli\u003eMax input level: 21.5 dBu (1% THD)\u003c\/li\u003e\n    \u003cli\u003eHPF: –3 dB @ 115 Hz or 230 Hz, 6 dB\/oct\u003c\/li\u003e\n    \u003cli\u003ePhantom power: +48 V (switchable)\u003c\/li\u003e\n    \u003cli\u003ePolarity reverse: yes\u003c\/li\u003e\n    \u003cli\u003eCurrent draw: 130 mA (±16 V rails)\u003c\/li\u003e\n    \u003cli\u003eMade in: USA (Pasadena, CA)\u003c\/li\u003e\n  \u003c\/ul\u003e\n\u003c\/div\u003e","brand":"AEA","offers":[{"title":"Default Title","offer_id":54014133633361,"sku":"52365","price":799.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0729\/8741\/0769\/files\/AEATRP500.jpg?v=1781105209"},{"product_id":"aea-trp3","title":"AEA TRP3","description":"\u003cdiv lang=\"en\"\u003e\n  \u003cp\u003e\u003cstrong\u003eAEA TRP3\u003c\/strong\u003e is a two-channel, third-generation microphone preamplifier in a half-rack chassis, designed for passive ribbon microphones. The Gen 3 circuit by Fred Forssell delivers 68 kΩ input impedance (phantom off) and a gain range of 7–85 dB with THD+N of 0.0015% at 30 dB gain — among the lowest distortion figures in this class of preamps. The TRP3 shares topology and sonic character with the RPQ3 but omits the EQ section in favor of a more compact, road-ready format.\u003c\/p\u003e\n\n  \u003ch3\u003e68 kΩ and 85 dB Gain — Purpose-Built for Passive Ribbons\u003c\/h3\u003e\n  \u003cp\u003ePassive ribbon microphones demand high input impedance and high clean gain simultaneously — two requirements that most standard preamps address poorly. The TRP3 presents 68 kΩ (phantom off), allowing passive ribbons to operate without the high-frequency loading loss that occurs with standard 1.5–2.5 kΩ preamp inputs. With phantom engaged, input impedance drops to 11.3 kΩ due to the feed resistors required for 48 V delivery; still several times higher than typical mic preamps and sufficient for condenser and dynamic sources. Bandwidth at full 85 dB gain reaches –3 dB at 9 Hz and above 200 kHz — the full transient and low-frequency content of any microphone passes through without restriction. Maximum output of +27 dBu into 600 Ω provides headroom for long cable runs to consoles or converters.\u003c\/p\u003e\n\n  \u003ch3\u003eHPF, Phantom and Portable Half-Rack Format\u003c\/h3\u003e\n  \u003cp\u003eThe switchable high-pass filter offers –3 dB at either 115 Hz or 230 Hz at 6 dB\/octave — effective for controlling proximity effect and mechanical rumble without touching an EQ insert later in the chain. The twelve-position gain switch (+7 to +65 dB) combined with a continuous output trim (0 to +20 dB) gives a total range of 7–85 dB with repeatable, session-to-session settings. Per-channel +48 V phantom power and polarity reverse are individually switchable. The lightweight aluminum half-rack body is designed for location recording and studio use alike: a single TRP3 mounts in 1U with optional rack ears; two units fit side by side in 1U with the optional rack shelf, keeping a matched stereo pair in a single rack space.\u003c\/p\u003e\n\n  \u003ch3\u003eKEY FEATURES\u003c\/h3\u003e\n  \u003cul\u003e\n    \u003cli\u003e2-channel AEA Gen 3 mic preamp, half-rack format\u003c\/li\u003e\n    \u003cli\u003eInput impedance: 68 kΩ (phantom off) \/ 11.3 kΩ (phantom on)\u003c\/li\u003e\n    \u003cli\u003eGain range: 7–85 dB (12-position switch +7 to +65 dB + output trim 0–+20 dB)\u003c\/li\u003e\n    \u003cli\u003eTHD+N: 0.0015% (1 kHz, 22 Hz–22 kHz, 30 dB gain, +4 dBu output)\u003c\/li\u003e\n    \u003cli\u003eBandwidth (85 dB gain): –3 dB at 9 Hz and \u0026gt;200 kHz\u003c\/li\u003e\n    \u003cli\u003eMax output level: +27 dBu (600 Ω load)\u003c\/li\u003e\n    \u003cli\u003eOutput impedance: 50 Ω\u003c\/li\u003e\n    \u003cli\u003eMax input level: +20 dBu (minimum gain)\u003c\/li\u003e\n    \u003cli\u003eHPF: –3 dB at 115 Hz or 230 Hz (switchable, 6 dB\/oct)\u003c\/li\u003e\n    \u003cli\u003e+48 V phantom power per channel (switchable)\u003c\/li\u003e\n    \u003cli\u003ePolarity reverse per channel\u003c\/li\u003e\n    \u003cli\u003eExternal switching PSU (included)\u003c\/li\u003e\n    \u003cli\u003eOptional accessories: rack ears (1 unit in 1U) and rack shelf (2 units in 1U)\u003c\/li\u003e\n    \u003cli\u003eHandmade in Pasadena, California, USA\u003c\/li\u003e\n  \u003c\/ul\u003e\n\n  \u003ch3\u003eTECHNICAL SPECIFICATIONS\u003c\/h3\u003e\n  \u003cul\u003e\n    \u003cli\u003eChannels: 2\u003c\/li\u003e\n    \u003cli\u003eFormat: half-rack, 1U (with optional rack ears)\u003c\/li\u003e\n    \u003cli\u003eInput impedance: 68 kΩ (phantom off) \/ 11.3 kΩ (phantom on)\u003c\/li\u003e\n    \u003cli\u003eOutput impedance: 50 Ω\u003c\/li\u003e\n    \u003cli\u003eGain range: 7 dB – 85 dB\u003c\/li\u003e\n    \u003cli\u003eTHD+N: 0.0015% (1 kHz, 30 dB gain, +4 dBu output)\u003c\/li\u003e\n    \u003cli\u003eBandwidth (85 dB gain): –3 dB at 9 Hz \/ \u0026gt;200 kHz\u003c\/li\u003e\n    \u003cli\u003eMax input level: +20 dBu (minimum gain)\u003c\/li\u003e\n    \u003cli\u003eMax output level: +27 dBu (600 Ω)\u003c\/li\u003e\n    \u003cli\u003eHPF: –3 dB @ 115 Hz or 230 Hz, 6 dB\/oct\u003c\/li\u003e\n    \u003cli\u003ePhantom power: +48 V (per channel, switchable)\u003c\/li\u003e\n    \u003cli\u003ePolarity reverse: yes (per channel)\u003c\/li\u003e\n    \u003cli\u003ePower: external switching PSU\u003c\/li\u003e\n    \u003cli\u003eMade in: USA (Pasadena, CA)\u003c\/li\u003e\n  \u003c\/ul\u003e\n\u003c\/div\u003e","brand":"AEA","offers":[{"title":"Default Title","offer_id":54014135075153,"sku":"52367","price":1579.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0729\/8741\/0769\/files\/AEATRP31.jpg?v=1781105186"},{"product_id":"aea-1029","title":"AEA 1029","description":"\u003cdiv lang=\"en\"\u003e\n  \u003cp\u003e\u003cstrong\u003eAEA 1029\u003c\/strong\u003e is a two-channel stereo VCA compressor in a half-rack 1U chassis, designed by Fred Forssell. Built around discrete op-amps with a complementary pair of Toshiba NOS JFETs, two THAT 4305 VCA chips, and a single RMS detector fed by the summed input signal, the 1029 operates in a feed-forward topology — delivering transparent, consistent compression without the coloration associated with transformer-coupled or tube-based designs. It is AEA's first compressor, built specifically for stereo microphone pairs and direct integration with the RPQ and TRP preamp series.\u003c\/p\u003e\n\n  \u003ch3\u003eFeed-Forward Topology and Three Sensing Modes\u003c\/h3\u003e\n  \u003cp\u003eDetection from the summed stereo input means both channels receive identical gain reduction decisions — no image shift between L and R, which is the standard failure mode of two independent mono compressors linked after the fact. Three sensing modes address distinct tracking scenarios: Peak Fast (4 ms attack \/ 17 ms release) hits transients hard and delivers a noticeable squash effect — the right setting for drum overheads when presence and bite are the goal; RMS (12 ms attack \/ 50 ms release) runs the most transparently, smoothing vocal and acoustic instrument dynamics without audible pumping; Peak Slow (4 ms attack \/ 200 ms release) holds a long release, letting the compressor breathe in tempo with the material and producing natural-sounding gain riding at higher ratio settings. The front-panel Dry\/Wet control enables parallel compression inline — no external splitter or summing bus required.\u003c\/p\u003e\n\n  \u003ch3\u003eSignal Control and AEA Chain Integration\u003c\/h3\u003e\n  \u003cp\u003eThreshold runs continuously from –20 to +20 dBu and ratio from 1:1 to Limit, covering the full range from gentle leveling to brick-wall limiting. Up to 20 dB of makeup gain compensates for level reduction under heavy compression. True bypass via relay switching keeps the circuit fully out of the signal path when the compressor is disengaged — no passive loading on the downstream impedance. Three 7-segment LED ladders display gain reduction (6 segments, 1–12 dB) plus input and output levels in real time. Paired with an RPQ3 or TRP2 preamp, the 1029 completes a stereo signal chain optimized end-to-end for ribbon microphones. The half-rack form factor supports both 19-inch rack mounting with an optional rack tray and desktop use with the included rubber bumpers.\u003c\/p\u003e\n\n  \u003ch3\u003eKEY FEATURES\u003c\/h3\u003e\n  \u003cul\u003e\n    \u003cli\u003e2-channel stereo VCA compressor — feed-forward topology\u003c\/li\u003e\n    \u003cli\u003eFred Forssell discrete op-amps + Toshiba NOS JFET complementary pair\u003c\/li\u003e\n    \u003cli\u003e2 × THAT 4305 VCA chips, single RMS detector from summed input signal\u003c\/li\u003e\n    \u003cli\u003e3 sensing modes: Peak Fast (4 ms \/ 17 ms), RMS (12 ms \/ 50 ms), Peak Slow (4 ms \/ 200 ms)\u003c\/li\u003e\n    \u003cli\u003eThreshold: –20 to +20 dBu (continuously variable)\u003c\/li\u003e\n    \u003cli\u003eRatio: 1:1 to Limit (continuously variable)\u003c\/li\u003e\n    \u003cli\u003eMakeup gain: up to 20 dB\u003c\/li\u003e\n    \u003cli\u003eDry\/Wet control — parallel compression without external routing\u003c\/li\u003e\n    \u003cli\u003eTrue bypass relay switching\u003c\/li\u003e\n    \u003cli\u003eLED metering: 3 × 7-segment (input level, output level, gain reduction)\u003c\/li\u003e\n    \u003cli\u003eInput impedance: 10 kΩ, actively balanced\u003c\/li\u003e\n    \u003cli\u003eOutput impedance: 50 Ω, active balanced floating\u003c\/li\u003e\n    \u003cli\u003ePower: external switching PSU via 5-pin XLR (included)\u003c\/li\u003e\n    \u003cli\u003eFormat: 1U half-rack; rack-mountable or desktop use\u003c\/li\u003e\n    \u003cli\u003eHandmade in Pasadena, California, USA\u003c\/li\u003e\n  \u003c\/ul\u003e\n\n  \u003ch3\u003eTECHNICAL SPECIFICATIONS\u003c\/h3\u003e\n  \u003cul\u003e\n    \u003cli\u003eType: stereo VCA compressor\/limiter, feed-forward\u003c\/li\u003e\n    \u003cli\u003eInput impedance: 10 kΩ, actively balanced\u003c\/li\u003e\n    \u003cli\u003eMax input level: +26 dBu\u003c\/li\u003e\n    \u003cli\u003eInput CMRR: better than 70 dB (22 Hz – 22 kHz)\u003c\/li\u003e\n    \u003cli\u003eMax output level: +26 dBu (balanced load) \/ +22 dBu (unbalanced)\u003c\/li\u003e\n    \u003cli\u003eMinimum load impedance: 600 Ω\u003c\/li\u003e\n    \u003cli\u003eSignal-to-noise ratio: –97 dBu (dry) \/ –91 dBu (wet)\u003c\/li\u003e\n    \u003cli\u003eFrequency response: 10 Hz – 200 kHz (+0 dB \/ –0.05 dB dry; –0.1 dB wet)\u003c\/li\u003e\n    \u003cli\u003eAttack \/ release: Peak Fast 4 ms \/ 17 ms; RMS 12 ms \/ 50 ms; Peak Slow 4 ms \/ 200 ms\u003c\/li\u003e\n    \u003cli\u003ePolarity: Pin 2 +, Pin 3 –; non-inverting\u003c\/li\u003e\n    \u003cli\u003eI\/O connectors: balanced XLR (rear panel)\u003c\/li\u003e\n    \u003cli\u003ePower: external switching PSU via 5-pin XLR\u003c\/li\u003e\n    \u003cli\u003eFormat: 1U half-rack\u003c\/li\u003e\n    \u003cli\u003eMade in: USA (Pasadena, CA)\u003c\/li\u003e\n  \u003c\/ul\u003e\n\u003c\/div\u003e","brand":"AEA","offers":[{"title":"Default Title","offer_id":54014135402833,"sku":"59166","price":1899.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0729\/8741\/0769\/files\/AEA10291.jpg?v=1781105169"},{"product_id":"aea-n13-nuvo-mid","title":"AEA N13 NUVO Mid","description":"\u003cdiv lang=\"en\"\u003e\n  \u003cp\u003e\u003cstrong\u003eAEA N13 NUVO Mid\u003c\/strong\u003e is a single-channel active ribbon microphone in the NUVO series, designed for mid-field recording applications. As AEA's first departure from the Big Ribbon format, the N13 uses a 1.2-micron aluminum ribbon measuring 33.0 mm × 2.87 mm — shorter, narrower, and thinner than the 60 mm Big Ribbon elements in the N8, N22, or R88. A new motor design combined with active JFET electronics and a German-made Lehle transformer delivers noticeably faster transient response and a brighter tonal character than AEA's Big Ribbon designs at equivalent working distances.\u003c\/p\u003e\n\n  \u003ch3\u003eThin Ribbon — Transient Speed and Mid-Field Balance\u003c\/h3\u003e\n  \u003cp\u003eLower ribbon mass means faster membrane displacement in response to acoustic pressure changes. At 8–36 inches, the N13 resolves instrument attack with a level of transient detail that approaches condenser performance — without the hardness in the upper frequencies that capacitor capsules introduce. The motor is tuned specifically for mid-field use, keeping proximity effect controlled at working distance: the tonal balance remains stable without the low-end buildup that occurs when standard ribbon mics are used at this range. On drum overheads the N13 renders cymbal attack and decay with natural, uncompressed detail; on strings and acoustic guitar it preserves the instrument's mid-band character without masking inner-voice clarity. The figure-8 pattern with up to 90 dB rejection at 90°\/270° provides effective lateral isolation in rooms without acoustic treatment.\u003c\/p\u003e\n\n  \u003ch3\u003eActive Electronics and Low-Profile Design\u003c\/h3\u003e\n  \u003cp\u003eThe JFET circuit powered by 48 V phantom and the Lehle transformer output 92 Ω broadband — the N13 connects to any preamp without concern for input impedance matching or gain headroom. Sensitivity of 11.48 mV\/Pa (–38.8 dBV) combined with 141 dB SPL handling (1% THD above 1 kHz) covers the range from quiet acoustic instruments to brass and drums without switching mics. The slate gray finish and compact 225 mm × 42 mm body make the N13 practically invisible in broadcast and orchestral recording environments where mic visibility directly affects production workflow.\u003c\/p\u003e\n\n  \u003ch3\u003eKEY FEATURES\u003c\/h3\u003e\n  \u003cul\u003e\n    \u003cli\u003eAEA's first non-Big Ribbon bidirectional mic — 1.2-micron ribbon, 33.0 mm × 2.87 mm\u003c\/li\u003e\n    \u003cli\u003eActive JFET electronics + Lehle transformer (Germany)\u003c\/li\u003e\n    \u003cli\u003eOutput impedance: 92 Ω broadband\u003c\/li\u003e\n    \u003cli\u003eSensitivity: 11.48 mV\/Pa (–38.8 dBV) at 1 kHz, no load\u003c\/li\u003e\n    \u003cli\u003eMax SPL: 141 dB (1% THD harmonic distortion \u0026gt;1 kHz)\u003c\/li\u003e\n    \u003cli\u003ePower: P48 phantom, 7 mA\u003c\/li\u003e\n    \u003cli\u003ePolar pattern: figure-8 (bidirectional)\u003c\/li\u003e\n    \u003cli\u003eOff-axis rejection: up to 90 dB at 90°\/270° (horizontal axis)\u003c\/li\u003e\n    \u003cli\u003eRecommended working distance: 8–36 inches (mid-field)\u003c\/li\u003e\n    \u003cli\u003eSlate gray finish, compact profile — broadcast and orchestral applications\u003c\/li\u003e\n    \u003cli\u003eAccessories: storage case, mic clip, protective sleeve\u003c\/li\u003e\n    \u003cli\u003eDimensions: 225 mm × 42 mm (max.); weight approx. 325 g\u003c\/li\u003e\n    \u003cli\u003eHandmade in Pasadena, California, USA\u003c\/li\u003e\n  \u003c\/ul\u003e\n\n  \u003ch3\u003eTECHNICAL SPECIFICATIONS\u003c\/h3\u003e\n  \u003cul\u003e\n    \u003cli\u003eOperating principle: pressure gradient transducer\u003c\/li\u003e\n    \u003cli\u003ePolar pattern: figure-8 (bidirectional)\u003c\/li\u003e\n    \u003cli\u003eFrequency range: \u0026lt;20 Hz – \u0026gt;20 kHz\u003c\/li\u003e\n    \u003cli\u003eMax SPL: 141 dB (1% THD \u0026gt;1 kHz)\u003c\/li\u003e\n    \u003cli\u003eSensitivity: 11.48 mV\/Pa (–38.8 dBV) at 1 kHz, no load\u003c\/li\u003e\n    \u003cli\u003eOutput impedance: 92 Ω broadband\u003c\/li\u003e\n    \u003cli\u003eRecommended load impedance: ≥1 kΩ\u003c\/li\u003e\n    \u003cli\u003ePower: P48 phantom, 7 mA\u003c\/li\u003e\n    \u003cli\u003eRibbon thickness: 1.2 µm; width: 2.87 mm; length: 33.0 mm\u003c\/li\u003e\n    \u003cli\u003eRibbon material: corrugated aluminum\u003c\/li\u003e\n    \u003cli\u003eOutput connector: XLR-3M\u003c\/li\u003e\n    \u003cli\u003eDimensions: 225 mm (H) × 42 mm (max. diameter)\u003c\/li\u003e\n    \u003cli\u003eWeight: approx. 325 g\u003c\/li\u003e\n    \u003cli\u003eMade in: USA (Pasadena, CA)\u003c\/li\u003e\n  \u003c\/ul\u003e\n\u003c\/div\u003e","brand":"AEA","offers":[{"title":"Default Title","offer_id":54014136156497,"sku":"59163","price":1479.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0729\/8741\/0769\/files\/AEAN13NUVOMid1.jpg?v=1781105139"},{"product_id":"aea-n13-stereo-kit","title":"AEA N13 Stereo Kit","description":"\u003cdiv lang=\"en\"\u003e\n  \u003cp\u003e\u003cstrong\u003eAEA N13 NUVO Stereo Kit\u003c\/strong\u003e is a matched pair of active ribbon microphones N13 configured for Blumlein and near-coincident stereo recording, supplied with a dedicated stereo bar, SKB case, and accessories. The N13 is AEA's first departure from the Big Ribbon format — a 1.2-micron aluminum ribbon measuring 33.0 mm × 2.87 mm that delivers faster transient response and a brighter tonal balance than the 60 mm Big Ribbon used in the R88, N8, or N22. The pair is factory-calibrated to within ±0.5 dB between channels, removing the need for level-matching adjustments at every session.\u003c\/p\u003e\n\n  \u003ch3\u003eMid-Field Stereo on a Single Stand\u003c\/h3\u003e\n  \u003cp\u003eThe N13's recommended working distance is 8–36 inches — the range where the motor's low-end tuning keeps proximity effect balanced and the thin ribbon preserves transient accuracy without the compression that occurs when a large ribbon is placed too close to a source. The included Blumlein bar mounts both microphones in an X\/Y 90° or near-coincident arrangement on a single stand, with no additional adapters required. A Blumlein pair of N13s above a drum kit, piano, or ensemble produces a stereo image with clear channel separation and sharp transient definition — a characteristic that Big Ribbon pairs at the same working distance typically don't deliver at mid-field. The figure-8 pattern and low-profile slate gray finish make the kit inconspicuous for orchestral, broadcast, and video recording environments where mic visibility is a concern.\u003c\/p\u003e\n\n  \u003ch3\u003eActive Electronics — Compatible Across the Preamp Range\u003c\/h3\u003e\n  \u003cp\u003eThe JFET circuit with a German-made Lehle transformer — identical to the one used in the N22 and N8 — outputs 92 Ω broadband with a sensitivity of 11.48 mV\/Pa (–38.8 dBV). The active electronics, powered by 48 V phantom, remove the need for a dedicated high-gain ribbon preamp. The N13 pair performs consistently from a Neve console to a USB project studio interface. Maximum SPL of 141 dB (1% THD above 1 kHz) — the same rating as the N22 and N8 — means the kit handles close miking of high-SPL sources such as brass and drums without issue, expanding usable range beyond the standard mid-field application.\u003c\/p\u003e\n\n  \u003ch3\u003eKEY FEATURES\u003c\/h3\u003e\n  \u003cul\u003e\n    \u003cli\u003eTwo matched N13 ribbon microphones, factory-calibrated to ±0.5 dB\u003c\/li\u003e\n    \u003cli\u003e1.2-micron aluminum ribbon — AEA's first non-Big Ribbon bidirectional design\u003c\/li\u003e\n    \u003cli\u003eRibbon dimensions: 33.0 mm × 2.87 mm\u003c\/li\u003e\n    \u003cli\u003eActive JFET electronics + Lehle transformer (Germany) — both microphones\u003c\/li\u003e\n    \u003cli\u003eOutput impedance: 92 Ω broadband\u003c\/li\u003e\n    \u003cli\u003eSensitivity: 11.48 mV\/Pa (–38.8 dBV) at 1 kHz, no load\u003c\/li\u003e\n    \u003cli\u003eMax SPL: 141 dB (1% THD harmonic distortion \u0026gt;1 kHz)\u003c\/li\u003e\n    \u003cli\u003ePower: P48 phantom, 7 mA (per microphone)\u003c\/li\u003e\n    \u003cli\u003ePolar pattern: figure-8 (bidirectional) — both microphones\u003c\/li\u003e\n    \u003cli\u003eRecommended working distance: 8–36 inches (mid-field)\u003c\/li\u003e\n    \u003cli\u003eOff-axis rejection: up to 90 dB at 90°\/270° (horizontal axis)\u003c\/li\u003e\n    \u003cli\u003eBlumlein bar included — X\/Y and near-coincident setups without additional adapters\u003c\/li\u003e\n    \u003cli\u003eKit contents: 2 × N13, Blumlein bar, SKB case, mic clips, protective sleeves\u003c\/li\u003e\n    \u003cli\u003eMicrophone dimensions: 225 mm × 42 mm (max.); weight approx. 325 g (each)\u003c\/li\u003e\n    \u003cli\u003eHandmade in Pasadena, California, USA\u003c\/li\u003e\n  \u003c\/ul\u003e\n\n  \u003ch3\u003eTECHNICAL SPECIFICATIONS (per microphone)\u003c\/h3\u003e\n  \u003cul\u003e\n    \u003cli\u003eOperating principle: pressure gradient transducer\u003c\/li\u003e\n    \u003cli\u003ePolar pattern: figure-8 (bidirectional)\u003c\/li\u003e\n    \u003cli\u003eFrequency range: \u0026lt;20 Hz – \u0026gt;20 kHz\u003c\/li\u003e\n    \u003cli\u003eMax SPL: 141 dB (1% THD \u0026gt;1 kHz)\u003c\/li\u003e\n    \u003cli\u003eSensitivity: 11.48 mV\/Pa (–38.8 dBV) at 1 kHz, no load\u003c\/li\u003e\n    \u003cli\u003eOutput impedance: 92 Ω broadband\u003c\/li\u003e\n    \u003cli\u003eRecommended load impedance: ≥1 kΩ\u003c\/li\u003e\n    \u003cli\u003ePower: P48 phantom, 7 mA\u003c\/li\u003e\n    \u003cli\u003eRibbon thickness: 1.2 µm; width: 2.87 mm; length: 33.0 mm\u003c\/li\u003e\n    \u003cli\u003eOutput connector: XLR-3M\u003c\/li\u003e\n    \u003cli\u003eDimensions: 225 mm (H) × 42 mm (max. diameter)\u003c\/li\u003e\n    \u003cli\u003eWeight: approx. 325 g\u003c\/li\u003e\n    \u003cli\u003eMade in: USA (Pasadena, CA)\u003c\/li\u003e\n  \u003c\/ul\u003e\n\u003c\/div\u003e","brand":"AEA","offers":[{"title":"Default Title","offer_id":54014136975697,"sku":"59169","price":2988.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0729\/8741\/0769\/files\/AEAN13StereoKit1.jpg?v=1781105129"},{"product_id":"aea-n28-nuvo-stereo","title":"AEA N28 NUVO Stereo","description":"\u003cdiv lang=\"en\"\u003e\n  \u003cp\u003e\u003cstrong\u003eAEA N28 NUVO Stereo\u003c\/strong\u003e is an active stereo ribbon microphone in a fixed Blumlein configuration — two matched bidirectional transducers set at 90° to each other inside a single compact body. A new motor design with 1.8-micron ribbons measuring 33.3 mm, Lehle 1:89 transformers, and a dual-buffer impedance topology designed by Fred Forssell deliver a phase-coherent stereo image without requiring two separate microphones or a high-gain ribbon preamp.\u003c\/p\u003e\n\n  \u003ch3\u003eBlumlein in a Single Body — Geometry and Phase Without the Setup Variables\u003c\/h3\u003e\n  \u003cp\u003eIn a conventional Blumlein pair built from two separate mics, precise angular alignment is the critical variable — a few degrees of offset translates directly into stereo image skew. The N28 solves this structurally: both transducers are factory-set at exactly 90°, precision-matched to within ±0.5 dB between channels, and coaxial by design. Every placement produces the same geometrically accurate Blumlein pair. The recommended working distance is 8 inches to 3 feet — mid-field range where the motor's low-end tuning keeps proximity effect controlled. The mic exits via a single XLR-5M connector; the included 15-foot breakout cable (XLR-5F to 2 × XLR-3M) splits the channels at the preamp end, removing the need for a separate splitter box.\u003c\/p\u003e\n\n  \u003ch3\u003eActive Electronics — Compatible with Any Preamp\u003c\/h3\u003e\n  \u003cp\u003ePassive stereo ribbons like the R88 demand a high-gain, high-impedance preamp — preamp selection becomes part of the system design. The N28's active impedance buffer and 1:89 transformer output 92 Ω broadband, compatible with virtually any preamp from a USB audio interface to a tour console. Sensitivity of 6.10 mV\/Pa (–44.3 dBV) is lower than the N22 or N8, but the active electronics remove the need for hunting down 70+ dB of quiet gain. Off-axis rejection hits –35 dB horizontally at 90°\/270° — standard figure-8 performance that gives useful separation from lateral sound sources in rooms without ideal acoustics. The compact 270 mm body and unobtrusive profile make it practical for broadcast, video, and stage use where mic visibility is a factor.\u003c\/p\u003e\n\n  \u003ch3\u003eKEY FEATURES\u003c\/h3\u003e\n  \u003cul\u003e\n    \u003cli\u003eTwo active bidirectional ribbon transducers in a fixed Blumlein pair (90°)\u003c\/li\u003e\n    \u003cli\u003eNew motor design — 1.8-micron aluminum corrugated ribbon, 33.3 mm × 2.2 mm\u003c\/li\u003e\n    \u003cli\u003eLehle 1:89 transformers, dual-buffer impedance amp topology\u003c\/li\u003e\n    \u003cli\u003eChannel matching: ±0.5 dB\u003c\/li\u003e\n    \u003cli\u003eOutput impedance: 92 Ω broadband\u003c\/li\u003e\n    \u003cli\u003eSensitivity: 6.10 mV\/Pa (–44.3 dBV) at 1 kHz\u003c\/li\u003e\n    \u003cli\u003eMax SPL: 135 dB at 1 kHz\u003c\/li\u003e\n    \u003cli\u003ePower: P48 phantom, 7 mA\u003c\/li\u003e\n    \u003cli\u003eOff-axis rejection: –35 dB horizontal \/ –25 dB vertical at 90°\/270°\u003c\/li\u003e\n    \u003cli\u003eRecommended working distance: 8 inches to 3 feet (mid-field)\u003c\/li\u003e\n    \u003cli\u003eConnector: XLR-5M; 15 ft breakout cable (XLR-5F → 2 × XLR-3M) included\u003c\/li\u003e\n    \u003cli\u003eAccessories: windscreen, shock mount clip, storage case, protective sleeve\u003c\/li\u003e\n    \u003cli\u003eDimensions: 270 mm × 412 mm; weight: 400 g\u003c\/li\u003e\n    \u003cli\u003eHandmade in Pasadena, California, USA\u003c\/li\u003e\n  \u003c\/ul\u003e\n\n  \u003ch3\u003eTECHNICAL SPECIFICATIONS\u003c\/h3\u003e\n  \u003cul\u003e\n    \u003cli\u003eOperating principle: pressure gradient transducer\u003c\/li\u003e\n    \u003cli\u003ePolar pattern: two figure-8 in fixed Blumlein pair (90°)\u003c\/li\u003e\n    \u003cli\u003eFrequency range: \u0026lt;20 Hz – \u0026gt;20 kHz\u003c\/li\u003e\n    \u003cli\u003eMax SPL: 135 dB at 1 kHz\u003c\/li\u003e\n    \u003cli\u003eSensitivity: 6.10 mV\/Pa (–44.3 dBV) at 1 kHz, no load\u003c\/li\u003e\n    \u003cli\u003eOutput impedance: 92 Ω broadband\u003c\/li\u003e\n    \u003cli\u003eRecommended load impedance: ≥1 kΩ\u003c\/li\u003e\n    \u003cli\u003ePower: P48 phantom, 7 mA\u003c\/li\u003e\n    \u003cli\u003eRibbon thickness: 1.8 µm; width: 2.2 mm; length: 33.3 mm\u003c\/li\u003e\n    \u003cli\u003eChannel matching: ±0.5 dB\u003c\/li\u003e\n    \u003cli\u003eOutput connector: XLR-5M\u003c\/li\u003e\n    \u003cli\u003eDimensions: 270 mm (H) × 412 mm (W)\u003c\/li\u003e\n    \u003cli\u003eWeight: 400 g\u003c\/li\u003e\n    \u003cli\u003eMade in: USA (Pasadena, CA)\u003c\/li\u003e\n  \u003c\/ul\u003e\n\u003c\/div\u003e","brand":"AEA","offers":[{"title":"Default Title","offer_id":54014138483025,"sku":"59164","price":3099.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0729\/8741\/0769\/files\/AEAN28NUVOStereo1.jpg?v=1781105115"},{"product_id":"aea-nuvo-flight","title":"AEA NUVO Flight","description":"\u003cdiv lang=\"en\"\u003e\n  \u003cp\u003e\u003cstrong\u003eAEA NUVO Flight\u003c\/strong\u003e is a complete kit of three active ribbon microphones from the NUVO series — N22, N13, and N8 — packed in a rugged hardshell flight case with custom-molded foam. Each microphone covers a distinct working distance: near-field, mid-field, and far-field. All three share the same active architecture: a German-made Lehle step-up transformer, JFET electronics powered by 48 V phantom, 92 Ω output impedance, and 141 dB SPL handling. No high-gain ribbon preamp required — the active design delivers consistent output with a wide range of preamps, from studio consoles to USB audio interfaces.\u003c\/p\u003e\n\n  \u003ch3\u003eThree Ribbon Characters — One Complete Signal Chain\u003c\/h3\u003e\n  \u003cp\u003eThe N22 (near-field, 1–18 inches) works behind a multi-layer acoustic screen that suppresses proximity effect and protects the ribbon element from wind blasts, allowing use on vocals without a separate pop filter. Its 1.8-micron Big Ribbon at 60 mm delivers upper-mid presence and top-end clarity characteristic of AEA's flagship designs in a compact body. The N13 (mid-field, 8–36 inches) is AEA's first departure from the Big Ribbon format — a shorter, narrower 1.2-micron ribbon at 33 mm that responds faster to transients and sits brighter in the frequency balance than the N22 or N8. It's the mic that covers drum overheads, strings, acoustic guitar, and piano at working distance without the top-end rolloff typical of classic ribbon designs. The N8 (far-field, 12 inches to 20+ feet) uses the same 60 mm Big Ribbon as the N22 but in a motor tuned after the R84, delivering a flat, open, neutral response designed to capture the acoustics of a space faithfully — rooms, ensembles, orchestral sections.\u003c\/p\u003e\n\n  \u003ch3\u003eField-Ready Format and Stereo Configurations\u003c\/h3\u003e\n  \u003cp\u003eAll three microphones share an identical body format: 225 mm length, 35–42 mm diameter, approximately 325 g. The compact size and figure-8 pattern enable Blumlein or near-coincident stereo setups on a single stand using the included shockmounts. The flight case with custom-molded foam is built for touring use — the kit moves between studio sessions, stage setups, and location recordings without compromising ribbon element safety. The slate gray finish of the N13 and low-profile body across the line make them inconspicuous in orchestral and broadcast environments where mic visibility is a concern.\u003c\/p\u003e\n\n  \u003ch3\u003eKEY FEATURES\u003c\/h3\u003e\n  \u003cul\u003e\n    \u003cli\u003e3-microphone active ribbon kit: N22 (near-field), N13 (mid-field), N8 (far-field)\u003c\/li\u003e\n    \u003cli\u003ePolar pattern: figure-8 (bidirectional) — all models\u003c\/li\u003e\n    \u003cli\u003eActive JFET electronics + Lehle step-up transformer (Germany) — all models\u003c\/li\u003e\n    \u003cli\u003eOutput impedance: 92 Ω broadband — all models\u003c\/li\u003e\n    \u003cli\u003eMax SPL: 141 dB (1% THD above 1 kHz) — all models\u003c\/li\u003e\n    \u003cli\u003ePower: P48 phantom, 7 mA — all models\u003c\/li\u003e\n    \u003cli\u003eN22: 1.8-micron Big Ribbon, 60 mm, multi-layer screen, reduced proximity effect\u003c\/li\u003e\n    \u003cli\u003eN13: 1.2-micron ribbon, 33 mm — AEA's first non-Big Ribbon bidirectional, enhanced transient response\u003c\/li\u003e\n    \u003cli\u003eN8: 1.8-micron Big Ribbon, 60 mm, flat far-field voicing, R84-derived motor\u003c\/li\u003e\n    \u003cli\u003eRecommended distances: N22 1–18\" \/ N13 8–36\" \/ N8 12\" to 20+ ft\u003c\/li\u003e\n    \u003cli\u003eSensitivity (N13): 11.4 mV\/Pa (–38.8 dBV) at 1 kHz, no load\u003c\/li\u003e\n    \u003cli\u003eHardshell flight case with custom-molded foam + shockmounts included\u003c\/li\u003e\n    \u003cli\u003eHandmade in Pasadena, California, USA\u003c\/li\u003e\n  \u003c\/ul\u003e\n\n  \u003ch3\u003eTECHNICAL SPECIFICATIONS\u003c\/h3\u003e\n  \u003cul\u003e\n    \u003cli\u003eOperating principle: pressure gradient transducer\u003c\/li\u003e\n    \u003cli\u003ePolar pattern: figure-8 (bidirectional)\u003c\/li\u003e\n    \u003cli\u003eFrequency range: 20 Hz – 20 kHz (all models)\u003c\/li\u003e\n    \u003cli\u003eMax SPL: 141 dB (1% THD harmonic distortion \u0026gt;1 kHz)\u003c\/li\u003e\n    \u003cli\u003eSensitivity (N13): 11.4 mV\/Pa (–38.8 dBV) at 1 kHz, no load\u003c\/li\u003e\n    \u003cli\u003eOutput impedance: 92 Ω broadband\u003c\/li\u003e\n    \u003cli\u003eRecommended load impedance: ≥1 kΩ\u003c\/li\u003e\n    \u003cli\u003ePower: P48 phantom, 7 mA\u003c\/li\u003e\n    \u003cli\u003eRibbon thickness: 1.8 µm (N22, N8) \/ 1.2 µm (N13)\u003c\/li\u003e\n    \u003cli\u003eMicrophone dimensions: 225 mm × 42 mm (max.)\u003c\/li\u003e\n    \u003cli\u003eWeight: approx. 325 g (each microphone)\u003c\/li\u003e\n    \u003cli\u003eKit price: $3,399 USD\u003c\/li\u003e\n    \u003cli\u003eMade in: USA (Pasadena, CA)\u003c\/li\u003e\n  \u003c\/ul\u003e\n\u003c\/div\u003e","brand":"AEA","offers":[{"title":"Default Title","offer_id":54014139171153,"sku":"59168","price":3032.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0729\/8741\/0769\/files\/AEANUVOFlight1.jpg?v=1781105105"},{"product_id":"aea-rpq503","title":"AEA RPQ503","description":"\u003cdiv lang=\"en\"\u003e\n  \u003cp\u003e\u003cstrong\u003eAEA RPQ503\u003c\/strong\u003e is a single-slot 500 Series microphone preamplifier built on the third-generation circuit of the flagship RPQ3. Its combination of ultra-low-noise op-amps, 68 kΩ input impedance, and up to 85 dB of clean gain makes it a modular front-end optimized for passive ribbon microphones — while performing equally well with dynamic and condenser mics.\u003c\/p\u003e\n\n  \u003ch3\u003e85 dB of Clean Gain for Passive Ribbons\u003c\/h3\u003e\n  \u003cp\u003ePassive ribbon microphones are the hardest load for a preamp: low output level, low coil impedance, and sensitivity to in-circuit noise. The RPQ503 addresses this with a 68 kΩ input impedance (phantom off), allowing the ribbon to operate without high-frequency loading losses. Self-noise of –130 dBu typical into a 40 Ω source keeps the noise floor below audibility even in quiet acoustical environments. The twelve-position gain switch (+7 to +65 dB) combined with an output trim (0 to +20 dB) delivers a total range of 7–85 dB with repeatable, session-to-session consistency. A multi-color LED meter on the module face displays signal level and clip status at a glance.\u003c\/p\u003e\n\n  \u003ch3\u003eCurveShaper EQ — Tone Shaping at the Source\u003c\/h3\u003e\n  \u003cp\u003eThe built-in CurveShaper EQ section offers ±20 dB of boost or cut across independently sweepable LF and HF bands. For ribbon microphones with a natural high-frequency rolloff, correcting at the preamp stage — before the signal passes through converters and plugins — means less gain applied later and a lower cumulative noise contribution from the chain. Controls use dual-concentric potentiometers: the outer ring sets the shelf frequency, the inner knob adjusts the amount. The EQ engages via a dedicated switch with a center detent at unity, enabling fast A\/B comparisons between processed and flat responses. A balanced line input bypasses the mic stage entirely for direct line-level processing.\u003c\/p\u003e\n\n  \u003ch3\u003eKEY FEATURES\u003c\/h3\u003e\n  \u003cul\u003e\n    \u003cli\u003eAPI 500 Series format, 1 slot\u003c\/li\u003e\n    \u003cli\u003eAEA Gen 3 circuitry (derived from RPQ3)\u003c\/li\u003e\n    \u003cli\u003eInput impedance: 68 kΩ (phantom off) \/ 11.3 kΩ (phantom on)\u003c\/li\u003e\n    \u003cli\u003eGain range: 7–85 dB (12-position switch +7 to +65 dB + output trim 0–20 dB)\u003c\/li\u003e\n    \u003cli\u003eSelf-noise: –130 dBu typical (40 Ω source), –128 dBu typical (150 Ω source), unweighted\u003c\/li\u003e\n    \u003cli\u003eCurveShaper EQ: LF + HF shelving, ±20 dB, continuously sweepable, separately switchable\u003c\/li\u003e\n    \u003cli\u003eDual-concentric EQ potentiometers\u003c\/li\u003e\n    \u003cli\u003e+48 V phantom power, polarity reverse, mic\/line switch\u003c\/li\u003e\n    \u003cli\u003eMax input level: +20 dBu (minimum gain)\u003c\/li\u003e\n    \u003cli\u003eMax output level: +27 dBu (600 Ω load)\u003c\/li\u003e\n    \u003cli\u003eMulti-color LED level and clip indicator\u003c\/li\u003e\n    \u003cli\u003eMade in the USA\u003c\/li\u003e\n  \u003c\/ul\u003e\n\n  \u003ch3\u003eTECHNICAL SPECIFICATIONS\u003c\/h3\u003e\n  \u003cul\u003e\n    \u003cli\u003eFormat: API 500 Series, 1 slot\u003c\/li\u003e\n    \u003cli\u003eInput impedance: 68 kΩ (phantom off) \/ 11.3 kΩ (phantom on)\u003c\/li\u003e\n    \u003cli\u003eGain range: 7 dB – 85 dB\u003c\/li\u003e\n    \u003cli\u003eSelf-noise: –130 dBu typical (40 Ω) \/ –128 dBu typical (150 Ω), unweighted\u003c\/li\u003e\n    \u003cli\u003eEQ: 2-band shelving, ±20 dB, continuously sweepable LF and HF\u003c\/li\u003e\n    \u003cli\u003eMax input level: +20 dBu\u003c\/li\u003e\n    \u003cli\u003eMax output level: +27 dBu (600 Ω)\u003c\/li\u003e\n    \u003cli\u003ePhantom power: +48 V (switchable)\u003c\/li\u003e\n    \u003cli\u003ePolarity reverse: yes\u003c\/li\u003e\n    \u003cli\u003eMic\/line switch: yes\u003c\/li\u003e\n    \u003cli\u003eLevel indicator: multi-color LED\u003c\/li\u003e\n    \u003cli\u003eMade in: USA\u003c\/li\u003e\n  \u003c\/ul\u003e\n\u003c\/div\u003e","brand":"AEA","offers":[{"title":"Default Title","offer_id":54014139924817,"sku":"59165","price":929.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0729\/8741\/0769\/files\/AEARPQ5031.jpg?v=1781105089"},{"product_id":"aea-tdi","title":"AEA TDI","description":"\u003cdiv lang=\"en\"\u003e\n  \u003cp\u003e\u003cstrong\u003eAEA TDI\u003c\/strong\u003e is a single-channel active DI box powered by 48 V phantom power, designed by Fred Forssell. Built around a discrete Class A JFET stage and a Lehle step-down transformer, it converts unbalanced Hi-Z instrument signals to balanced mic level with no tonal coloration and no dynamic compression.\u003c\/p\u003e\n\n  \u003ch3\u003e10 MΩ Input — Preserving Passive Pickup Character\u003c\/h3\u003e\n  \u003cp\u003ePassive pickups are designed to work into a high-impedance load. The TDI presents 10 MΩ at its input, giving the transducer the conditions it needs to reproduce its full tonal range — presence, attack, and natural decay intact. For piezo-equipped acoustic-electrics, this removes the brittle, nasal quality that appears when the pickup is loaded by a standard 1 MΩ or lower input. The JFET buffers the signal before it reaches the transformer winding, keeping noise and THD at the floor across cable runs well beyond 30 meters. Measured noise floor is better than –114 dBu (22 Hz–22 kHz, unweighted).\u003c\/p\u003e\n\n  \u003ch3\u003e–20 dB Pad, Ground Lift and THRU Jack\u003c\/h3\u003e\n  \u003cp\u003eThe –20 dB pad extends the TDI's usable range beyond passive instruments — speaker-level outputs from combos, synth lines, and samplers all connect without an external attenuator. The THRU jack runs in parallel with the input and does not load the signal path: you can feed both the DI and a stage amp simultaneously, keeping full wet\/dry control during tracking. The ground lift switch breaks ground loops without interrupting signal flow — essential on stages with multiple independently powered devices. The steel chassis includes rack-mount screw holes; three TDI units mount into a single 1U rack space.\u003c\/p\u003e\n\n  \u003ch3\u003eKEY FEATURES\u003c\/h3\u003e\n  \u003cul\u003e\n    \u003cli\u003eSingle-channel active DI, 48 V phantom-powered\u003c\/li\u003e\n    \u003cli\u003eDiscrete Class A JFET stage + Lehle step-down transformer\u003c\/li\u003e\n    \u003cli\u003eInput impedance: 10 MΩ (instrument) \/ 55 kΩ (pad engaged)\u003c\/li\u003e\n    \u003cli\u003e–20 dB pad — handles speaker-level and active line-level signals\u003c\/li\u003e\n    \u003cli\u003eParallel THRU jack for simultaneous amp feed\u003c\/li\u003e\n    \u003cli\u003eGround lift switch\u003c\/li\u003e\n    \u003cli\u003eNoise floor: better than –114 dBu (22 Hz–22 kHz, unweighted)\u003c\/li\u003e\n    \u003cli\u003eSteel chassis — 3 units mount in 1U rack space\u003c\/li\u003e\n    \u003cli\u003eCircuit design: Fred Forssell; made in the USA\u003c\/li\u003e\n  \u003c\/ul\u003e\n\n  \u003ch3\u003eTECHNICAL SPECIFICATIONS\u003c\/h3\u003e\n  \u003cul\u003e\n    \u003cli\u003eChannels: 1\u003c\/li\u003e\n    \u003cli\u003eType: active DI, phantom-powered\u003c\/li\u003e\n    \u003cli\u003eInput impedance: 10 MΩ (instrument) \/ 55 kΩ (–20 dB pad)\u003c\/li\u003e\n    \u003cli\u003ePad: –20 dB (switchable)\u003c\/li\u003e\n    \u003cli\u003eGround lift: yes\u003c\/li\u003e\n    \u003cli\u003eInput connectors: 1\/4\" jack (INPUT) + 1\/4\" jack (THRU)\u003c\/li\u003e\n    \u003cli\u003eOutput connector: XLR (balanced)\u003c\/li\u003e\n    \u003cli\u003ePower: 48 V phantom power\u003c\/li\u003e\n    \u003cli\u003eNoise floor: better than –114 dBu (22 Hz–22 kHz, unweighted)\u003c\/li\u003e\n    \u003cli\u003eDimensions: 129 × 76 × 51 mm\u003c\/li\u003e\n    \u003cli\u003eWeight: 0.4 kg\u003c\/li\u003e\n    \u003cli\u003eMade in: USA\u003c\/li\u003e\n  \u003c\/ul\u003e\n\u003c\/div\u003e","brand":"AEA","offers":[{"title":"Default Title","offer_id":54014140121425,"sku":"59162","price":379.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0729\/8741\/0769\/files\/AEATDI1.jpg?v=1781105073"},{"product_id":"aea-tdi-duo","title":"AEA TDI DUO","description":"\u003cdiv lang=\"en\"\u003e\n  \u003cp\u003e\u003cstrong\u003eAEA TDI DUO\u003c\/strong\u003e is a two-channel active DI box powered by 48 V phantom power, designed by Fred Forssell. Built around a discrete Class A JFET stage and a Lehle step-down transformer, it delivers transparent, uncolored signal conversion — from passive guitar and piezo-equipped acoustics to synthesizers and drum machines.\u003c\/p\u003e\n\n  \u003ch3\u003e10 MΩ Input and Passive Source Integrity\u003c\/h3\u003e\n  \u003cp\u003ePassive pickups suffer high-frequency rolloff when loaded by a low-impedance input. The TDI DUO presents 10 MΩ per channel, giving passive transducers the correct load and preserving their full tonal character. For piezo-equipped acoustic-electrics, this eliminates the brittle, nasal quality common with budget interfaces. The JFET buffers the signal ahead of the transformer, keeping noise and THD at the floor even across long cable runs. The result is a DI that gets out of the way of the instrument.\u003c\/p\u003e\n\n  \u003ch3\u003eStereo Routing, Wet\/Dry Tracking and Rack Integration\u003c\/h3\u003e\n  \u003cp\u003eTwo fully independent channels, each with a parallel THRU jack, allow simultaneous feeds to an amp and a console — the standard configuration for recording with a re-amp option. Stereo instruments (synths, stereo pedalboards) use both channels for a true L\/R split without phase summation. The –20 dB pad per channel handles speaker-level signals and line-level sources from samplers or drum machines without any external attenuator. Per-channel ground lift resolves grounding loops independently, which matters when one channel feeds a FOH console and the other a stage monitor chain. Three TDI DUO units mount into a single 1U rack space using standard 19-inch adapters — giving you a six-channel DI station with a minimal footprint.\u003c\/p\u003e\n\n  \u003ch3\u003eKEY FEATURES\u003c\/h3\u003e\n  \u003cul\u003e\n    \u003cli\u003eTwo independent channels with individual THRU jacks (paralleled to input)\u003c\/li\u003e\n    \u003cli\u003eDiscrete Class A JFET stage + Lehle step-down transformer per channel\u003c\/li\u003e\n    \u003cli\u003eInput impedance: 10 MΩ (instrument) \/ 55 kΩ (pad engaged)\u003c\/li\u003e\n    \u003cli\u003e–20 dB pad per channel — handles speaker-level and active instrument signals\u003c\/li\u003e\n    \u003cli\u003eGround lift switch per channel\u003c\/li\u003e\n    \u003cli\u003ePower: 48 V phantom power via XLR output\u003c\/li\u003e\n    \u003cli\u003eSteel chassis with rack-mount screw holes — 3 units fit in 1U\u003c\/li\u003e\n    \u003cli\u003eCircuit design: Fred Forssell; made in the USA\u003c\/li\u003e\n  \u003c\/ul\u003e\n\n  \u003ch3\u003eTECHNICAL SPECIFICATIONS\u003c\/h3\u003e\n  \u003cul\u003e\n    \u003cli\u003eChannels: 2\u003c\/li\u003e\n    \u003cli\u003eType: active DI, phantom-powered\u003c\/li\u003e\n    \u003cli\u003eInput impedance: 10 MΩ (instrument) \/ 55 kΩ (–20 dB pad)\u003c\/li\u003e\n    \u003cli\u003ePad: –20 dB (switchable, per channel)\u003c\/li\u003e\n    \u003cli\u003eGround lift: yes (per channel)\u003c\/li\u003e\n    \u003cli\u003eInput connectors: 2 × 1\/4\" jack (INPUT + THRU per channel)\u003c\/li\u003e\n    \u003cli\u003eOutput connectors: 2 × XLR (balanced)\u003c\/li\u003e\n    \u003cli\u003ePower: 48 V phantom power\u003c\/li\u003e\n    \u003cli\u003eDimensions: 129 × 76 × 51 mm\u003c\/li\u003e\n    \u003cli\u003eWeight: 0.8 kg\u003c\/li\u003e\n    \u003cli\u003eMade in: USA\u003c\/li\u003e\n  \u003c\/ul\u003e\n\u003c\/div\u003e","brand":"AEA","offers":[{"title":"Default Title","offer_id":54014140809553,"sku":"59167","price":539.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0729\/8741\/0769\/files\/AEATDIDUO1.jpg?v=1781105060"},{"product_id":"aea-stereo-bars-arrays-smp-1m","title":"AEA Stereo Bars \u0026 Arrays SMP-1M","description":"\u003cdiv lang=\"en\"\u003e\n\u003cp\u003e\u003cstrong\u003eAEA Stereo Bars \u0026amp; Arrays SMP-1M —\u003c\/strong\u003e a 1-meter (100 cm) anodised aluminium stereo bar with three SMP-S sliders and an AEA-CP coupler, designed for precise and repeatable microphone positioning across the full range of stereo techniques — from coincident XY and Blumlein through ORTF to wide spaced pair at full one-metre spacing.\u003c\/p\u003e\n\u003cp\u003eThe SMP-1M is the middle variant in the AEA SMP bar system — wider than the SMP-17 (43 cm), narrower than the SMP-1.25M (125 cm). A one-metre bar with SMP-S sliders and a centimetre-engraved scale in 2.5 cm increments covers the complete practical range of stereo techniques used in studio and orchestral recording: from tight coincident XY pairs at the centre of the bar to wide A-B configurations with 80–100 cm spacing. Sliders travel freely and lock with a thumb screw at any point — the scale zeroed at centre allows immediate symmetric spacing readout without a tape measure.\u003c\/p\u003e\n\u003ch3\u003eFull Stereo Technique Range on One Bar\u003c\/h3\u003e\n\u003cp\u003eThe one-metre length covers not only standard studio configurations but also distant orchestral miking positions and instrumental ensemble coverage requiring wide horizontal spread. Three SMP-S sliders in the kit enable a centre-microphone layout — classic for A-B with outrigger or for a minimal Decca Tree on a single bar. The 17 cm ORTF spacing is marked specifically on the bar scale, removing the need to measure. The SMP-1M also functions as the standard rear arm bar for Decca Tree Regular assemblies, where two SMP-1M bars form the 2-metre rear span of the T configuration.\u003c\/p\u003e\n\u003ch3\u003eModularity and System Expansion\u003c\/h3\u003e\n\u003cp\u003eThe SMP-1M is fully compatible with every element of the AEA SMP system: SMP-S sliders, the AEA-CP coupler, Decca Tree brackets, and the SW dead-hang swivel adapter. Engineers starting with the SMP-1M can add further bars or sliders without replacing the existing assembly. The hard-anodised aluminium with engraved scale allows exact session geometry to be reproduced from a numeric notation — critical on multi-day orchestral sessions and staged album recordings where tonal consistency between days is a production requirement.\u003c\/p\u003e\n\u003ch3\u003eKEY FEATURES\u003c\/h3\u003e\n\u003cul\u003e\n\u003cli\u003e\n\u003cstrong\u003e1-meter (100 cm) length\u003c\/strong\u003e — full range from coincident XY\/Blumlein to A-B and spaced pair at up to 1 m spacing.\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003e3 × SMP-S slider\u003c\/strong\u003e — continuous position adjustment, individual azimuth angle setting (0°, ±30°, ±45°, ±55°), thumb-screw lock.\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eAEA-CP coupler\u003c\/strong\u003e — 5\/8\" mic stand mount, zero play in the connection.\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eEngraved scale in 2.5 cm increments\u003c\/strong\u003e — session-to-session geometry repeatability; dedicated ORTF spacing mark (17 cm).\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eModular system compatibility\u003c\/strong\u003e — standard rear arm for Decca Tree Regular and Super; compatible with all AEA SMP accessories.\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003ch3\u003eTECHNICAL SPECIFICATIONS\u003c\/h3\u003e\n\u003cul\u003e\n\u003cli\u003e\n\u003cstrong\u003eBar length:\u003c\/strong\u003e 1 m (100 cm)\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eBar width:\u003c\/strong\u003e 1\" (approx. 2.5 cm), hard-anodised aluminium\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eSliders included:\u003c\/strong\u003e 3 × SMP-S (with individual azimuth adjustment)\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eCoupler:\u003c\/strong\u003e 1 × AEA-CP\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eMount thread:\u003c\/strong\u003e 5\/8\" standard microphone stand\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eEngraved scale:\u003c\/strong\u003e 2.5 cm increments, zeroed at centre; ORTF spacing mark (17 cm)\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eSlider angle markings:\u003c\/strong\u003e 0°, ±30°, ±45°, ±55° (included angles: 60°, 90°, 110°)\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eSupported stereo techniques:\u003c\/strong\u003e XY, ORTF, Blumlein, A-B \/ spaced pair, Mid-Side\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eCountry of manufacture:\u003c\/strong\u003e USA (Pasadena, CA)\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003c\/div\u003e","brand":"AEA","offers":[{"title":"Default Title","offer_id":54069044543825,"sku":"50980","price":574.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0729\/8741\/0769\/files\/AEAStereoBars_ArraysSMP-1M.jpg?v=1781521206"},{"product_id":"aea-nuvo-series-shock-mount","title":"AEA NUVO Series Shock Mount","description":"\u003cdiv lang=\"en\"\u003e\n\u003cp\u003e\u003cstrong\u003eAEA NUVO Series Shock Mount —\u003c\/strong\u003e the standard microphone mount for the AEA N22 and N8, featuring a rubber-loop elastic band that provides genuine vibration isolation from the stand, despite an outward appearance similar to a conventional mic clip.\u003c\/p\u003e\n\u003cp\u003eMost mic clips bundled with studio microphones are rigid plastic holders that transfer every stand vibration directly to the microphone body and, from there, to the ribbon element. The NUVO Shock Mount differs from that norm: a rubber elastic loop absorbs structure-borne vibrations from the stand, boom arm, and floor before they reach the N22 or N8 body. This matters most during close-range live recordings and live-to-stage sessions where floor vibrations and stand movement are unavoidable. The mount fits a standard 5\/8\" stand thread and holds the microphone securely without rotational slip when adjusting the angle.\u003c\/p\u003e\n\u003ch3\u003eNot a Clip — a Proper Shock Mount\u003c\/h3\u003e\n\u003cp\u003eThe distinction between a standard clip and the NUVO Shock Mount is functional rather than visual — despite a similar external profile, the rubber loop creates a mechanical isolation barrier between the stand and the microphone. Low-frequency vibrations (footsteps, floor resonance, boom arm movement) are absorbed by the rubber before reaching the body, reducing mechanical rumble and structure-borne noise on the recording. The N22 and N8 carry active electronics and a low self-noise floor — the NUVO Shock Mount prevents mechanical vibration from compromising that electronic silence. The mount is also compatible with a wide range of dynamic microphones of similar body diameter, extending its utility beyond the NUVO series.\u003c\/p\u003e\n\u003ch3\u003eStandard Equipment and Easy Replacement\u003c\/h3\u003e\n\u003cp\u003eThe NUVO Shock Mount ships as part of the standard kit with every new N22 and N8 — alongside the ABS case, velvet protective bag, and user manual. Available separately as a replacement part for engineers using N22 or N8 microphones intensively on tour and needing a spare, or for those wishing to use the NUVO Shock Mount with other compatible dynamic microphones. The rubber elastic loop is typically the first component to show wear under heavy use — availability as a standalone product means the function can be restored without purchasing an entire new microphone kit.\u003c\/p\u003e\n\u003ch3\u003eKEY FEATURES\u003c\/h3\u003e\n\u003cul\u003e\n\u003cli\u003e\n\u003cstrong\u003eRubber elastic loop\u003c\/strong\u003e — mechanical isolation of structure-borne vibrations from the stand before they reach the microphone body.\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eEffective rumble reduction\u003c\/strong\u003e — attenuates floor vibrations, boom arm movement, and footsteps in live and studio recording.\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eClip form factor, shock mount function\u003c\/strong\u003e — compact profile without sacrificing vibration isolation.\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eCompatibility:\u003c\/strong\u003e AEA N22, AEA N8 and a wide range of dynamic microphones of similar body diameter.\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eStandard factory inclusion\u003c\/strong\u003e — ships with every new AEA N22 and N8.\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003ch3\u003eTECHNICAL SPECIFICATIONS\u003c\/h3\u003e\n\u003cul\u003e\n\u003cli\u003e\n\u003cstrong\u003eType:\u003c\/strong\u003e Rubber-loop shock mount\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eIsolation mechanism:\u003c\/strong\u003e Rubber elastic loop\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eStand thread:\u003c\/strong\u003e 5\/8\" (standard)\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eCompatibility:\u003c\/strong\u003e AEA N22, AEA N8 and dynamic microphones of similar body diameter\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eStandard inclusion:\u003c\/strong\u003e Ships with every new AEA N22 and N8\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eCountry of manufacture:\u003c\/strong\u003e USA (Pasadena, CA)\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003c\/div\u003e","brand":"AEA","offers":[{"title":"Default Title","offer_id":54069044838737,"sku":"50966","price":17.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0729\/8741\/0769\/files\/AEANUVOSeriesShockMount.jpg?v=1781520971"},{"product_id":"aea-nuvo-series-stereo-coupler","title":"AEA NUVO Series Stereo Coupler","description":"\u003cdiv lang=\"en\"\u003e\n\u003cp\u003e\u003cstrong\u003eAEA NUVO Series Stereo Coupler — \u003c\/strong\u003ea dedicated head-to-head adapter for mounting two AEA N22 or N8 microphones in Blumlein and Mid-Side configurations, locking both microphones in a precise coincident position on a single stand with zero inter-capsule phase offset at a centred source.\u003c\/p\u003e\n\u003cp\u003eThe defining technical requirement of the Blumlein technique is that both microphone capsules occupy the same point in space on the same vertical axis — any horizontal or vertical offset between capsule positions introduces phase asymmetry and stereo image skew at the centre. The NUVO Blumlein Coupler achieves this mechanically: it connects two N22 or N8 microphones top-to-top, holding both capsules at the same spatial point with a 90° angle between their axes. Once fitted, the coupler locks both microphones in that relationship — the geometry does not shift when the rig is moved, when the stand position is adjusted, or when cables are managed.\u003c\/p\u003e\n\u003ch3\u003eBlumlein and Mid-Side — Two Techniques, One Adapter\u003c\/h3\u003e\n\u003cp\u003eThe coupler covers both principal coincident stereo techniques using figure-eight microphones. In Blumlein configuration, both N22 or N8 microphones are set at 90° at a shared capsule point — left and right channels captured through the front and rear lobes of the figure-eight patterns. Rotating one microphone 45° on the vertical axis reconfigures the pair as Mid-Side: one microphone facing the source (Mid), the other oriented sideways (Side) — with the same coupler geometry and full stereo width control at the mixer. The NUVO Coupler is standard in the NUVO Stereo Kit and is available separately as a standalone accessory.\u003c\/p\u003e\n\u003ch3\u003ePositional Stability as a Repeatability Requirement\u003c\/h3\u003e\n\u003cp\u003eTwo separate microphone clips on a stereo bar never reliably reproduce the same coincident geometry as a dedicated coupler — even with careful placement, a few millimetres of capsule offset are audible in the stereo image at close miking distances. The NUVO Coupler removes that variable: both microphones are mechanically locked in a fixed spatial relationship and hold that geometry throughout a session regardless of how many times the rig is repositioned.\u003c\/p\u003e\n\u003ch3\u003eKEY FEATURES\u003c\/h3\u003e\n\u003cul\u003e\n\u003cli\u003e\n\u003cstrong\u003eTop-to-top mounting\u003c\/strong\u003e — both microphone capsules at a shared spatial point, zero phase offset at a centred source.\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eBlumlein and Mid-Side support\u003c\/strong\u003e — one adapter covers both principal coincident stereo techniques with figure-eight microphones.\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003ePositional lock\u003c\/strong\u003e — both microphones mechanically secured during stand repositioning and rig movement.\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eCompatibility:\u003c\/strong\u003e AEA N22, AEA N8.\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eStandard NUVO Stereo Kit component\u003c\/strong\u003e — identical model to the separately available accessory.\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003ch3\u003eTECHNICAL SPECIFICATIONS\u003c\/h3\u003e\n\u003cul\u003e\n\u003cli\u003e\n\u003cstrong\u003eType:\u003c\/strong\u003e Blumlein head-to-head stereo coupler\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eSupported techniques:\u003c\/strong\u003e Blumlein (90°), Mid-Side\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eMicrophone mounting:\u003c\/strong\u003e Top-to-top (shared capsule point)\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eCompatibility:\u003c\/strong\u003e AEA N22, AEA N8\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eNUVO Stereo Kit inclusion:\u003c\/strong\u003e 1 × NUVO Blumlein Coupler per kit\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eCountry of manufacture:\u003c\/strong\u003e USA (Pasadena, CA)\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003c\/div\u003e","brand":"AEA","offers":[{"title":"Default Title","offer_id":54069044871505,"sku":"50975","price":25.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0729\/8741\/0769\/files\/AEANUVOSeriesStereoCoupler1.jpg?v=1781520994"},{"product_id":"aea-r88-series-bag","title":"AEA R88 Series Bag","description":"\u003cdiv lang=\"en\"\u003e\n\u003cp\u003e\u003cstrong\u003eAEA R88 Series Bag — \u003c\/strong\u003ea black cloth drawstring bag for the AEA R88 and R88 MkII stereo ribbon microphones, serving as an on-stand protective slipcover between takes and sessions, blocking airflow and ferromagnetic particles from reaching the two ribbon elements inside the microphone.\u003c\/p\u003e\n\u003cp\u003eThe AEA R88 owner's manual is explicit on this point: the microphone should always be kept covered whenever it is not actively in use — this applies to breaks between takes as much as to longer session pauses. The R88 has deliberately minimal internal ribbon shielding — a single screen and acoustic gauze designed for maximum tonal transparency — which means environmental protection relies on the slipcover. The black cloth drawstring bag covers the full microphone body including the breakout cable at the base, eliminating access by airflow (room movement, air conditioning, people walking past) and by ferromagnetic particles (tramp iron) drawn by the neodymium magnets toward the magnetic gaps of both ribbon elements.\u003c\/p\u003e\n\u003ch3\u003eTwo Protection Elements, Two Distinct Roles\u003c\/h3\u003e\n\u003cp\u003eThe R88 Series Bag and the R88 Series Case are complementary, not interchangeable. The case — OEM fabric with die-cut foam — protects the microphone during transport and long-term storage away from the studio. The drawstring bag goes over the microphone on the stand in the studio, every time it is not recording. Sound On Sound noted this dual-layer protection system in their original R88 review: the separate nylon bag prevents dust and tramp iron accumulation on the stand, while the case handles shipping and storage. Both are necessary for maintaining the two 1.8-µm aluminium ribbons in working condition over the long term.\u003c\/p\u003e\n\u003ch3\u003eFormat Matched to R88 Dimensions\u003c\/h3\u003e\n\u003cp\u003eThe R88 MkII stands 381 mm tall with an approximately 100 mm diameter — one of the largest active microphones in current production. The R88 Series Bag is sized for this footprint: long enough to cover the full body with the swivel adapter attached, and the drawstring closure at the base pulls snugly around the XLR-5M cable without leaving any section of the housing exposed.\u003c\/p\u003e\n\u003ch3\u003eKEY FEATURES\u003c\/h3\u003e\n\u003cul\u003e\n\u003cli\u003e\n\u003cstrong\u003eBlack cloth with drawstring closure\u003c\/strong\u003e — tight seal around the microphone body and base cable.\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eBetween-take on-stand protection\u003c\/strong\u003e — placed over the R88 on the stand whenever the microphone is not recording.\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eTramp iron barrier\u003c\/strong\u003e — fabric prevents ferromagnetic particle access to the ribbon magnetic gaps.\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eAir blast protection\u003c\/strong\u003e — eliminates ribbon damage risk from room airflow during standby.\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eCompatibility:\u003c\/strong\u003e AEA R88, AEA R88 MkII.\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003ch3\u003eTECHNICAL SPECIFICATIONS\u003c\/h3\u003e\n\u003cul\u003e\n\u003cli\u003e\n\u003cstrong\u003eType:\u003c\/strong\u003e Drawstring slipcover bag\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eMaterial:\u003c\/strong\u003e Black cloth fabric\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eClosure:\u003c\/strong\u003e Drawstring\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eApplication:\u003c\/strong\u003e On-stand protection between takes and sessions (complement to, not replacement for, the transport case)\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eCompatibility:\u003c\/strong\u003e AEA R88, AEA R88 MkII\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eMicrophone dimensions (R88 MkII):\u003c\/strong\u003e 381 × 99 mm\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eCountry of manufacture:\u003c\/strong\u003e USA (Pasadena, CA)\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003c\/div\u003e","brand":"AEA","offers":[{"title":"Default Title","offer_id":54069045264721,"sku":"50968","price":131.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0729\/8741\/0769\/files\/AEAR88SeriesBag.jpg?v=1781521107"},{"product_id":"aea-stereo-bars-arrays-stereo-protractor","title":"AEA Stereo Bars \u0026 Arrays Stereo Protractor","description":"\u003cdiv lang=\"en\"\u003e\n\u003cp\u003e\u003cstrong\u003eAEA Stereo Bars \u0026amp; Arrays Stereo Protractor — \u003c\/strong\u003ea compact 6-inch (approx. 15 cm) stereo mounting bar with engraved angle markings at 0°, 90°, 110°, and 180°, enabling precise two-microphone placement for XY, ORTF, and close coincident stereo techniques on a single stand, supplied with three locking rings.\u003c\/p\u003e\n\u003cp\u003eSetting a 90° angle between two microphone axes is intuitive — it is visually obvious. Setting 110° for ORTF is a different matter: the difference between 100° and 110° is invisible without a reference point, and an angular error translates directly into asymmetry in the stereo image between left and right channels. The Stereo Protractor solves this mechanically: engraved angle marks on the microphone mounting heads allow the exact included angle between mic axes to be set without a protractor, string line, or trial and error. TapeOp Magazine put it accurately in their review — 90° you can guess, 110° you cannot.\u003c\/p\u003e\n\u003ch3\u003eCompact Format for Tight Miking Situations\u003c\/h3\u003e\n\u003cp\u003eThe 6-inch format is a deliberate design choice. The Stereo Protractor does not replace the SMP-17 or SMP-1M bars in applications requiring wide physical microphone spacing — it handles coincident and near-coincident techniques where both microphones need to be as close together as possible. Used above a point source — a solo instrument, a guitar amplifier, a drum kit in close position — where a full-metre bar would be logistically excessive. Two 5\/8\" threads accept clips or adapters from any microphone manufacturer, and the central stand mount point installs on a standard mic stand without additional couplers.\u003c\/p\u003e\n\u003ch3\u003eTechniques Covered by the Angle Markings\u003c\/h3\u003e\n\u003cp\u003eFour engraved reference points — 0°, 90°, 110°, 180° — cover the key coincident and near-coincident stereo techniques. 90° is XY and Blumlein (with figure-eight microphones). 110° is ORTF — a cardioid pair spaced 17 cm apart with each mic angled 55° off the central axis. 0° and 180° are reference positions for calibration and symmetry verification. The three locking rings included in the kit secure both microphone positions and the stand mount without thread play.\u003c\/p\u003e\n\u003ch3\u003eKEY FEATURES\u003c\/h3\u003e\n\u003cul\u003e\n\u003cli\u003e\n\u003cstrong\u003e6\" (approx. 15 cm) length\u003c\/strong\u003e — compact format for coincident and near-coincident techniques in tight miking situations.\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eEngraved angle markings:\u003c\/strong\u003e 0°, 90°, 110°, 180° — precise XY, Blumlein, and ORTF setup without measuring tools.\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eTwo 5\/8\" microphone threads\u003c\/strong\u003e — accepts clips and adapters from all manufacturers.\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eThree locking rings\u003c\/strong\u003e — stable threaded connections without play.\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eSingle-stand mounting\u003c\/strong\u003e — central mount point for standard microphone stand, no additional couplers needed.\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003ch3\u003eTECHNICAL SPECIFICATIONS\u003c\/h3\u003e\n\u003cul\u003e\n\u003cli\u003e\n\u003cstrong\u003eType:\u003c\/strong\u003e Compact stereo protractor bar\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eLength:\u003c\/strong\u003e 6\" (approx. 15 cm)\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eAngle markings (engraved):\u003c\/strong\u003e 0°, 90°, 110°, 180°\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eMicrophone threads:\u003c\/strong\u003e 2 × 5\/8\" (standard)\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eKit contents:\u003c\/strong\u003e bar + 3 × locking ring\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eSupported stereo techniques:\u003c\/strong\u003e XY (90°), Blumlein (90°, with figure-eight mics), ORTF (110°)\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eCountry of manufacture:\u003c\/strong\u003e USA (Pasadena, CA)\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003c\/div\u003e","brand":"AEA","offers":[{"title":"Default Title","offer_id":54069045526865,"sku":"50961","price":25.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0729\/8741\/0769\/files\/AEAStereoBars_ArraysStereoProtractor.jpg?v=1781521239"},{"product_id":"aea-r44-series-rca-44-thumbnut-single","title":"AEA R44 Series \u0026 RCA 44 Thumbnut (single)","description":"\u003cdiv lang=\"en\"\u003e\n\u003cp\u003e\u003cstrong\u003eAEA R44 Series \u0026amp; RCA 44 Thumbnut — \u003c\/strong\u003ea single large-diameter 5\/16-32 threaded swivel thumb nut, a replacement part for AEA R44 and original RCA 44 series microphones, securing the microphone body to the yoke and enabling tilt angle adjustment and locking without tools.\u003c\/p\u003e\n\u003cp\u003eThe thumbnut is a small-scale component with a critical mechanical function: it is what holds the microphone body — over 1.5 kg in the case of the R44 — at the set angle within the yoke. Two thumbnuts are mounted on the horizontal yoke axis, one per side, allowing the microphone to be rotated and locked in position by hand. After years of use, an original RCA 44 thumbnut in zinc or brass can seize, strip its thread, or corrode to the point where it no longer produces sufficient clamping force to hold the heavy body at an angled or horizontal position. AEA manufactures the Thumbnut as a direct factory replacement — single unit, 5\/16-32 thread, large-diameter knurled head for finger tightening.\u003c\/p\u003e\n\u003ch3\u003eA Critical Safety Component\u003c\/h3\u003e\n\u003cp\u003eA worn thumbnut is a genuine mechanical risk: if the nut cannot maintain sufficient friction to hold the R44 body at an off-vertical angle, the microphone rotates under its own weight and can swing abruptly into surrounding equipment or fall. This is particularly relevant in overhead configurations where the R44 must be positioned horizontally on a boom arm, and any weakness in the angle lock manifests immediately under load. The large-diameter head allows firm finger tightening without tools — important in stage environments or when reaching around stand hardware with limited visibility.\u003c\/p\u003e\n\u003ch3\u003eField Replacement Without Specialist Work\u003c\/h3\u003e\n\u003cp\u003eReplacing a thumbnut requires no microphone disassembly and no electronics access — the nut unscrews by hand from the side aperture of the yoke and the replacement threads directly into the same position. AEA supplies the Thumbnut as a standalone service part because it is the most frequently worn mechanical component in the entire R44 and RCA 44 assembly. For engineers maintaining a ribbon microphone fleet, keeping spare thumbnuts on hand eliminates session downtime caused by a single failed mechanical fastener.\u003c\/p\u003e\n\u003ch3\u003eKEY FEATURES\u003c\/h3\u003e\n\u003cul\u003e\n\u003cli\u003e\n\u003cstrong\u003e5\/16-32 thread\u003c\/strong\u003e — precise fit for AEA R44 yoke and original RCA 44 yoke assemblies.\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eLarge-diameter knurled head\u003c\/strong\u003e — secure finger tightening without tools, even in restricted access situations.\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eDirect factory replacement\u003c\/strong\u003e — full dimensional compatibility with original RCA 44 and AEA R44 yokes.\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eCompatibility:\u003c\/strong\u003e AEA R44C, R44CX, R44CE, R44CXE and original RCA 44A, 44B, 44BX.\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eSold as single unit\u003c\/strong\u003e — order in pairs for complete replacement of both yoke thumb nuts.\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003ch3\u003eTECHNICAL SPECIFICATIONS\u003c\/h3\u003e\n\u003cul\u003e\n\u003cli\u003e\n\u003cstrong\u003eType:\u003c\/strong\u003e Replacement thumb nut, single unit\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eThread:\u003c\/strong\u003e 5\/16-32\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eHead:\u003c\/strong\u003e Large diameter knurled for finger tightening\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eFunction:\u003c\/strong\u003e Secures microphone body to yoke and locks tilt angle\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eCompatibility:\u003c\/strong\u003e AEA R44C, R44CX, R44CE, R44CXE and RCA 44A, 44B, 44BX\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eQuantity per listing:\u003c\/strong\u003e 1 unit (yoke requires 2 thumbnuts — one per side)\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eCountry of manufacture:\u003c\/strong\u003e USA (Pasadena, CA)\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003c\/div\u003e","brand":"AEA","offers":[{"title":"Default Title","offer_id":54069045985617,"sku":"50988","price":28.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0729\/8741\/0769\/files\/AEAR44Series_RCA44Thumbnut_single.jpg?v=1781521076"},{"product_id":"aea-r44-series-rca-44-bag","title":"AEA R44 Series \u0026 RCA 44 Bag","description":"\u003cdiv lang=\"en\"\u003e\n\u003cp\u003e\u003cstrong\u003eAEA R44 Series \u0026amp; RCA 44 Bag — \u003c\/strong\u003ea grey twill zippered slipcover with AEA logo silkscreen for AEA R44 series, KU4, and original RCA 44 microphones, protecting the ribbon element from tramp iron and air blasts while the microphone remains on the stand between takes and sessions.\u003c\/p\u003e\n\u003cp\u003eThe slipcover bag serves a different function from the 44VC transport case. Where the case protects the microphone during transport and long-term storage off-site, the bag goes over the microphone while it is mounted on the stand in the studio — whenever the R44 or RCA 44 is not actively in use. Grey twill fabric blocks two primary environmental threats to the ribbon element: air movement caused by people moving through the room, and ferromagnetic particles (tramp iron) drawn by the neodymium magnets toward the magnetic gap inside the microphone.\u003c\/p\u003e\n\u003ch3\u003eOn-Stand Protection — a Practical Necessity\u003c\/h3\u003e\n\u003cp\u003eThe magnets in the R44 and RCA 44 generate a powerful magnetic field that actively attracts fine iron particles present in every studio environment — from walls, floors, cables, and lighting fixtures. Over years of use without a slipcover, tramp iron accumulates in the magnetic gap, contacts the aluminium ribbon, and causes distortion, electrical shorts, or physical ribbon damage. A bag slipped over the microphone every time it is not recording dramatically extends the interval between ribbon service appointments. For owners of original RCA 44 microphones without convenient access to AEA's service facility, this simple protection can determine the instrument's condition over the next several decades. The bag is large enough to cover the microphone with a broadcast station flag attached, as noted by working engineers.\u003c\/p\u003e\n\u003ch3\u003eStandard Equipment with R44 and KU4\u003c\/h3\u003e\n\u003cp\u003eThe AEA R44 Cloth Zipper Bag ships as part of the standard kit with every new R44C, R44CX, R44CE, and R44CXE — alongside the 44VC vertical transport case and microphone cable. The two protective elements serve separate roles: the 44VC handles transport, the bag handles studio storage on stand. Owners of original RCA 44 microphones without an original slipcover can order the AEA Bag separately — the same grey twill construction as supplied with new microphones, with AEA logo rather than RCA.\u003c\/p\u003e\n\u003ch3\u003eKEY FEATURES\u003c\/h3\u003e\n\u003cul\u003e\n\u003cli\u003e\n\u003cstrong\u003eTwill fabric with zipper\u003c\/strong\u003e — sealed closure blocks airflow and tramp iron access to the magnetic gap during on-stand storage.\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eBetween-take on-stand protection\u003c\/strong\u003e — slipped over the microphone whenever it is mounted but not actively recording.\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eAEA logo silkscreen\u003c\/strong\u003e — grey twill with printed AEA branding.\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eCompatibility:\u003c\/strong\u003e AEA R44C, R44CX, R44CE, R44CXE, KU4 and original RCA 44A, 44B, 44BX.\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eStandard factory inclusion\u003c\/strong\u003e — ships with every new AEA R44 and KU4 microphone.\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003ch3\u003eTECHNICAL SPECIFICATIONS\u003c\/h3\u003e\n\u003cul\u003e\n\u003cli\u003e\n\u003cstrong\u003eType:\u003c\/strong\u003e Cloth zipper slipcover bag\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eMaterial:\u003c\/strong\u003e Grey twill fabric with AEA logo silkscreen\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eClosure:\u003c\/strong\u003e Zipper\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eApplication:\u003c\/strong\u003e On-stand microphone storage between sessions (does not replace the transport case)\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eCompatibility:\u003c\/strong\u003e AEA R44C, R44CX, R44CE, R44CXE, KU4 and RCA 44A, 44B, 44BX\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eStandard inclusion:\u003c\/strong\u003e Ships with every new AEA R44 and KU4\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eCountry of manufacture:\u003c\/strong\u003e USA (Pasadena, CA)\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003c\/div\u003e","brand":"AEA","offers":[{"title":"Default Title","offer_id":54069046149457,"sku":"50973","price":28.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0729\/8741\/0769\/files\/AEAR44Series_RCA44Bag.jpg?v=1781521038"},{"product_id":"aea-r84-series-case","title":"AEA R84 Series Case","description":"\u003cdiv lang=\"en\"\u003e\n\u003cp\u003e\u003cstrong\u003eAEA R84 Series Case — \u003c\/strong\u003ea high-quality Cordura fabric over plastic shell carrying case with thick internal padding for the AEA R84 and R84A microphones, available separately as a premium transport upgrade over the standard foam-lined case included with the microphone.\u003c\/p\u003e\n\u003cp\u003eThe R84 and R84A measure approximately 203 × 68 mm and weigh under one kilogram — compact by large-ribbon ribbon mic standards, but still requiring dedicated transport protection. The 1.8-µm aluminium Big Ribbon (59.7 × 4.7 mm) is freely suspended in the magnetic field and susceptible to damage from air blasts, ferromagnetic particles, and mechanical shock. The R84 Series Cordura Case provides a higher protection level than the standard foam container shipped with the microphone: a rigid plastic shell under the abrasion-resistant Cordura outer layer absorbs external impact, thick internal foam immobilises the microphone, and the sealed closure cuts off airflow and tramp iron access to the ribbon during transport and storage.\u003c\/p\u003e\n\u003ch3\u003eAn Upgrade for Engineers Who Work in the Field\u003c\/h3\u003e\n\u003cp\u003eThe standard foam-lined case shipped with the R84 serves its purpose for occasional transport. The Cordura Case is the solution for engineers who carry the R84 or R84A between sessions regularly — to film sets, location recordings, and touring situations where the case is opened and closed multiple times a day. Cordura fabric resists abrasion and tearing at a level unavailable in foam alone; the plastic shell protects the microphone even when the case ends up under other gear in a car boot or equipment bag; and the carry-on format allows the R84 to travel as cabin luggage without checked-bag risk. Vintage King explicitly describes it as a premium upgrade for R84 and R84A owners.\u003c\/p\u003e\n\u003ch3\u003eR84 and R84A Compatibility\u003c\/h3\u003e\n\u003cp\u003eThe case is designed for both variants of the R84 series: the passive R84 with a standard XLR output and the active R84A with a captive Accusound cable. The difference between models is internal electronics only — the microphone body dimensions are identical, meaning a single case model accommodates both without modification. For R84 or R84A stereo pair owners, the case is available as one unit per microphone.\u003c\/p\u003e\n\u003ch3\u003eKEY FEATURES\u003c\/h3\u003e\n\u003cul\u003e\n\u003cli\u003e\n\u003cstrong\u003eCordura fabric over plastic shell\u003c\/strong\u003e — abrasion and impact resistance unavailable in standard foam-only cases.\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eThick internal padding\u003c\/strong\u003e — immobilises R84\/R84A with the U-shaped yoke, eliminates play and vibration during transport.\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eSealed enclosure\u003c\/strong\u003e — blocks airflow and ferromagnetic particle (tramp iron) access to the ribbon element.\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eCarry-on format\u003c\/strong\u003e — suitable as cabin luggage on commercial flights.\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eCompatibility:\u003c\/strong\u003e AEA R84, AEA R84A.\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003ePremium option\u003c\/strong\u003e — available separately as an upgrade over the standard foam-lined case.\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003ch3\u003eTECHNICAL SPECIFICATIONS\u003c\/h3\u003e\n\u003cul\u003e\n\u003cli\u003e\n\u003cstrong\u003eType:\u003c\/strong\u003e Soft carrying case\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eOuter material:\u003c\/strong\u003e Cordura fabric over plastic shell\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eInterior:\u003c\/strong\u003e Thick foam padding\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eCompatibility:\u003c\/strong\u003e AEA R84, AEA R84A\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eMicrophone dimensions (R84):\u003c\/strong\u003e approx. 203 × 68 mm, under 1 kg\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eStandard R84 kit contents:\u003c\/strong\u003e foam-lined case + shock mount yoke + 3 m mic cable\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eCountry of manufacture:\u003c\/strong\u003e USA (Pasadena, CA)\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003c\/div\u003e","brand":"AEA","offers":[{"title":"Default Title","offer_id":54069046640977,"sku":"50983","price":28.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0729\/8741\/0769\/files\/AEAR84SeriesCase.jpg?v=1781521098"},{"product_id":"aea-stereo-bars-arrays-lmh-4-or-6","title":"AEA Stereo Bars \u0026 Arrays LMH 4\" or 6\"","description":"\u003cdiv lang=\"en\"\u003e\n\u003cp\u003e\u003cstrong\u003eAEA Stereo Bars \u0026amp; Arrays LMH 4\" or 6\" — \u003c\/strong\u003ea long microphone hanger for suspending microphones from a hanging microphone cable, available in two lengths: 4\" (approx. 10 cm) and 6\" (approx. 15 cm), designed for dead-hang configurations in concert halls, theatres, and spaces where stand access is not possible.\u003c\/p\u003e\n\u003cp\u003eHanging microphones from cables above an orchestra, choir, or stage is standard practice wherever a stand cannot physically reach — below a church ceiling, over the front row of seating, between lighting rig members. Standard stand adapters are too short and provide no leverage for setting microphone angle in a suspended position. The AEA LMH addresses this directly: a rigid elongated adapter with a standard 5\/8\"-27 microphone thread at the lower end mounts to a cable or rigging line, and the microphone or SMP bar hangs below in dead-hang position. The choice between 4\" and 6\" depends on the clearance needed at the suspension point — the longer variant provides more freedom when routing breakout cables beneath the hanger and reduces the risk of cable contact with the supporting structure.\u003c\/p\u003e\n\u003ch3\u003eDead-Hang Without Improvisation\u003c\/h3\u003e\n\u003cp\u003eImprovised mic suspension on lighting clamps or purpose-wound cable loops is vibration-prone and geometrically unreliable. The LMH provides a dedicated mounting point with a 5\/8\"-27 thread — the same standard across all AEA SMP sliders, couplers, and adapters — meaning an SMP-S slider with a microphone, an AEA-CP coupler with a full stereo bar, or any standard microphone clip can be attached directly below it. Two zip ties securing the LMH body to the microphone cable is the standard technique used by orchestral and theatre recording engineers, and AEA designed the LMH specifically for this attachment method.\u003c\/p\u003e\n\u003ch3\u003eIntegration with SMP and Decca Tree Systems\u003c\/h3\u003e\n\u003cp\u003eThe LMH is particularly useful in combination with Decca Tree and SMP array configurations where the entire rig must hang above the stage without a stand. The 5\/8\"-27 thread on the LMH accepts an AEA-CP coupler directly, allowing a full 1-meter or 2-meter SMP bar to be suspended over an orchestra in dead-hang without any additional adapters. The 6\" variant provides extra clearance for routing the breakout cable beneath the bar, which matters practically in three-microphone Decca Tree setups where cable management at the suspension point is otherwise constrained.\u003c\/p\u003e\n\u003ch3\u003eKEY FEATURES\u003c\/h3\u003e\n\u003cul\u003e\n\u003cli\u003e\n\u003cstrong\u003eTwo lengths:\u003c\/strong\u003e 4\" (approx. 10 cm) and 6\" (approx. 15 cm) — selection depends on suspension clearance and rigging geometry.\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003e5\/8\"-27 thread\u003c\/strong\u003e — standard microphone thread, compatible with SMP-S sliders, AEA-CP couplers, and microphone clips from all manufacturers.\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eDead-hang application\u003c\/strong\u003e — designed for suspension from microphone cable, rigging line, or structural members in spaces without stand access.\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eSMP\/Decca Tree integration\u003c\/strong\u003e — direct attachment point for AEA stereo bars and microphone arrays in suspended position.\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eSimple installation\u003c\/strong\u003e — attachment to cable via zip ties, no specialist tools required.\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003ch3\u003eTECHNICAL SPECIFICATIONS\u003c\/h3\u003e\n\u003cul\u003e\n\u003cli\u003e\n\u003cstrong\u003eModel:\u003c\/strong\u003e AEA LMH (Long Microphone Hanger)\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eType:\u003c\/strong\u003e Dead-hang microphone hanger\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eAvailable lengths:\u003c\/strong\u003e 4\" (approx. 10 cm) \/ 6\" (approx. 15 cm)\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eThread:\u003c\/strong\u003e 5\/8\"-27 (standard microphone thread)\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eAttachment method:\u003c\/strong\u003e Suspension from microphone cable (e.g. via zip ties)\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eCompatibility:\u003c\/strong\u003e All AEA microphones and accessories with 5\/8\" thread; SMP-S sliders, AEA-CP couplers, SMP bars, Decca Tree assemblies\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eCountry of manufacture:\u003c\/strong\u003e USA (Pasadena, CA)\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003c\/div\u003e","brand":"AEA","offers":[{"title":"Default Title","offer_id":54069046772049,"sku":"50945","price":28.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0729\/8741\/0769\/files\/AEAStereoBars_ArraysLMH4_or6.jpg?v=1781521158"},{"product_id":"aea-trp2-3-rack-ears-set","title":"AEA TRP2\/3 Rack Ears Set","description":"\u003cdiv lang=\"en\"\u003e\n\u003cp\u003e\u003cstrong\u003eAEA TRP2\/3 Rack Ears Set — \u003c\/strong\u003ea rack mounting kit for the AEA TRP2 or TRP3 microphone preamplifier, including two rack ears and four Phillips screws, enabling installation of a single unit in any standard 19-inch rack enclosure in 1U of space.\u003c\/p\u003e\n\u003cp\u003eThe TRP2 and TRP3 are two-channel microphone preamplifiers in a half-rack aluminium chassis — designed to be portable and lightweight, equally usable on a studio desk or at a remote session without a rack enclosure. When a TRP moves into a permanent studio installation or a live signal chain, precise rackmounting is required. The Rack Ears Set fills that gap: two ears attach directly to the side panels of the TRP2 or TRP3 with four Phillips screws, converting the half-rack unit into a standard 19-inch rack-mountable device without any modification to the electronics or chassis structure.\u003c\/p\u003e\n\u003ch3\u003eRack Installation Without Specialised Tools\u003c\/h3\u003e\n\u003cp\u003eFitting the ears requires nothing beyond a standard Phillips screwdriver — four screws secure both ears to the TRP2 or TRP3 body, and the unit then fits flush in a standard 19-inch rack in 1U of space. For studios managing a multi-channel ribbon preamp signal path, a fixed rack position eliminates the risk of the unit sliding off a desk, protects XLR and power connections from accidental cable tension, and consolidates signal routing in a single organised location. For two TRP2 or TRP3 units installed side by side in a single rack space, AEA offers the TRP \u0026amp; TDI Duo Rack Tray — the Rack Ears Set applies to single-unit installation only.\u003c\/p\u003e\n\u003ch3\u003eCompatibility and Limitations\u003c\/h3\u003e\n\u003cp\u003eThe ears are designed specifically for the TRP2 and TRP3 chassis dimensions — the original first-generation TRP uses a different enclosure geometry and is not compatible with this set. Owners of the original TRP should verify fit before ordering. AEA does not declare compatibility with half-rack units from other manufacturers; the ears are machined to the specific aluminium chassis of the TRP2 and TRP3.\u003c\/p\u003e\n\u003ch3\u003eKEY FEATURES\u003c\/h3\u003e\n\u003cul\u003e\n\u003cli\u003e\n\u003cstrong\u003e1U rack installation in 19\" enclosure\u003c\/strong\u003e — converts the TRP2\/TRP3 half-rack unit into a standard rack-mountable device.\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eKit contents:\u003c\/strong\u003e 2 × rack ear + 4 × Phillips screw — complete mounting hardware included.\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003ePhillips screwdriver installation\u003c\/strong\u003e — no electronics modification, no specialised tools.\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eCompatibility:\u003c\/strong\u003e AEA TRP2, AEA TRP3.\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eNot compatible with:\u003c\/strong\u003e AEA TRP (original first generation).\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eTwo-unit alternative:\u003c\/strong\u003e AEA TRP \u0026amp; TDI Duo Rack Tray (2 × half-rack in 1U).\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003ch3\u003eTECHNICAL SPECIFICATIONS\u003c\/h3\u003e\n\u003cul\u003e\n\u003cli\u003e\n\u003cstrong\u003eType:\u003c\/strong\u003e Rack ears set\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eContents:\u003c\/strong\u003e 2 × rack ear + 4 × Phillips screw\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eRack format:\u003c\/strong\u003e Standard 19\", 1U (single TRP2 or TRP3)\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eCompatibility:\u003c\/strong\u003e AEA TRP2, AEA TRP3\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eNot compatible with:\u003c\/strong\u003e AEA TRP (original first generation)\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eMounting:\u003c\/strong\u003e 4 × Phillips screw to side panels of unit\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eCountry of manufacture:\u003c\/strong\u003e USA (Pasadena, CA)\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003c\/div\u003e","brand":"AEA","offers":[{"title":"Default Title","offer_id":54069047034193,"sku":"50978","price":32.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0729\/8741\/0769\/files\/AEATRP2_3RackEarsSet.jpg?v=1781521252"},{"product_id":"aea-nuvo-series-case","title":"AEA NUVO Series Case","description":"\u003cdiv lang=\"en\"\u003e\n\u003cp\u003e\u003cstrong\u003eAEA NUVO Series Case — \u003c\/strong\u003ea robust ABS plastic carrying case with foam lining for a single AEA N22 or N8 microphone, included as standard with every new NUVO series microphone as part of the shipping and storage kit.\u003c\/p\u003e\n\u003cp\u003eThe N22 and N8 are active, compact, and road-ready microphones built for daily studio work and touring. The NUVO Series Case matches that operational profile: an impact-resistant ABS shell, foam lining that immobilises the microphone in a fixed position, and a sealed closure that blocks dust and the ferromagnetic particles (tramp iron) that the N22 and N8's neodymium magnets actively attract. The microphone comes out in a single, established sequence — with shock mount clip and velvet protective bag stowed alongside — without unpacking separate containers or plastic sleeves.\u003c\/p\u003e\n\u003ch3\u003eRibbon Protection Away from the Studio\u003c\/h3\u003e\n\u003cp\u003eThe N22 and N8 carry 1.8-µm aluminium ribbons that are actively shielded inside the microphone body — but the body itself needs to be stored in an environment free from air blasts and magnetic contamination. The closed case blocks both simultaneously. For artists and engineers who carry an N22 or N8 between sessions, to film sets, or to rehearsals without a full touring rig, the NUVO Case is a daily protection tool rather than packaging retrieved once from a shelf. The format is compact enough to fit in a studio backpack alongside other equipment while maintaining full mechanical protection for the microphone with its clip attached.\u003c\/p\u003e\n\u003ch3\u003eStandard Inclusion and Kit Expansion\u003c\/h3\u003e\n\u003cp\u003eThe NUVO Case ships with every individual N22 and N8 from the factory. In the NUVO Stereo Kit, the SKB hard case takes the role of the combined transport solution for two microphones and accessories — both approaches share the same philosophy of dedicated protection, scaled to the number of microphones in the rig. Engineers owning more than two NUVO microphones can order the NUVO Case separately as standard per-microphone storage for each additional unit.\u003c\/p\u003e\n\u003ch3\u003eKEY FEATURES\u003c\/h3\u003e\n\u003cul\u003e\n\u003cli\u003e\n\u003cstrong\u003eABS shell\u003c\/strong\u003e — impact-resistant plastic, sealed closure blocks dust and ferromagnetic particle ingress.\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eFoam lining\u003c\/strong\u003e — immobilises the N22\/N8 body with shock mount clip and velvet bag stowed.\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eCompact format\u003c\/strong\u003e — fits in a studio backpack, ready for daily transport.\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eStandard factory inclusion\u003c\/strong\u003e — ships with every new AEA N22 and N8.\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eCompatibility:\u003c\/strong\u003e AEA N22, AEA N8 (one microphone per case).\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003ch3\u003eTECHNICAL SPECIFICATIONS\u003c\/h3\u003e\n\u003cul\u003e\n\u003cli\u003e\n\u003cstrong\u003eType:\u003c\/strong\u003e Dedicated carrying case\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eShell material:\u003c\/strong\u003e ABS plastic (injection-moulded)\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eInterior:\u003c\/strong\u003e Foam lining contoured to N22\/N8 body\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eCompatibility:\u003c\/strong\u003e AEA N22, AEA N8 (single microphone per case)\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eStandard mic kit contents:\u003c\/strong\u003e case + NUVO Shock Mount clip + velvet protective bag + user manual\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eCountry of manufacture:\u003c\/strong\u003e USA (Pasadena, CA)\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003c\/div\u003e","brand":"AEA","offers":[{"title":"Default Title","offer_id":54069048705361,"sku":"50985","price":37.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0729\/8741\/0769\/files\/AEANUVOSeriesCase.jpg?v=1781520951"},{"product_id":"aea-nuvo-series-windscreen","title":"AEA NUVO Series Windscreen","description":"\u003cdiv lang=\"en\"\u003e\n\u003cp\u003e\u003cstrong\u003eAEA NUVO Series Windscreen — \u003c\/strong\u003ea custom WindTech foam windscreen for the AEA N22 and N8 microphones, enabling close vocal recording without a separate pop filter and protecting the aluminium ribbon from wind damage at outdoor performances and live reinforcement applications.\u003c\/p\u003e\n\u003cp\u003eThe N22 and N8 are designed for both studio and touring use — compact, rugged, with active electronics that work with any preamp on the rider. What sets them apart from conventional ribbon microphones in a live context is precisely the ability to work close to a vocalist and hold up on stage. The NUVO Windscreen completes that ecosystem: WindTech foam contoured to the exact grille profile of the N22 and N8 slips on without tools, and the acoustically transparent design means the microphone's tonal character stays the same whether the windscreen is on or off.\u003c\/p\u003e\n\u003ch3\u003eLive Without a Pop Filter — the Practical Case\u003c\/h3\u003e\n\u003cp\u003eOn stage, a pop filter on a separate stand between a vocalist and a microphone is a logistical complication: it occupies space, interrupts the performer's sightline to the audience, and slows down between-song setup changes. The NUVO Windscreen eliminates that requirement — mounted directly on the microphone body, it reduces breath noise and plosive bursts during close vocal work without altering the figure-eight polar pattern or the ribbon tonality characteristic of AEA's NUVO series. Bands including The War On Drugs, Local Natives, and Andra Day use N8 and N22 microphones with windscreens at open-air festivals, where wind exposure is a genuine risk to a 1.8-µm aluminium foil.\u003c\/p\u003e\n\u003ch3\u003eStandard Component of the NUVO Stereo Kit\u003c\/h3\u003e\n\u003cp\u003eTwo NUVO Windscreens are included in the NUVO Stereo Kit — AEA's position being that a studio and live stereo kit should ship with ribbon protection built in. The separately purchased windscreen is the same WindTech model as the kit-included version, making it a direct replacement or addition when expanding a rig to more than two NUVO microphones. 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Even so, a vocalist recording at very close range or a microphone exposed at an open-air festival can generate air blasts that exceed what the built-in protection is designed to handle. The KU5A Windscreen adds an external foam layer engineered for acoustic transparency: modelled to leave the microphone's tonal character and supercardioid polar pattern intact while providing effective mechanical shielding against plosives and wind.\u003c\/p\u003e\n\u003ch3\u003ePop Filter Replacement Without Sonic Trade-Offs\u003c\/h3\u003e\n\u003cp\u003eA standard pop filter on a separate stand between a vocalist and a microphone reduces effective working distance, restricts movement, and requires additional rigging. The KU5A Windscreen slips directly over the microphone body and lets a vocalist sing inches from the grille without risk of ribbon damage from air bursts. The KU5A's built-in high-pass filter — activated by the external push-button switch at 6 dB\/oct, 283 Hz — manages proximity effect; the windscreen manages air blasts. Together they form a complete close-range vocal system. For touring acts using the KU5A on stage, the windscreen removes the remaining weather risk at outdoor festival appearances.\u003c\/p\u003e\n\u003ch3\u003eAcoustic Transparency as a Design Requirement\u003c\/h3\u003e\n\u003cp\u003eA windscreen for a ribbon microphone must be engineered differently from one for a condenser — uneven high-frequency attenuation through foam audibly disrupts the KU5A's characteristic response. AEA modelled the KU5A Windscreen specifically for acoustic transparency: WindTech foam minimises tonal change while maintaining full plosive and wind protection. The result is a windscreen that can be used without the sense that the microphone sounds different with it on — which for a ribbon mic of this class is the threshold of practical usefulness.\u003c\/p\u003e\n\u003ch3\u003eKEY FEATURES\u003c\/h3\u003e\n\u003cul\u003e\n\u003cli\u003e\n\u003cstrong\u003eCustom fit\u003c\/strong\u003e — designed exclusively for the KU5A body dimensions, slip-on mounting with no tools required.\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003ePop filter replacement\u003c\/strong\u003e — enables close vocal recording without a separate stand-mounted filter.\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eOutdoor protection\u003c\/strong\u003e — effective ribbon shielding at festivals, outdoor stages, and location recording sessions.\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eAcoustic transparency\u003c\/strong\u003e — WindTech foam engineered for minimal impact on KU5A tonality and polar pattern.\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eMaterial:\u003c\/strong\u003e WindTech foam, black.\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003ch3\u003eTECHNICAL SPECIFICATIONS\u003c\/h3\u003e\n\u003cul\u003e\n\u003cli\u003e\n\u003cstrong\u003eType:\u003c\/strong\u003e Foam windscreen\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eFoam manufacturer:\u003c\/strong\u003e WindTech\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eColour:\u003c\/strong\u003e Black\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eCompatibility:\u003c\/strong\u003e AEA KU5A (exclusively)\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eMounting:\u003c\/strong\u003e Slip-on directly over microphone body\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eNote:\u003c\/strong\u003e Hygiene product — all sales final, no returns accepted\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eCountry of manufacture:\u003c\/strong\u003e USA (Pasadena, CA)\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003c\/div\u003e","brand":"AEA","offers":[{"title":"Default Title","offer_id":54069049131345,"sku":"50976","price":49.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0729\/8741\/0769\/files\/AEAKU5ASeriesWindscreen.jpg?v=1781520940"},{"product_id":"aea-r88-series-swivel","title":"AEA R88 Series Swivel","description":"\u003cdiv lang=\"en\"\u003e\n\u003cp\u003e\u003cstrong\u003eAEA R88 Series Swivel — \u003c\/strong\u003ethe standard swivel mount adapter for the AEA R88 MkII microphone, enabling positioning at virtually any angle on a stand or boom arm, included with every new R88 MkII and compatible with every AEA microphone.\u003c\/p\u003e\n\u003cp\u003eThe R88 MkII has a built-in shock suspension system, but a direct stand mount without a swivel limits it to a single vertical axis — and the R88 is a microphone that routinely ends up over a drum kit, above a grand piano, hanging dead-hang on a boom in a church, or flying on a film crane. The R88 Series Swivel solves the angle problem: serrated teeth between the two halves of the adapter hold the set position under the full weight of the microphone — approximately 2.6 kg including cable — without drift, and the full angular range lets the engineer aim the R88 straight down, horizontal, or at any intermediate angle without risk of creep under load.\u003c\/p\u003e\n\u003ch3\u003eDead-Hang and Overhead Positions Without Compromise\u003c\/h3\u003e\n\u003cp\u003eThe R88 MkII is explicitly designed for overhead and dead-hang use — a configuration that cannot be safely executed without an angle-locking adapter. The swivel fits between the stand clamp and the microphone mount, allowing rotation in the vertical plane and locking at the selected position. The serrated lock requires no tools: rotate to the desired angle, tighten the lock screw, and the adapter holds the R88 through an entire session — including on a boom arm extended over a string section or a drum kit. Outside the R88, the swivel is compatible with every AEA microphone carrying a standard 5\/8\" thread, making it a universal positioning tool across the lineup.\u003c\/p\u003e\n\u003ch3\u003eStereo Image Control Through Angle\u003c\/h3\u003e\n\u003cp\u003eThe R88 captures stereo in a fixed Blumlein configuration — the angle of the microphone relative to the source directly affects channel balance and stereo width. The swivel enables precise tilt adjustment without repositioning the entire stand. Rotating the R88 45° relative to the front of the ensemble switches the capture technique from Blumlein to M-S instantly — an operation the swivel makes possible in seconds. The serrated lock prevents the angle from shifting between takes, which matters when channel balance and stereo width need to be identical from the first pass to the last.\u003c\/p\u003e\n\u003ch3\u003eKEY FEATURES\u003c\/h3\u003e\n\u003cul\u003e\n\u003cli\u003e\n\u003cstrong\u003eSerrated locking mechanism\u003c\/strong\u003e — holds set angle under approximately 2.6 kg load without play or drift.\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eFull angular range\u003c\/strong\u003e — vertical through horizontal to dead-hang, no mounting restrictions.\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eStandard R88 MkII inclusion\u003c\/strong\u003e — ships with every new R88 MkII microphone.\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eUniversal AEA compatibility\u003c\/strong\u003e — works with all AEA microphones and any microphone with a 5\/8\" thread.\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eBlumlein \/ M-S switching\u003c\/strong\u003e — 45° rotation via swivel switches recording technique without moving the stand.\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003ch3\u003eTECHNICAL SPECIFICATIONS\u003c\/h3\u003e\n\u003cul\u003e\n\u003cli\u003e\n\u003cstrong\u003eType:\u003c\/strong\u003e Swivel mount adapter\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eAngle lock:\u003c\/strong\u003e Serrated teeth — tool-free operation\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eMount thread:\u003c\/strong\u003e 5\/8\"-27 (standard microphone stand)\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eCompatibility:\u003c\/strong\u003e AEA R88, R88 MkII and all AEA microphones with 5\/8\" thread\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eStandard inclusion:\u003c\/strong\u003e Ships with every new AEA R88 MkII\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eCountry of manufacture:\u003c\/strong\u003e USA (Pasadena, CA)\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003c\/div\u003e","brand":"AEA","offers":[{"title":"Default Title","offer_id":54069049459025,"sku":"50972","price":75.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0729\/8741\/0769\/files\/AEAR88SeriesSwivel.jpg?v=1781521127"},{"product_id":"aea-stereo-bars-arrays-smp-s-slider","title":"AEA Stereo Bars \u0026 Arrays SMP-S Slider","description":"\u003cdiv lang=\"en\"\u003e\n\u003cp\u003e\u003cstrong\u003eAEA Stereo Bars \u0026amp; Arrays SMP-S Slider — \u003c\/strong\u003ean individual replacement and expansion slider for AEA SMP series stereo bars, featuring laser-etched azimuth angle markings, a 5\/8\"-27 male thread, and an extra-large diameter locking ring.\u003c\/p\u003e\n\u003cp\u003eEvery AEA SMP series bar — SMP-17, SMP-1M, SMP-1.25M — is built around the SMP-S Slider as its core positioning element: the slider holds the microphone, sets the azimuth angle, and locks position along the aluminium rail. Sold individually, the SMP-S serves two distinct purposes: as a replacement for a damaged or missing slider on an existing bar, and as an expansion component that adds a third, fourth, or further microphone position to any SMP bar without purchasing a new assembly. In Decca Tree Regular and Mini configurations, additional SMP-S sliders are what enable outrigger extensions and centre-fill additions — the modular logic of the entire AEA array system depends on this part being available separately.\u003c\/p\u003e\n\u003ch3\u003eAzimuth Angle Without Guesswork\u003c\/h3\u003e\n\u003cp\u003eThe slider body carries laser-etched markings around its circumference at 0°, ±30°, ±45°, and ±55°. These correspond to included angles between two microphone axes of 60°, 90°, and 110° respectively — covering the full range of standard stereo techniques: XY (60–90°), Blumlein (90°), and ORTF (110°). Setting the angle means rotating the slider to the engraved mark and tightening the thumb screw — no protractor, no visual estimation. Repeatability between sessions is therefore guaranteed by a number, not by muscle memory.\u003c\/p\u003e\n\u003ch3\u003eMounting and Compatibility\u003c\/h3\u003e\n\u003cp\u003eThe slider mounts to any SMP bar via two thumb screws and locks at any point along the full rail length — no indexed slots, no position limits. The 5\/8\"-27 male thread on the slider head accepts any standard microphone clip or 3\/8\" adapter. The extra-large locking ring provides sufficient clamping surface to hold heavy large-diaphragm condensers without rotation under capsule weight — a failure mode common with narrower slider designs when tilted off-axis. The SMP-S is compatible with every bar in the AEA SMP family and with all Decca Tree bracket assemblies: Regular, Mini, and Super configurations.\u003c\/p\u003e\n\u003ch3\u003eKEY FEATURES\u003c\/h3\u003e\n\u003cul\u003e\n\u003cli\u003e\n\u003cstrong\u003eLaser-etched angle markings:\u003c\/strong\u003e 0°, ±30°, ±45°, ±55° — included angles of 60°, 90°, and 110° (XY, Blumlein, ORTF).\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003e5\/8\"-27 male thread\u003c\/strong\u003e — standard microphone thread, accepts clips and adapters from all manufacturers.\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eExtra-large diameter locking ring\u003c\/strong\u003e — stable clamping for heavy condenser and ribbon microphones.\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eTwo thumb screws\u003c\/strong\u003e — independent locking of bar position and azimuth angle, no tools required.\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eModular compatibility\u003c\/strong\u003e — replacement and expansion part for all AEA SMP bars and Decca Tree assemblies.\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003ch3\u003eTECHNICAL SPECIFICATIONS\u003c\/h3\u003e\n\u003cul\u003e\n\u003cli\u003e\n\u003cstrong\u003eModel:\u003c\/strong\u003e AEA SMP-S Slider\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eType:\u003c\/strong\u003e Replacement \/ expansion slider for SMP series stereo bars\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eMicrophone thread:\u003c\/strong\u003e 5\/8\"-27 (standard)\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eAngle markings (laser-etched):\u003c\/strong\u003e 0°, ±30°, ±45°, ±55° (included angles: 60°, 90°, 110°)\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eLocking mechanism:\u003c\/strong\u003e 2 × thumb screw (bar position + azimuth angle)\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eCompatibility:\u003c\/strong\u003e AEA SMP-17, SMP-1M, SMP-1.25M, Decca Tree Regular, Decca Tree Mini, Decca Tree Super\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eMaterial:\u003c\/strong\u003e Anodised aluminium\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eCountry of manufacture:\u003c\/strong\u003e USA (Pasadena, CA)\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003c\/div\u003e","brand":"AEA","offers":[{"title":"Default Title","offer_id":54069049721169,"sku":"50981","price":70.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0729\/8741\/0769\/files\/AEAStereoBars_ArraysSMP-SSlider.jpg?v=1781521230"},{"product_id":"aea-r88-series-case","title":"AEA R88 Series Case","description":"\u003cdiv lang=\"en\"\u003e\n\u003cp\u003e\u003cstrong\u003eAEA R88 Series Case — \u003c\/strong\u003ea black OEM fabric case with die-cut foam interior, the dedicated transport case for the AEA R88 and R88 MkII stereo ribbon microphones, included as standard with every new R88 purchase.\u003c\/p\u003e\n\u003cp\u003eThe AEA R88 is one of the largest and heaviest microphones in active production — 381 mm tall, approximately 100 mm in diameter, and around 2.6 kg including the cable. Its two 1.8-µm aluminium ribbons are mounted at 90° in a fixed Blumlein configuration behind deliberately minimal acoustic shielding: AEA reduced internal blast protection to maximise the microphone's open, uncoloured character. That design decision places the full burden of mechanical protection during transit squarely on the case. The die-cut foam interior immobilises the R88 in a single fixed position — with swivel adapter and XLR-5M cable stowed — with no movement and no need for supplementary wrapping.\u003c\/p\u003e\n\u003ch3\u003eRibbon Protection in Storage and Transit\u003c\/h3\u003e\n\u003cp\u003eThe R88's passive ribbon elements face two specific transport risks: air blasts that can deform or break the aluminium foil, and ferromagnetic particles (tramp iron) attracted by the neodymium magnets and capable of lodging in the ribbon gap. The closed case addresses both simultaneously — the sealed interior blocks airflow and excludes magnetic contamination. The separate cloth zipper bag included with the R88 is intended for stand storage between takes; the case is the correct environment for transport and long-term storage. The abrasion-resistant black fabric exterior resists wear without attracting dust, and the die-cut foam maintains its shape under extended storage without compressing and losing its hold on the microphone.\u003c\/p\u003e\n\u003ch3\u003eFormat Matched to How R88 Is Used\u003c\/h3\u003e\n\u003cp\u003eThe R88 travels to orchestral recording sessions, ambient and room capture, and live remote work as a self-contained single-unit stereo system. Engineers working with the R88 on location value the fact that the entire signal path — microphone, XLR-5M breakout cable to 2× XLR-3M, and swivel adapter — fits in one case, ready to open and position in under a minute. The absence of two separate paired microphones and their individual cables is the primary logistical advantage of the R88 on tight-schedule sessions, and the case reinforces that efficiency.\u003c\/p\u003e\n\u003ch3\u003eKEY FEATURES\u003c\/h3\u003e\n\u003cul\u003e\n\u003cli\u003e\n\u003cstrong\u003eDie-cut foam interior\u003c\/strong\u003e — precision fit for the R88\/R88 MkII body with swivel adapter and cable stowed, zero play.\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eBlack OEM fabric exterior\u003c\/strong\u003e — abrasion-resistant, low dust attraction, discreet appearance on location sessions.\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eSealed enclosure\u003c\/strong\u003e — blocks airflow and ferromagnetic particle ingress to ribbon elements during storage.\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eStandard factory inclusion\u003c\/strong\u003e — ships with every new AEA R88 and R88 MkII microphone.\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eCompatibility:\u003c\/strong\u003e AEA R88, AEA R88 MkII.\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003ch3\u003eTECHNICAL SPECIFICATIONS\u003c\/h3\u003e\n\u003cul\u003e\n\u003cli\u003e\n\u003cstrong\u003eType:\u003c\/strong\u003e Dedicated OEM carrying case\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eOuter material:\u003c\/strong\u003e Black OEM fabric\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eInterior:\u003c\/strong\u003e Die-cut foam, contoured to R88 body\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eCompatibility:\u003c\/strong\u003e AEA R88, AEA R88 MkII\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eMicrophone dimensions (R88 MkII):\u003c\/strong\u003e 381 × 99 mm, approx. 2.6 kg\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eStandard mic kit contents:\u003c\/strong\u003e case + cloth zipper bag + XLR-5M breakout cable to 2× XLR-3M + swivel adapter\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eCountry of manufacture:\u003c\/strong\u003e USA (Pasadena, CA)\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003c\/div\u003e","brand":"AEA","offers":[{"title":"Default Title","offer_id":54069049819473,"sku":"50967","price":150.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0729\/8741\/0769\/files\/AEAR88SeriesCase.jpg?v=1781521117"},{"product_id":"aea-r44-series-rca-44-case","title":"AEA R44 Series \u0026 RCA 44 Case","description":"\u003cdiv lang=\"en\"\u003e\n\u003cp\u003e\u003cstrong\u003eAEA R44 Series \u0026amp; RCA 44 Case (44VC) — \u003c\/strong\u003ea vertical carrying case constructed from Cordura fabric over a plastic shell with thick internal padding, purpose-built for AEA R44, KU4, and original RCA 44 microphones, and the standard case shipped with every new R44 and KU4 purchase.\u003c\/p\u003e\n\u003cp\u003eThe RCA 44 and its AEA replicas are dimensionally and mechanically unlike any other microphone in a standard locker — over 1.5 kg of body mass, a freely suspended ribbon element inside, and a yoke and cushion mount as exposed external components susceptible to impact damage. No generic mic bag or standard pouch is engineered for this footprint or this level of internal fragility. The 44VC addresses that with a dedicated format: vertical orientation eliminates lateral loading on the cushion mount and yoke during transit, thick foam absorbs impact, and a rigid plastic shell under the Cordura outer skin prevents external deformation from crushing the assembly.\u003c\/p\u003e\n\u003ch3\u003eVertical Orientation as a Technical Requirement\u003c\/h3\u003e\n\u003cp\u003eAEA's R44 owner's manual explicitly recommends storing and transporting the microphone in a vertical position — the only orientation in which the cushion mount works on its designed compression axis and the freely suspended ribbon is not deflected by its own weight. The 44VC enforces this by design: the microphone loads vertically with the cushion mount and yoke attached, and the internal foam geometry does not allow it to be laid on its side. The format accommodates all R44 variants with their full external assembly intact — R44C, R44CX, R44CE, R44CXE — as well as original RCA 44A, 44B, and 44BX units, and the KU4.\u003c\/p\u003e\n\u003ch3\u003eStandard Equipment, Not an Afterthought\u003c\/h3\u003e\n\u003cp\u003eThe 44VC is included with every new AEA R44 and KU4 from the factory — AEA's position being that a microphone of this specification should not leave the manufacturer without purpose-built transport protection. For owners of vintage RCA 44 microphones without an original case (which after decades frequently no longer exists or is structurally compromised), the 44VC provides the first layer of protection for a multi-thousand-dollar instrument: abrasion-resistant Cordura, a rigid shell against lateral impacts, and dense internal padding that keeps the mic stationary regardless of what the surrounding bag is doing.\u003c\/p\u003e\n\u003ch3\u003eKEY FEATURES\u003c\/h3\u003e\n\u003cul\u003e\n\u003cli\u003e\n\u003cstrong\u003eVertical transport orientation\u003c\/strong\u003e — the only correct position for the R44 and RCA 44, eliminating lateral load on the cushion mount and ribbon stress during transit.\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eCordura\/plastic shell construction\u003c\/strong\u003e — abrasion-resistant outer fabric, rigid plastic frame, thick internal foam padding.\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eDedicated internal format\u003c\/strong\u003e — foam geometry matched to the R44 with yoke and cushion mount assembled.\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eCompatibility:\u003c\/strong\u003e AEA R44C, R44CX, R44CE, R44CXE, KU4 and original RCA 44A, 44B, 44BX.\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eStandard factory inclusion\u003c\/strong\u003e — ships with every new AEA R44 and KU4 microphone.\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003ch3\u003eTECHNICAL SPECIFICATIONS\u003c\/h3\u003e\n\u003cul\u003e\n\u003cli\u003e\n\u003cstrong\u003eModel designation:\u003c\/strong\u003e AEA 44VC (Vertical Case)\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eType:\u003c\/strong\u003e Vertical carrying case\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eOuter material:\u003c\/strong\u003e Cordura fabric over plastic shell\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eInterior:\u003c\/strong\u003e Thick foam padding\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eMicrophone orientation:\u003c\/strong\u003e Vertical storage\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eCompatibility:\u003c\/strong\u003e AEA R44C, R44CX, R44CE, R44CXE, KU4 and RCA 44A, 44B, 44BX\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eCountry of manufacture:\u003c\/strong\u003e USA (Pasadena, CA)\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003c\/div\u003e","brand":"AEA","offers":[{"title":"Default Title","offer_id":54069049983313,"sku":"50974","price":200.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0729\/8741\/0769\/files\/AEAR44Series_RCA44Case.jpg?v=1781521048"},{"product_id":"aea-r44-series-rca-44-cushion-mount","title":"AEA R44 Series \u0026 RCA 44 Cushion Mount","description":"\u003cdiv lang=\"en\"\u003e\n\u003cp\u003e\u003cstrong\u003eAEA R44 Series \u0026amp; RCA 44 Cushion Mount — \u003c\/strong\u003ea complete replacement cushion mount assembly for AEA R44C, R44CX, and original RCA 44 microphones, with a straight-knurl top ring available in three finishes: Bright Chrome, Satin Chrome, and Black.\u003c\/p\u003e\n\u003cp\u003eThe cushion mount on the RCA 44 is not a simple stand adapter — it is an integrated mechanical isolation system. The rubber cushion decouples the microphone body (over 1.5 kg) from structure-borne vibrations travelling through the stand and boom arm, protecting the low-tuned ribbon element from mechanical modulation that would otherwise register as low-frequency noise on the track. After decades of use, the original rubber hardens and loses its damping properties, and the top ring thread wears to the point where it no longer holds the microphone's rotational position in the yoke. The AEA Cushion Mount restores both parameters to factory specification.\u003c\/p\u003e\n\u003ch3\u003eMechanical Function, Not Just Appearance\u003c\/h3\u003e\n\u003cp\u003eCorrect cushion mount operation requires vertical orientation relative to the stand — in that position the cushion works in axial compression, the axis for which it was designed. AEA's R44 owner's manual states this explicitly: rotate the microphone within the yoke rather than turning the entire rig on the stand, because rotating the assembly puts the cushion in torsion rather than compression, reducing vibration isolation. A worn original RCA cushion mount with a stripped top ring thread will not hold the set rotational angle — the microphone drifts between takes. A new AEA Cushion Mount eliminates this: the straight-knurl top ring provides firm, tool-free clamping that stays set under the weight of the R44 body. Note: this part is not compatible with the R44CE or R44CXE, which use a single-piece black anodised aluminium mount of different geometry.\u003c\/p\u003e\n\u003ch3\u003eFinish Selection by Microphone Variant\u003c\/h3\u003e\n\u003cp\u003eBright Chrome matches early RCA 44B production with the black transformer case — the less common pre-war finish. Satin Chrome is the standard finish on most RCA 44BX units and on the AEA R44C and R44CX, making it the default choice for general service replacements. Black is the functional matte finish for stage and film environments where chrome reflections conflict with camera lighting. Finish selection at ordering should match the microphone's original variant to maintain historical consistency during restoration.\u003c\/p\u003e\n\u003ch3\u003eKEY FEATURES\u003c\/h3\u003e\n\u003cul\u003e\n\u003cli\u003e\n\u003cstrong\u003eVibration isolation:\u003c\/strong\u003e Decouples the microphone body from stand-borne vibrations — critical protection for the low-tuned ribbon element.\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eStraight-knurl top ring\u003c\/strong\u003e — precise, tool-free clamping of rotational position in the yoke.\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eThree finishes:\u003c\/strong\u003e Bright Chrome (early RCA 44B), Satin Chrome (RCA 44BX \/ R44C \/ R44CX standard), Black (stage\/film use).\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eFull interchangeability:\u003c\/strong\u003e Direct factory replacement for RCA 44A, 44B, 44BX and AEA R44C, R44CX.\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eCompatibility note:\u003c\/strong\u003e Not compatible with AEA R44CE or R44CXE (different single-piece mount geometry).\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003ch3\u003eTECHNICAL SPECIFICATIONS\u003c\/h3\u003e\n\u003cul\u003e\n\u003cli\u003e\n\u003cstrong\u003eType:\u003c\/strong\u003e Replacement cushion mount assembly\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eCompatibility:\u003c\/strong\u003e RCA 44A, 44B, 44BX and AEA R44C, R44CX\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eNot compatible with:\u003c\/strong\u003e AEA R44CE, R44CXE\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eTop ring:\u003c\/strong\u003e Available with straight knurl\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eAvailable finishes:\u003c\/strong\u003e Bright Chrome \/ Satin Chrome \/ Black\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eFitment:\u003c\/strong\u003e Direct factory replacement — original RCA 44 geometry\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eCountry of manufacture:\u003c\/strong\u003e USA (Pasadena, CA)\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003c\/div\u003e","brand":"AEA","offers":[{"title":"Default Title","offer_id":54069050081617,"sku":"50971","price":285.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0729\/8741\/0769\/files\/AEAR44Series_RCA44CushionMount.jpg?v=1781521058"},{"product_id":"aea-r44-series-rca-44-grille","title":"AEA R44 Series \u0026 RCA 44 Grille","description":"\u003cdiv lang=\"en\"\u003e\n\u003cp\u003e\u003cstrong\u003eAEA R44 Series \u0026amp; RCA 44 Grille — \u003c\/strong\u003ea complete replacement grille set for AEA R44 series and original RCA 44 microphones, including exterior grille panels, interior acoustic silk, and mounting screws, available in four finishes matched to specific historical and current R44 variants.\u003c\/p\u003e\n\u003cp\u003eThe RCA 44's diamond-pattern grille is not purely a visual element — it is the primary mechanical barrier protecting the 1.8-µm aluminium ribbon from air blasts, airborne particles, and stray magnetic material. A dented, corroded, or structurally deformed grille is a direct threat to the ribbon element behind it. AEA manufactures the Grille Set as a factory-accurate replacement: identical diamond pattern geometry, same mounting hole positions, and the same interior acoustic silk that sits between the outer grille and the perforated metal blast screens flanking the ribbon on both sides.\u003c\/p\u003e\n\u003ch3\u003eFour Finishes — Four Historical and Current Variants\u003c\/h3\u003e\n\u003cp\u003eFinish selection here is a technical and historical service decision, not an aesthetic one. Satin Chrome is the most common variant, fitted to the majority of RCA 44BX production and the standard finish for general service replacements. Bright Chrome appears on early RCA 44B models with a black transformer case — a rarer configuration sought by collectors restoring pre-1945 factory specifications. Satin Nickel is the finish specific to the AEA R44CE, the cost-effective exterior variant with identical internal components to the R44C. Black — matte lacquered — is used in stage and film applications where chrome reflections conflict with camera lighting setups. All four finishes are produced by AEA on the same lines as parts fitted to new R44 microphones leaving Pasadena.\u003c\/p\u003e\n\u003ch3\u003eService and Restoration to Original Spec\u003c\/h3\u003e\n\u003cp\u003eAn RCA 44 grille after decades of use typically shows transport dents, corrosion at the contact points with the yoke, or degraded interior silk — each condition reduces the acoustic protection of the ribbon and affects the high-frequency behaviour of the microphone. The AEA Grille Set restores original geometry and acoustic shielding in one package: outer panels, silk, and hardware cover the complete replacement without sourcing parts from multiple suppliers. For technicians working with vintage RCA 44s and owners of AEA R44 microphones, this is standard bench stock.\u003c\/p\u003e\n\u003ch3\u003eKEY FEATURES\u003c\/h3\u003e\n\u003cul\u003e\n\u003cli\u003e\n\u003cstrong\u003eKit contents:\u003c\/strong\u003e Exterior grille panels, interior acoustic silk, and mounting screws — complete replacement in one set.\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eFour finishes:\u003c\/strong\u003e Satin Chrome (RCA 44BX standard), Bright Chrome (early RCA 44B), Satin Nickel (AEA R44CE), Black (stage\/film variants).\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eFull interchangeability:\u003c\/strong\u003e Fits RCA 44A, 44B, 44BX and AEA R44C, R44CX, R44CE, R44CXE.\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eAcoustic protection:\u003c\/strong\u003e Diamond-pattern grille with interior silk attenuates air blasts and shields the 1.8-µm ribbon from direct airflow.\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eMade in the USA:\u003c\/strong\u003e Same quality and geometry as parts fitted to new AEA R44 microphones.\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003ch3\u003eTECHNICAL SPECIFICATIONS\u003c\/h3\u003e\n\u003cul\u003e\n\u003cli\u003e\n\u003cstrong\u003eType:\u003c\/strong\u003e Replacement grille set\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eKit contents:\u003c\/strong\u003e Exterior grille panels + interior acoustic silk + mounting screws\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eCompatibility:\u003c\/strong\u003e RCA 44A, 44B, 44BX and AEA R44C, R44CX, R44CE, R44CXE\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eAvailable finishes:\u003c\/strong\u003e Satin Chrome \/ Bright Chrome \/ Satin Nickel \/ Black\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eFitment:\u003c\/strong\u003e Direct factory replacement — original RCA diamond-pattern geometry\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eCountry of manufacture:\u003c\/strong\u003e USA (Pasadena, CA)\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003c\/div\u003e","brand":"AEA","offers":[{"title":"Default Title","offer_id":54069050376529,"sku":"50990","price":325.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0729\/8741\/0769\/files\/AEAR44Series_RCA44Grille.jpg?v=1781521067"},{"product_id":"aea-r44-series-rca-44-yoke","title":"AEA R44 Series \u0026 RCA 44 Yoke","description":"\u003cdiv lang=\"en\"\u003e\n\u003cp\u003e\u003cstrong\u003eAEA R44 Series \u0026amp; RCA 44 Yoke — \u003c\/strong\u003ea replacement yoke for AEA R44 series and original RCA 44 microphones, cast from bronze as a direct upgrade over the factory zinc casting, available in Bright Chrome and Satin Chrome finishes.\u003c\/p\u003e\n\u003cp\u003eOriginal RCA 44 microphones left the factory with zinc-cast yokes — a material that corrodes, cracks along the edges, and loses dimensional accuracy after decades of use, causing the cushion mount clamp screw to slip in degraded metal. AEA addressed this structurally: the R44 Series Yoke is a bronze casting — harder, more corrosion-resistant, and mechanically more stable than zinc. The geometry is reproduced from RCA's original engineering drawings, giving it full interchangeability across all 44 variants: 44A, 44B, 44BX and their derivatives, as well as the complete AEA R44C, R44CX, R44CE, and R44CXE series.\u003c\/p\u003e\n\u003ch3\u003eRestoration Without Material Compromise\u003c\/h3\u003e\n\u003cp\u003eThe yoke carries the full weight of the microphone — over 1.5 kg in the case of the R44 — and transfers mechanical stress from the stand to the cushion mount. A worn zinc casting from a vintage RCA 44 often no longer holds the tilt angle: the clamp screw rotates in corroded metal and the microphone slowly drifts from the set position during a session. The bronze AEA casting eliminates that failure mode — material hardness maintains clamp engagement and keeps the set angle stable under load, including when the microphone is positioned horizontally. Bright Chrome finish matches the polished chrome aesthetic of the R44C museum-quality versions; Satin Chrome pairs with the R44CE and R44CX satin nickel trim.\u003c\/p\u003e\n\u003ch3\u003eService Part and Bench Stock\u003c\/h3\u003e\n\u003cp\u003eAEA has manufactured all parts for the RCA 44 since 1998 and has been servicing this microphone family since the 1970s. The R44 Series Yoke appears in AEA's official service price list as a standard replacement component — the same part AEA installs in microphones leaving their restoration workshop. For technicians and collectors, this provides direct access to a new bronze casting without sourcing from private collections or the secondary market, where original zinc yokes in good condition are increasingly difficult to find.\u003c\/p\u003e\n\u003ch3\u003eKEY FEATURES\u003c\/h3\u003e\n\u003cul\u003e\n\u003cli\u003e\n\u003cstrong\u003eMaterial:\u003c\/strong\u003e Cast bronze — more durable and corrosion-resistant than the original RCA zinc casting.\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eFull interchangeability:\u003c\/strong\u003e Fits RCA 44A, 44B, 44BX and AEA R44C, R44CX, R44CE, R44CXE.\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eTwo finishes:\u003c\/strong\u003e Bright Chrome (polished bronze) and Satin Chrome (matte).\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eOriginal geometry:\u003c\/strong\u003e Reproduced from RCA factory engineering drawings — no modification to the cushion mount required.\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eMade in the USA:\u003c\/strong\u003e The same part AEA uses in its own service restorations.\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003ch3\u003eTECHNICAL SPECIFICATIONS\u003c\/h3\u003e\n\u003cul\u003e\n\u003cli\u003e\n\u003cstrong\u003eType:\u003c\/strong\u003e Replacement yoke\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eCompatibility:\u003c\/strong\u003e RCA 44A, 44B, 44BX, 44PB and AEA R44C, R44CX, R44CE, R44CXE\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eMaterial:\u003c\/strong\u003e Cast bronze\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eAvailable finishes:\u003c\/strong\u003e Bright Chrome (polished) \/ Satin Chrome (matte)\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eFitment:\u003c\/strong\u003e Direct factory replacement — full dimensional compatibility with original RCA geometry\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eCountry of manufacture:\u003c\/strong\u003e USA (Pasadena, CA)\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003c\/div\u003e","brand":"AEA","offers":[{"title":"Default Title","offer_id":54069050605905,"sku":"50963","price":500.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0729\/8741\/0769\/files\/AEAR44Series_RCA44Yoke.jpg?v=1781521086"},{"product_id":"aea-stereo-bars-arrays-smp-17","title":"AEA Stereo Bars \u0026 Arrays SMP-17","description":"\u003cdiv lang=\"en\"\u003e\n\u003cp\u003e\u003cstrong\u003eAEA Stereo Bars \u0026amp; Arrays SMP-17 — \u003c\/strong\u003ea 17-inch (approx. 43 cm) anodised aluminium stereo bar with three SMP-S sliders and an AEA-CP coupler, designed for precise and repeatable positioning of two or three microphones in coincident and near-coincident stereo configurations on a single stand.\u003c\/p\u003e\n\u003cp\u003eStandard stereo bars offer a fixed pair of mounts — functional as long as you always use the same microphones, in the same technique, at the same distance. The SMP-17 works differently: three sliders travel independently along the full bar length and lock at any point with a thumb screw. Microphone spacing changes without removing anything from the stand, each slider's azimuth angle is individually adjustable, and the engraved scale lets you reproduce a session's geometry to the millimetre. The 17\" format covers the full range from tight XY coincident pairs to ORTF spacing of 17 cm between capsules, within a bar compact enough to fit in a bag alongside the microphones.\u003c\/p\u003e\n\u003ch3\u003eOne Bar, Multiple Techniques\u003c\/h3\u003e\n\u003cp\u003eBlumlein on a pair of N22s or N8s — centre and two outer sliders, 90° angle, capsules on the same vertical axis. ORTF — 17 cm spacing, 110° between axes. Close-range spaced pair — sliders at the ends of the bar. The third slider adds a centre microphone to an A-B array or supports a three-mic wide-source coverage setup. The SMP-17 ships as the base bar in the AEA NUVO Stereo Kit for the N22 and N8, but it accepts any microphone with a standard 5\/8\" or 3\/8\" (via adapter) mount. Heavy large-diaphragm condensers hold as securely as slim ribbon microphones — the sliders provide sufficient clamping torque for professional-weight capsules.\u003c\/p\u003e\n\u003ch3\u003eRepeatability as a Working Tool\u003c\/h3\u003e\n\u003cp\u003eOn multi-day sessions — orchestral recordings, live scoring, albums tracked in stages — the microphone array geometry must be identical from the first day to the last. The centimetre-engraved scale on the SMP-17 allows slider positions to be logged numerically and the array rebuilt in under a minute without a tape measure. The AEA-CP coupler mounts the bar to a standard 5\/8\" mic stand thread with no adapters and no play in the connection — vibration between takes will not shift the sliders.\u003c\/p\u003e\n\u003ch3\u003eKEY FEATURES\u003c\/h3\u003e\n\u003cul\u003e\n\u003cli\u003e\n\u003cstrong\u003eBar length:\u003c\/strong\u003e 17\" (approx. 43 cm) — covers XY, ORTF, and close-range spaced pair configurations.\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003e3 × SMP-S slider\u003c\/strong\u003e — continuous position adjustment, individual azimuth angle setting, thumb-screw lock.\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eAEA-CP coupler\u003c\/strong\u003e — 5\/8\" mic stand mount, zero play in the connection.\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eEngraved centimetre scale\u003c\/strong\u003e — session-to-session geometry repeatability without additional tools.\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eUniversal compatibility\u003c\/strong\u003e — accepts any microphone with 5\/8\" or 3\/8\" (via adapter) mount; standard bar in the AEA NUVO Stereo Kit.\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eAnodised aluminium construction\u003c\/strong\u003e — lightweight, rigid, mechanically stable under load.\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003ch3\u003eTECHNICAL SPECIFICATIONS\u003c\/h3\u003e\n\u003cul\u003e\n\u003cli\u003e\n\u003cstrong\u003eBar length:\u003c\/strong\u003e 17\" (approx. 43 cm)\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eSliders included:\u003c\/strong\u003e 3 × SMP-S (with individual azimuth adjustment)\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eCoupler:\u003c\/strong\u003e 1 × AEA-CP\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eMount thread:\u003c\/strong\u003e 5\/8\" standard microphone stand\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eSupported stereo techniques:\u003c\/strong\u003e XY, ORTF, Blumlein, spaced pair, Mid-Side (with compatible microphones)\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eMaterial:\u003c\/strong\u003e Anodised aluminium with engraved centimetre scale\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eCountry of manufacture:\u003c\/strong\u003e USA (Pasadena, CA)\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003c\/div\u003e","brand":"AEA","offers":[{"title":"Default Title","offer_id":54069050933585,"sku":"50950","price":285.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0729\/8741\/0769\/files\/AEAStereoBars_ArraysSMP-17.jpg?v=1781521214"},{"product_id":"aea-nuvo-series-stereo-kit-case","title":"AEA NUVO Series Stereo Kit Case","description":"\u003cdiv lang=\"en\"\u003e\n\u003cp\u003e\u003cstrong\u003eAEA NUVO Series Stereo Kit Case — \u003c\/strong\u003ea complete stereo recording accessory bundle for AEA NUVO series microphones (N22 or N8), including an SKB hard case, SMS stereo bar, NUVO Blumlein coupler, and windscreens — microphones not included.\u003c\/p\u003e\n\u003cp\u003eStereo mic rigs are typically assembled from parts scattered across different manufacturers and drawers. The AEA NUVO Stereo Kit Case puts everything in one place: a custom SKB hard case with CNC-cut foam houses two NUVO microphones plus every component needed for Blumlein or near-coincident recording on a single stand. The kit was designed at the direct request of engineer John Kurlander — whose credits include the Beatles' later catalogue, the Lord of the Rings film scores, and Skyrim — a person who understands what a fast, reliable stereo setup actually requires on a working session.\u003c\/p\u003e\n\u003ch3\u003eBlumlein and Near-Coincident Without the Guesswork\u003c\/h3\u003e\n\u003cp\u003eThe SMS Stereo Bar positions two NUVO microphones at any angle from 0° to 180° on one stand — classic Blumlein at 90°, near-coincident spreads, or Mid-Side with a cardioid and a figure-eight. The NUVO Coupler clips two microphones head-to-head for true Blumlein alignment: both capsules on the same vertical axis, zero inter-channel phase offset at a centred source. Thumb screws lock position in a single move without tools. Two Windtech windscreens protect the aluminium ribbon elements during outdoor sessions, live performances, and any situation where air movement is a concern.\u003c\/p\u003e\n\u003ch3\u003eThe Case as a Working System\u003c\/h3\u003e\n\u003cp\u003eThe SKB case is not a shipping box — it is a road-grade hard case with spring latches and CNC-cut foam that holds every component in a fixed position. Two NUVO microphones (N22 or N8), the SMS bar, the coupler, windscreens, and mounting hardware all fit without play or improvised padding. On a location session — a church, a film scoring stage, an outdoor festival — the entire rig comes out in a predetermined sequence and nothing gets left behind. The case dimensions fit in a standard aircraft overhead bin, which for engineers doing live remote recording translates directly into fewer checked bags and fewer transit risks to the ribbon elements.\u003c\/p\u003e\n\u003ch3\u003eKEY FEATURES\u003c\/h3\u003e\n\u003cul\u003e\n\u003cli\u003e\n\u003cstrong\u003eSKB hard case\u003c\/strong\u003e — road-grade construction with CNC-cut foam, spring latches, carry-on compatible dimensions.\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eSMS Stereo Bar\u003c\/strong\u003e — 0–180° angle adjustment, supports Blumlein, near-coincident, and M-S configurations on a single stand.\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eNUVO Blumlein Coupler\u003c\/strong\u003e — head-to-head mic alignment for precise Blumlein, zero phase offset at centre source.\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003e2 × Windtech windscreen\u003c\/strong\u003e — ribbon protection for outdoor and live-stage use.\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eCompatibility\u003c\/strong\u003e — fits AEA N22 and N8 (microphones not included in the Case and Parts Only version).\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eDesigned by John Kurlander\u003c\/strong\u003e — engineer behind Beatles, Lord of the Rings, and Skyrim recordings.\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003ch3\u003eTECHNICAL SPECIFICATIONS\u003c\/h3\u003e\n\u003cul\u003e\n\u003cli\u003e\n\u003cstrong\u003eKit contents (Case and Parts Only):\u003c\/strong\u003e SKB hard case, SMS Stereo Bar, NUVO Blumlein Coupler, 2 × Windtech windscreen, mounting hardware\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eMicrophones:\u003c\/strong\u003e not included (compatible: AEA N22, AEA N8)\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eCase type:\u003c\/strong\u003e SKB hard case with CNC-cut foam interior\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eSupported stereo techniques:\u003c\/strong\u003e Blumlein (90°), near-coincident, Mid-Side\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eSMS bar mount thread:\u003c\/strong\u003e 5\/8\" standard microphone stand\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eCountry of manufacture:\u003c\/strong\u003e USA (Pasadena, CA)\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eWarranty:\u003c\/strong\u003e 1 year parts and labour; 3 years with product registration within 90 days of purchase\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003c\/div\u003e","brand":"AEA","offers":[{"title":"Default Title","offer_id":54069051031889,"sku":"50949","price":350.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0729\/8741\/0769\/files\/AEANUVOSeriesStereoKitCase.jpg?v=1781521006"},{"product_id":"aea-stereo-bars-arrays-decca-tree-mini","title":"AEA Stereo Bars \u0026 Arrays Decca Tree Mini","description":"\u003cdiv lang=\"en\"\u003e\n\u003cp\u003e\u003cstrong\u003eAEA Stereo Bars \u0026amp; Arrays Decca Tree Mini — \u003c\/strong\u003ea compact microphone array positioner measuring 1 meter wide by 17\" (approx. 43 cm) deep, designed for chamber ensembles, smaller acoustic sources, and recording situations where a full-size Decca Tree physically cannot fit above the instrument or within the available rigging space.\u003c\/p\u003e\n\u003cp\u003eThe Regular Decca Tree spans 2 meters — standard for a symphonic hall, but over a string quartet, a small choir, or a solo piano it often overshoots the acoustic centre of the ensemble or conflicts with lighting rigs and cameras. The Mini solves that geometrically: the rear arm drops to 1 meter, the forward arm to 17\", producing a tight, lightweight assembly that one engineer can mount and break down in minutes without a second pair of hands. The sonic principle remains unchanged — three omnidirectional microphones in a T-formation, natural depth, and a coherent centre image that spaced pairs alone cannot deliver.\u003c\/p\u003e\n\u003ch3\u003eFull Control in a Smaller Footprint\u003c\/h3\u003e\n\u003cp\u003eThe SMP-S sliders function identically to those in the Regular version: continuous travel along the full bar length, thumb-screw lock at any position. With a 1-meter rear bar, the outer microphone spacing ranges from a narrow near-ORTF setting to a full 1-meter A-B spread — enough range to cover intimate chamber recording as well as mid-sized ensembles. All four SMP-S sliders included allow for the standard T layout (centre plus two outer mics) with one spare position for a spot microphone or a fourth outrigger capsule. The centimetre-engraved scale on each bar makes session-to-session geometry repeatable without notes or measuring tape.\u003c\/p\u003e\n\u003ch3\u003eLocation Work and Fast Setup\u003c\/h3\u003e\n\u003cp\u003eThe Mini is the version that travels. Lightweight anodised aluminium bars, a single AEA-CP coupler onto a standard 5\/8\" stand, and no additional rigging hardware mean the rig goes up fast in a church, a school hall, or a film scoring stage with limited overhead clearance. At close distances — above a solo instrument or a small vocal ensemble — the shortened 17\" forward arm positions the centre microphone closer to the source without introducing off-axis colouration from excessive distance. For engineers working location sessions alone, that combination of compact size and acoustic precision removes the main argument against using a tree at all.\u003c\/p\u003e\n\u003ch3\u003eKEY FEATURES\u003c\/h3\u003e\n\u003cul\u003e\n\u003cli\u003e\n\u003cstrong\u003eArray dimensions:\u003c\/strong\u003e 1 m wide (rear arm) × 17\" \/ approx. 43 cm deep (centre arm) — compact Decca Tree proportions.\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eStepless SMP-S sliders\u003c\/strong\u003e — continuous positioning along the full bar length, thumb-screw lock at any point.\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003e4 sliders included\u003c\/strong\u003e — standard T configuration (3 microphones) plus one additional position for a spot mic or outrigger.\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eAEA-CP coupler\u003c\/strong\u003e — direct 5\/8\" mic stand mount, no adapters needed.\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eCentimetre-engraved scale\u003c\/strong\u003e — session-to-session geometry repeatability.\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eSingle-engineer setup\u003c\/strong\u003e — lightweight construction, no tools required for assembly or adjustment.\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003ch3\u003eTECHNICAL SPECIFICATIONS\u003c\/h3\u003e\n\u003cul\u003e\n\u003cli\u003e\n\u003cstrong\u003eVariant:\u003c\/strong\u003e Decca Tree Mini\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eArray dimensions:\u003c\/strong\u003e 1 m (rear arm width) × 17\" \/ approx. 43 cm (centre arm depth)\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eBars included:\u003c\/strong\u003e 1 × SMP-1M (1-meter bar) + 1 × SMP-17 (17\" bar)\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eSliders included:\u003c\/strong\u003e 4 × SMP-S\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eBracket:\u003c\/strong\u003e 1 × Mini Tree bracket\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eCoupler:\u003c\/strong\u003e 1 × AEA-CP (mic stand coupler)\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eMount thread:\u003c\/strong\u003e 5\/8\" standard microphone stand\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eBar material:\u003c\/strong\u003e Anodised aluminium with engraved centimetre scale\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eCountry of manufacture:\u003c\/strong\u003e USA (Pasadena, CA)\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003c\/div\u003e","brand":"AEA","offers":[{"title":"Default Title","offer_id":54069051261265,"sku":"50946","price":887.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0729\/8741\/0769\/files\/AEAStereoBars_ArraysDeccaTreeMini.jpg?v=1781521140"}],"url":"https:\/\/wrdtunes.com\/de\/collections\/aea.oembed?page=3","provider":"Wired Tunes","version":"1.0","type":"link"}