aea n8 vs n22

The N8 shares the N22’s body and grille construction, although it has a black rather than silver finish. This is directly linked to how close your mic is positioned to the source — the closer to the source you place your mic, the more direct sound and less room tone will be captured. Most traditional ribbons were designed for capturing sources from a distance. The N8 is intended to be used mainly as a far-field mic. The further from the source you place your mic, the less direct sound and the more room tone will be recorded. In order to expand beyond the decades of ribbon mics’ far-field dominance, AEA introduced a new generation of ribbon mics when it debuted the N22 NUVO Near, which delivers a balanced treble and bass ratio from a much closer working distance and naturally reduces proximity effect while minimizing room tone that can often cause problems in smaller spaces or iso booths. For the uninitiated — the N8 is the far-field companion to the stellar N22. The N8 also shares the N22’s ribbon dimensions, transformer, and active transformerless electronics. Although looking similar to the N22, which was aimed primarily at nearfield vocal duties, the new N8 is intended for a very broad range of instrumental and ensemble applications, working typically in the mid and far fields. AEA Ribbon Mics and Preamps manufactures quality ribbon microphones and preamps that reflect your sound the way you hear it. Because the midrange and top-end are not obscured by proximity effect, it also alleviates the need to blend an additional dynamic mic to add more bite. They are all handmade in the United States. Mick Conley favors the N22 on overheads and Chris Koltay uses N8s both live and in the studio on overheads. It is also a solution for people who are in less than ideal rooms allowing them to achieve a balanced sound without adding any unwanted room tone. Because the front side of the mic is placed very close to a loud source, the mic does not capture much room tone. If less proximity effect is desired when recording at close range, the near-field AEA N22 is an effective ribbon mic to complement the N8’s far-field performance. The N22 houses a meticulously tuned high-pass filter which allows the mic to be placed right up against an instrument or amp without the use of an EQ circuit, creating a more nuanced sound than rolling off the low-end with EQ. The circuitry following the transformer serves to lower the output impedance to 92Ω without applying additional gain. Steve Albini loves the N8 on electric guitars while Wilco’s favorite electric guitar mic is the N22. Its well-received sibling, the N22 active ribbon, was reviewed by Paul White in April last year ( For a more balanced sound at a distance to capture the natural tonality of your space, the AEA N8 … These mics’ electronics operate at unity gain; the output signal from the ribbon is amplified by a Lehle step-up transformer. The more experienced the artist becomes with the special nature of each brush, the more proficient they are at creating increasingly subtle art. The N8 was designed to have equal treble and bass from as far 20 feet (6 meters) from the source. For engineers accustomed to using other ribbon mics, the flexibility of being able to position the N22 right against a guitar cab can be mind-blowing! The first thing to decide is how much room tone and natural ambience you want in your recordings. Proudly independent, we build all our products by hand in Pasadena, CA, U.S.A. Unfortunately, AEA’s limited test facilities do not show either mic’s low-frequency response, as they are truncated at 200Hz. Microphones can be like artist’s paint brushes – each a magic wand with specific attributes that allows the painter to weave different colors and textures across a canvas. For the ultimate in flexibility and the widest possible sonic spectrum, try a “mismatched pair – one of each! It is an active ribbon mic that retains AEA’s characteristic “Big Ribbon” architecture, within a modern product pitched specifically to the singer/songwriter market. This is perfect for engineers who want the pure sound of the instrument with limited ambience. The AEA NUVO Series N22 and N8 Ribbon Mics look very similar on the surface, but their tone and functionality provide a wide spectrum of distinct and different characteristics and applications. Potential damage from loud sources is of no concern, even at such a short distance, as the N8 can handle 141+dB SPL at 1 kHz. The mics share identical electronics, but the difference in voicing, and thus placement, is achieved acoustically inside the mics, making for two tonally similar mics for two different applications. The N8 is the second active ribbon mic in AEA’s “Nuvo” series, following the N22. The best way to find out which microphone works best for you is to try them in your space with your music. N8 vs N22. There are no application rules with any AEA mic (other than don’t use them to record canned air to emulate Joy Division’s hi-hat sound). But these identical ribbons are built into different motor designs. Only recently have near-field ribbon microphones become popular, with designs more rugged and compact in size. Two thin layers of silk wrapped around the N8’s BigRibbon allow it to effortlessly capture a wide open, natural sound that is ideal for capturing any sized room, and can easily handle the dynamics of drum overhead duty, the nuance of string ensembles and the full range frequency response of a grand piano.

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