AEA R44 vs. R44CNE?

[MrVelvet]

Hi there,

just searched but was surprised that there was nothing yet - what's the difference between the American and the international edition of the R44? The international one is about 1K cheaper, so of course I'd be tempted here, but then again... If the other one was that much greater Have an R84 and love it! Now I want an R44... It looks so slutty already

[warhead]

I'll ask Wes Dooley, either he can post the answer or I will. I don't know the specifics of the difference. The mics are special order.

The R44CNE I spent time with was the most pleasing ribbon mic experience I have ever had. Talk about vibe...wow.

War

[cl516]

i've been thinking about the AEA R44(CNE) for quite some time,
curious how it would hold up for vocals in a modern pop sound.

[MrVelvet]

Originally Posted by warhead

I'll ask Wes Dooley, either he can post the answer or I will. I don't know the specifics of the difference. The mics are special order.

The R44CNE I spent time with was the most pleasing ribbon mic experience I have ever had. Talk about vibe...wow.

War

Oh yeah! That would be great!

[Dan]

Originally Posted by cl516

i've been thinking about the AEA R44(CNE) for quite some time,
curious how it would hold up for vocals in a modern pop sound.

I would think it would be a mic to avoid for a modern pop sound. Maybe there's some trick, but the RCA 44 is real dark and beefy.

[warhead]

Originally Posted by MrVelvet

Oh yeah! That would be great!

I emailed a link to AEA but there seems to be a mail issue.

I resent a request to get Wes involved here.

Dan, you gotta hear the top end of the R44...talk about sweet. It's not a dark ribbon, it's tingly and sugar-y sweet and full of vibe.

Wow.

Attaching a few clips below, acoustic guitar, all AEA ribbons recorded one after the other on the same session.

War

[warhead]

Attaching electric guitar clips, all AEA ribbons, same re-amped track and position, done one after the other.

R92
R84

War

[warhead]

OK I've had this info for 2 days while this site's been down so...here it is officially from Wes Dooley:

The R44C and R44CNE are AEA's exact sonic recreations of the RCA R44B/BX from the first decade of production. The differences between these two models are cosmetic. Both of them, as well as the "X" motor variants are a custom products that we build to order and thus there are a number of detail variations that have been done such as custom logos, detailing, or paint for clients such as Eddie Van Halen, Air Studios, etc As a custom product, delivery can vary from a few weeks to many months.

The R44C has a lot of expensive details, such as a yoke investment-cast of bronze instead of made of zinc which is an unstable alloy. The R44C parts include things such as the six-part nickle-plated cushion mount that exactly matches the original 1930s RCA production.

The RCA 44 was designed during a time when skilled labor was very cheap, and our "Museum Grade" R44C version uses a huge amount of now expensive skilled labor. All of us at AEA are proud of it, but it is artwork and takes a lot of time to get right. We like to build them, but buyers have waited as long as six months for one. Think custom guitars and you have it right.

The 44CNE is a limited run of 100 that we built in honor of NAMM's 100 anniversary. It was designed to be easier to produce. Thus the silver lines that go around the transformer case down at the bottom of the mic are laser engraved. On the R44C these six lines are ridges which are hand sanded and polished to a bright finish. The 1/16 of an inch wide ridges are raised .015" ( that's just enough to be able to feel them ) above the gloss pained surface.

On the 44CNE the yoke is zinc, and the main part of the cushion mount is one piece of anodized aluminum. The interior of the cushion mount are exactly the same, so there is no performance difference between the six piece R44C version and the three piece. Most of the R44CNE mics produced had the optional satin-finished chrome plated brass grill fitted.


What is "X" high-output motor? The stock AEA R44 transducer ( RCA called them motors ) is designed to have the same sound as the first decade of production of the RCA 44B and BX. We use Neo magnets in all our R44 series, which allow us to have more output than a stock RCA Alnico 5 magnet assembly. The "X"motor option is roughly liked dropping a big block V-8 engine into car designed for a V-6. It has quite a bit more output, but it no longer sounds exactly like the original RCA 44. It is now more forward in the midrange. This is a great option when you are micing a nylon strung guitar from a distance, or working with other exposed solo sections and want to use a ribbon mic. It is a good sound and an excellent mic, but not identical in sound to the best of the RCA 44s.

A final note: All of current AEA production uses an internal wiring revision that RCA LTD in the United Kingdom introduced. This change reduces hum sensitivity by 20 dB.

AEA has synthesized the best elements of RCA production on three continents over a twenty three year period to produce the AEA R44 series ribbon microphones. We hope this summary will be useful in understanding what is involved in the various R44 mics we have produced.

Best Regards,,

Wes Dooley / AEA

[MrVelvet]

Wow! That is indeed helpful! Thanks!!

[warhead]

Also, Wes informed me that AEA is close to the end of their 100 mic commitment on the "CNE" version. Once they hit 100 they do not plan on building them anymore.

War

[billgennaro]

thanks for the clips war. i really didn't think the 44 was gonna sound THAT much better than the 84 & 92 (i've got them both and thought i was in ribbon heaven, but, alas, i have one more step to get there). as you said, superlative top end. how close to the guitar was the mic? i heard the 44 was supposed to have tons of proximity. any eq used?

what a vicious forum that makes grown men crave more. i guess i am becoming a slut.

bill

[Grizzly]

You bet, Bill !!!...

Just the same feeling after hearing the three samples...

Darn ! I need a 44 !...

Olivier.

[warhead]

No EQ was used, probably 2" off the cloth on the electric tracks, and about 14" out pointing about where the neck meets the body. No EQ, I never EQ mic clips like that.

Chain for distorted cab was:

All clean guitar clips were recorded at The Jam Room Recording Studio using the following signal chain: 72 Fender Strat > Radial JDV > Digi 192 > Radial X-Amp > ’78 Marshall 50 Watt JMP Head > 4x12 Marshall Slant Cab > Microphone > Mogami Gold Microphone Cable > Earthworks 1022 Preamp > Mogami Cable > Switchcraft TT Patchbay > Mogami Cable > Digi 192 Analog Inputs > Pro Tools HD Accell 2. The sessions were monitored through Tannoy DMT10-II’s powered by a Bryston 4B amplifier.

Chain for acoustic guitar was:

All acoustic guitar clips were recorded at The Jam Room Recording Studio using the following signal chain: Martin Shenandoa Acoustic Guitar > Microphone > Mogami Gold Microphone Cable > Earthworks 1022 Preamp > Mogami Cable > Switchcraft TT Patchbay > Mogami Cable > Digi 192 Analog Inputs > Pro Tools HD Accell 2. The sessions were monitored through Tannoy DMT10-II’s powered by a Bryston 4B amplifier.

War

[billgennaro]

Originally Posted by warhead

No EQ was used, probably 2" off the cloth on the electric tracks, and about 14" out pointing about where the neck meets the body. No EQ, I never EQ mic clips like that.

Chain for distorted cab was:

All clean guitar clips were recorded at The Jam Room Recording Studio using the following signal chain: 72 Fender Strat > Radial JDV > Digi 192 > Radial X-Amp > ’78 Marshall 50 Watt JMP Head > 4x12 Marshall Slant Cab > Microphone > Mogami Gold Microphone Cable > Earthworks 1022 Preamp > Mogami Cable > Switchcraft TT Patchbay > Mogami Cable > Digi 192 Analog Inputs > Pro Tools HD Accell 2. The sessions were monitored through Tannoy DMT10-II’s powered by a Bryston 4B amplifier.

Chain for acoustic guitar was:

All acoustic guitar clips were recorded at The Jam Room Recording Studio using the following signal chain: Martin Shenandoa Acoustic Guitar > Microphone > Mogami Gold Microphone Cable > Earthworks 1022 Preamp > Mogami Cable > Switchcraft TT Patchbay > Mogami Cable > Digi 192 Analog Inputs > Pro Tools HD Accell 2. The sessions were monitored through Tannoy DMT10-II’s powered by a Bryston 4B amplifier.

War

thanks warren. your input is always appreciated. bill

[always_ending]

Love the detail you give War, thanks a lot man! Looks like I'm saving up for a R44 myself!

[Doc Mixwell]

The AEA 44CNE was a BIG part of my buddy Steve's record, [which he worked REALLY HARD to get to the street!!!] so give him some spins, and then maybe donate to his talent,

But you will hear the AEA 44CNE ALL over this record.

Check it out

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