{"title":"Studio and Live Microphones","description":"","products":[{"product_id":"austrian-audio-oc818-dual-set-go-black","title":"Austrian Audio OC818 Dual Set Go Black","description":"\u003cdiv lang=\"en\"\u003e\n\u003cstrong\u003eAustrian Audio OC818 Dual Set Go Black\u003c\/strong\u003e — a matched pair of multi-pattern OC818 condenser microphones in black, in a stripped-down touring bundle with mini XLR cables, clips, and a vinyl carrying case.\n\n\u003cp\u003eThe Dual Set Go pairs two OC818 units, factory-matched within 1 dB and interchangeable with each other as well as with an OC18 in cardioid mode. Unlike the Studio Set or Dual Set Plus, this bundle skips the shockmounts and pop filters in favor of a compact, lightweight package — two mics, two OCC8 cables for dual-output mode, two OCH8 clips, two windscreens, and a vinyl carrying case, ready to grab and load for a tour or a remote recording session.\u003c\/p\u003e\n\n\u003ch3\u003eA stereo pair without unnecessary gear bulk\u003c\/h3\u003e\n\u003cp\u003eA common problem for an engineer working on location: a full studio kit with ball-joint shockmounts and metal pop filters takes up significant luggage space, and for instrumental recording or drum overheads that hardware often isn't needed anyway. The Dual Set Go delivers the exact same CKR12 capsule sound as the pricier bundles, but in a package optimized for weight and volume — the pair with essential accessories fits in one compact case.\u003c\/p\u003e\n\n\u003ch3\u003eDual-output mode as a flexible mixing tool on the road\u003c\/h3\u003e\n\u003cp\u003eWhen recording on tour, it's hard to know in advance which polar pattern will work best in a given room or on a given stage. The included OCC8 cables let both mics run in dual-output mode simultaneously, capturing the front and rear diaphragm separately — the pattern can be shaped later in PolarDesigner, without needing to predict acoustic conditions ahead of time or carrying backup gear in case of a wrong call.\u003c\/p\u003e\n\n\u003ch3\u003eKEY FEATURES\u003c\/h3\u003e\n\u003cul\u003e\n\u003cli\u003e2x OC818 condenser microphone in black, CKR12 capsule\u003c\/li\u003e\n\u003cli\u003e5 polar patterns: cardioid, hypercardioid, figure-8, omnidirectional, Preset mode\u003c\/li\u003e\n\u003cli\u003eFactory-matched pair, compatible with an OC18 in cardioid mode\u003c\/li\u003e\n\u003cli\u003eDual output: separate XLR and mini XLR outputs per diaphragm\u003c\/li\u003e\n\u003cli\u003e2x OCC8 cable for dual-output mode included\u003c\/li\u003e\n\u003cli\u003e2x OCH8 clip, 2x OCW8 windscreen\u003c\/li\u003e\n\u003cli\u003eStripped-down, lightweight configuration for touring\u003c\/li\u003e\n\u003cli\u003eVinyl carrying case for the full set\u003c\/li\u003e\n\u003c\/ul\u003e\n\n\u003ch3\u003eTECHNICAL SPECIFICATIONS\u003c\/h3\u003e\n\u003cul\u003e\n\u003cli\u003ePolar pattern: cardioid, omnidirectional, figure-8, hypercardioid, programmable mode\u003c\/li\u003e\n\u003cli\u003eFrequency range: 20 Hz - 20 kHz\u003c\/li\u003e\n\u003cli\u003eSensitivity: 13 mV\/Pa\u003c\/li\u003e\n\u003cli\u003eMaximum SPL: 148 dB SPL (158 dB SPL with -20 dB pad)\u003c\/li\u003e\n\u003cli\u003eLow cut filter: 40 Hz (2nd order), 80 Hz (2nd order), 160 Hz (1st order down to 80Hz, 2nd order below)\u003c\/li\u003e\n\u003cli\u003eImpedance: 275 Ω (symmetrical)\u003c\/li\u003e\n\u003cli\u003eSupply voltage: 48V (\u0026lt;4mA, typical 2.1mA)\u003c\/li\u003e\n\u003cli\u003eMain connector: 3-pin XLR; second connector: 5-pin mini XLR (rear diaphragm)\u003c\/li\u003e\n\u003cli\u003eDimensions (single mic): 157 x 63 x 36 mm\u003c\/li\u003e\n\u003cli\u003eWeight (single mic): 360 g\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003c\/div\u003e","brand":"Austrian Audio","offers":[{"title":"Default Title","offer_id":58444392628556,"sku":"60613","price":1645.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0769\/9854\/1644\/files\/AustrianAudioOC818DualSetGoBlack1.jpg?v=1786978076"},{"product_id":"austrian-audio-oc707","title":"Austrian Audio OC707","description":"\u003cdiv lang=\"en\"\u003e\n\u003cstrong\u003eAustrian Audio OC707\u003c\/strong\u003e — a handheld true condenser vocal microphone with the OCC7 capsule, combining studio-level precision with a build engineered for stage conditions.\n\n\u003cp\u003eThe OC707 brings condenser technology to a handheld category usually dominated by dynamic designs. The OCC7 capsule, built with lightweight but highly stable industrial ceramic, delivers a 35 Hz–20 kHz frequency range and 10 mV\/Pa sensitivity, with a maximum SPL of 150 dB. Open Acoustics technology minimizes the number of contact points between the capsule and the body, letting sound reach it freely from all sides, which removes the resonance and coloration typical of conventional dynamic mic housings.\u003c\/p\u003e\n\n\u003ch3\u003eOff-axis stability as a defense against feedback\u003c\/h3\u003e\n\u003cp\u003eCondenser mics on stage have a reputation for being more feedback-prone than dynamics, largely due to inconsistent off-axis response. The OC707 addresses this with a carefully engineered filter fabric on the capsule that gives uniform rear and side rejection across the whole frequency range — in practice, that means more gain before feedback than many competing condensers in this price class.\u003c\/p\u003e\n\n\u003ch3\u003eA high-pass filter as a proximity effect control\u003c\/h3\u003e\n\u003cp\u003eVocalists singing right up against a condenser's grille often fight low-end buildup more pronounced than on a typical dynamic mic. The OC707 has a switchable second-order high-pass filter at 120 Hz, letting proximity effect be corrected right at the mic without engaging EQ at the FOH console — saving time during soundcheck and keeping the vocal consistent regardless of the singer's distance from the mic.\u003c\/p\u003e\n\n\u003ch3\u003eKEY FEATURES\u003c\/h3\u003e\n\u003cul\u003e\n\u003cli\u003eHandheld true condenser microphone with the OCC7 capsule\u003c\/li\u003e\n\u003cli\u003eCardioid pattern with strong off-axis rejection\u003c\/li\u003e\n\u003cli\u003eOpen Acoustics technology minimizing housing resonance\u003c\/li\u003e\n\u003cli\u003eSwitchable 120 Hz high-pass filter (2nd order)\u003c\/li\u003e\n\u003cli\u003eRugged die-cast metal body for stage use\u003c\/li\u003e\n\u003cli\u003eLow susceptibility to handling noise and shocks\u003c\/li\u003e\n\u003cli\u003eAlso available as the OC707 WL1 wireless capsule head for Shure systems\u003c\/li\u003e\n\u003c\/ul\u003e\n\n\u003ch3\u003eTECHNICAL SPECIFICATIONS\u003c\/h3\u003e\n\u003cul\u003e\n\u003cli\u003ePolar pattern: cardioid\u003c\/li\u003e\n\u003cli\u003eFrequency range: 35 Hz - 20 kHz\u003c\/li\u003e\n\u003cli\u003eSensitivity: 10 mV\/Pa\u003c\/li\u003e\n\u003cli\u003eEquivalent noise level: 19 dB SPL(A)\u003c\/li\u003e\n\u003cli\u003eMaximum SPL: 150 dB SPL\u003c\/li\u003e\n\u003cli\u003eLow cut filter: 120 Hz (2nd order)\u003c\/li\u003e\n\u003cli\u003eImpedance: 275 Ω (symmetrical)\u003c\/li\u003e\n\u003cli\u003eLoad impedance: \u0026gt;1 kΩ\u003c\/li\u003e\n\u003cli\u003eSupply voltage: 48V (\u0026lt;2.2mA)\u003c\/li\u003e\n\u003cli\u003eConnector: 3-pin XLR\u003c\/li\u003e\n\u003cli\u003eDimensions: 194 x 53 x 53 mm\u003c\/li\u003e\n\u003cli\u003eWeight: 340 g\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003c\/div\u003e","brand":"Austrian Audio","offers":[{"title":"Default Title","offer_id":58444392890700,"sku":"60614","price":446.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0769\/9854\/1644\/files\/AustrianAudioOC7071.jpg?v=1786978079"},{"product_id":"austrian-audio-oc7-microphone","title":"Austrian Audio OC7 Microphone","description":"\u003cdiv lang=\"en\"\u003e\n\u003cstrong\u003eAustrian Audio OC7\u003c\/strong\u003e — a small-diaphragm condenser microphone with the OCC7 capsule and a 220° Swivel Joint mechanism, built for close-miking instruments, drums, and amplifiers.\n\n\u003cp\u003eThe OC7 uses the same OCC7 capsule found in the CC8 pencil mic — inspired by the legendary AKG CK1 design, with a 3-micron gold-coated PEN diaphragm — but housed in a rugged, side-address metal body instead of the classic end-address form. A 20 Hz–20 kHz frequency range and a maximum SPL of 154 dB (over 160 dB with the -10 dB pad) give enough headroom for both a delicate acoustic guitar and a hard snare hit. The linear cardioid pattern with clean off-axis response keeps the signal neutral even with bleed from neighboring kit elements.\u003c\/p\u003e\n\n\u003ch3\u003eA side-address body as a solution for tight drum setups\u003c\/h3\u003e\n\u003cp\u003eA common problem when miking a snare with an end-address mic: the body's length often collides with a nearby hi-hat or rack tom, forcing positioning compromises. The OC7 addresses this with side-address geometry — the mic's stalk can sit parallel to the drum head, with the basket itself rotating 220° toward the chosen target, allowing precise aim without physically colliding with neighboring gear.\u003c\/p\u003e\n\n\u003ch3\u003eAngle adjustment without moving the stand\u003c\/h3\u003e\n\u003cp\u003eA small angle correction on a standard clip usually means loosening the whole stand clamp, easily knocking other mic positions out of place in a tightly packed kit. The Swivel Joint mechanism suspends the mic basket in a movable joint, letting the angle be fine-tuned with one hand — useful both for quick repositioning on toms between songs and for precise aiming at a kick drum's port.\u003c\/p\u003e\n\n\u003ch3\u003eKEY FEATURES\u003c\/h3\u003e\n\u003cul\u003e\n\u003cli\u003eSmall-diaphragm condenser microphone with the OCC7 capsule\u003c\/li\u003e\n\u003cli\u003eSwivel Joint mechanism: 220° rotation of the mic basket\u003c\/li\u003e\n\u003cli\u003eLinear cardioid pattern with clean off-axis response\u003c\/li\u003e\n\u003cli\u003e3-micron gold-coated PEN diaphragm\u003c\/li\u003e\n\u003cli\u003eSwitchable 40 Hz \/ 80 Hz high-pass filter\u003c\/li\u003e\n\u003cli\u003e-10 dB pad for increased overload resistance\u003c\/li\u003e\n\u003cli\u003eDurable metal body resistant to accidental stick hits\u003c\/li\u003e\n\u003cli\u003eMic clip and carrying case included\u003c\/li\u003e\n\u003c\/ul\u003e\n\n\u003ch3\u003eTECHNICAL SPECIFICATIONS\u003c\/h3\u003e\n\u003cul\u003e\n\u003cli\u003ePolar pattern: cardioid\u003c\/li\u003e\n\u003cli\u003eFrequency range: 20 Hz - 20 kHz\u003c\/li\u003e\n\u003cli\u003eSensitivity: 10 mV\/Pa\u003c\/li\u003e\n\u003cli\u003eEquivalent noise level: 19 dB SPL(A)\u003c\/li\u003e\n\u003cli\u003eMaximum SPL: 154 dB SPL (\u0026gt;160 dB SPL with pad)\u003c\/li\u003e\n\u003cli\u003eHigh-pass filter: 40 Hz or 80 Hz (2nd order)\u003c\/li\u003e\n\u003cli\u003ePad: -10 dB\u003c\/li\u003e\n\u003cli\u003eConnector: 3-pin XLR, balanced, transformerless\u003c\/li\u003e\n\u003cli\u003ePower: 48V phantom\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003c\/div\u003e","brand":"Austrian Audio","offers":[{"title":"Default Title","offer_id":58444393021772,"sku":"60610","price":446.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0769\/9854\/1644\/files\/AustrianAudioOC7Microphone1.jpg?v=1786978080"},{"product_id":"austrian-audio-oc-s10-studio-set","title":"Austrian Audio OC-S10 Studio Set","description":"\u003cdiv lang=\"en\"\u003e\n\u003cstrong\u003eAustrian Audio OC-S10 Studio Set\u003c\/strong\u003e — a flagship reference large-diaphragm condenser microphone with the CKR12 capsule and two independent XLR outputs, bundled with the OCSM10 ball-joint shockmount and the OCPF10 magnetic pop filter.\n\n\u003cp\u003eThe OC-S10 is a premium implementation of the flagship CKR12 capsule known from the OC818, this time without the touring-oriented compromises — a slim, weighty body and fully discrete circuitry with symmetrical high-slew-rate current amplifiers were designed purely for maximum studio fidelity. Five polar patterns (omni, wide cardioid, cardioid, hypercardioid, figure-8) plus an individual dual-output mode, three high-pass filters (40\/80\/160 Hz), and two pads (-10\/-20 dB) give a sensitivity of 14 mV\/Pa, a self-noise of just 8 dB SPL(A), and a maximum SPL of 157 dB with the pad engaged.\u003c\/p\u003e\n\n\u003ch3\u003eTwo independent XLR outputs as a tool for deferred decisions\u003c\/h3\u003e\n\u003cp\u003eA common problem when recording a solo vocal or instrument: the polar pattern has to be chosen before the session, and a wrong call only shows up at mix time. The OC-S10 captures the front and rear of the CKR12 capsule separately through two full-size XLR connectors, letting you shape any polar pattern, correct proximity effect, or control room reverb after the fact in PolarDesigner and StereoCreator — without touching EQ.\u003c\/p\u003e\n\n\u003ch3\u003eA ball-joint shockmount and a frameless metal pop filter\u003c\/h3\u003e\n\u003cp\u003eA standard fabric pop filter introduces its own frequency response and reflections that subtly color the vocal signal. The included OCPF10 uses porous metal instead of fabric, taming plosives and wind noise with almost no impact on frequency response, and its magnetic mount to the OCSM10 shockmount allows precise distance-setting from the diaphragm without extra rigging. The ball-joint shockmount itself gives full freedom to angle the microphone while minimizing vibration transfer from the floor or stand.\u003c\/p\u003e\n\n\u003ch3\u003eKEY FEATURES\u003c\/h3\u003e\n\u003cul\u003e\n\u003cli\u003eFlagship CKR12 capsule with a ceramic ring, individually measured\u003c\/li\u003e\n\u003cli\u003e5 polar patterns + individual dual-output mode\u003c\/li\u003e\n\u003cli\u003eTwo full-size XLR outputs for independently capturing both sides of the diaphragm\u003c\/li\u003e\n\u003cli\u003eCompatible with PolarDesigner, StereoCreator, and AmbiCreator\u003c\/li\u003e\n\u003cli\u003e3 high-pass filters: 40\/80\/160 Hz (2nd order)\u003c\/li\u003e\n\u003cli\u003eSwitchable -10 dB \/ -20 dB pad\u003c\/li\u003e\n\u003cli\u003eFully discrete circuit with high-slew-rate amplifiers\u003c\/li\u003e\n\u003cli\u003eOCSM10 ball-joint shockmount and OCPF10 frameless pop filter included\u003c\/li\u003e\n\u003cli\u003eWooden presentation box inside a rugged hard carrying case\u003c\/li\u003e\n\u003c\/ul\u003e\n\n\u003ch3\u003eTECHNICAL SPECIFICATIONS\u003c\/h3\u003e\n\u003cul\u003e\n\u003cli\u003ePolar pattern: omni, wide cardioid, cardioid, hypercardioid, figure-8, individual (dual output)\u003c\/li\u003e\n\u003cli\u003eFrequency range: 20 Hz - 20 kHz\u003c\/li\u003e\n\u003cli\u003eSensitivity: 14 mV\/Pa\u003c\/li\u003e\n\u003cli\u003eEquivalent noise level: 8 dB SPL(A)\u003c\/li\u003e\n\u003cli\u003eMaximum SPL: 147 dB SPL (157 dB SPL with pad)\u003c\/li\u003e\n\u003cli\u003eLow cut filter: 40 Hz (2nd order), 80 Hz (2nd order), 160 Hz (1st order down to 80Hz, 2nd order below)\u003c\/li\u003e\n\u003cli\u003ePad: -10 dB, -20 dB\u003c\/li\u003e\n\u003cli\u003eImpedance: 108 Ω (symmetrical)\u003c\/li\u003e\n\u003cli\u003eLoad impedance: \u0026gt;1 kΩ\u003c\/li\u003e\n\u003cli\u003eSupply voltage: 48V (\u0026lt;3mA)\u003c\/li\u003e\n\u003cli\u003eConnectors: 2x 3-pin XLR\u003c\/li\u003e\n\u003cli\u003eDimensions: 205 x 63 x 63 mm\u003c\/li\u003e\n\u003cli\u003eWeight: 710 g\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003c\/div\u003e","brand":"Austrian Audio","offers":[{"title":"Default Title","offer_id":58444393152844,"sku":"60620","price":2771.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0769\/9854\/1644\/files\/AustrianAudioOC-S10StudioSet1.jpg?v=1786978082"},{"product_id":"austrian-audio-oc-b6","title":"Austrian Audio OC-B6","description":"\u003cdiv lang=\"en\"\u003e\n\u003cstrong\u003eAustrian Audio OC-B6\u003c\/strong\u003e — the first large-diaphragm condenser microphone on the market purpose-built for kick drum, built around the CKR6-B capsule handling SPL beyond 170 dB.\n\n\u003cp\u003eThe OC-B6 solves a problem no condenser mic had addressed before: the extreme sound pressure a kick drum generates at close range. The CKR6-B capsule, evolved from Austrian Audio's ceramic capsule technology, has a doubled diaphragm-to-electrode distance and a lowered resonance frequency, giving near-unlimited headroom without losing signal stability. Fully discrete electronics, with no integrated chips, deliver lightning-fast transient response, and a fixed subsonic filter removes rumble below 18 Hz, preserving headroom where it actually matters.\u003c\/p\u003e\n\n\u003ch3\u003eThe same tone regardless of mic position\u003c\/h3\u003e\n\u003cp\u003eA common problem when miking a kick with a dynamic mic: strong proximity effect means the tone shifts dramatically depending on whether the mic sits right at the beater, at the port, or outside the head, forcing an engineer to re-test every time the position changes. The OC-B6 keeps a consistent, undistorted tone regardless of placement — inside the shell, at the port, or outside — giving the engineer freedom to choose position based on tonal character rather than the mic's limitations.\u003c\/p\u003e\n\n\u003ch3\u003eClip-free mounting as a fast-setup solution\u003c\/h3\u003e\n\u003cp\u003eKick drum mic clips can be unreliable with the frequent rigging and de-rigging that comes with touring — they loosen or get lost under a tight show schedule. The OC-B6 has a mounting thread built directly into the body, removing the clip as a separate part and cutting setup time at every soundcheck. A 220° rotating head adds precise angling in tight spaces without repositioning the whole stand.\u003c\/p\u003e\n\n\u003ch3\u003eKEY FEATURES\u003c\/h3\u003e\n\u003cul\u003e\n\u003cli\u003eFirst large-diaphragm condenser microphone on the market purpose-built for kick drum\u003c\/li\u003e\n\u003cli\u003e1\" CKR6-B capsule with doubled diaphragm-to-electrode distance\u003c\/li\u003e\n\u003cli\u003eMaximum SPL beyond 170 dB\u003c\/li\u003e\n\u003cli\u003eFixed subsonic filter removing content below 18 Hz\u003c\/li\u003e\n\u003cli\u003eFully discrete electronics with no integrated chips\u003c\/li\u003e\n\u003cli\u003e220° rotating head for precise positioning\u003c\/li\u003e\n\u003cli\u003eBuilt-in stand thread — no clip required\u003c\/li\u003e\n\u003cli\u003eCompact, rugged design for stage and studio use\u003c\/li\u003e\n\u003c\/ul\u003e\n\n\u003ch3\u003eTECHNICAL SPECIFICATIONS\u003c\/h3\u003e\n\u003cul\u003e\n\u003cli\u003eType: condenser, large-diaphragm\u003c\/li\u003e\n\u003cli\u003ePolar pattern: cardioid\u003c\/li\u003e\n\u003cli\u003eFrequency range: 18 Hz - 20,000 Hz\u003c\/li\u003e\n\u003cli\u003eSensitivity: 0.8 mV\/Pa\u003c\/li\u003e\n\u003cli\u003eMaximum SPL: 170 dB SPL\u003c\/li\u003e\n\u003cli\u003eOutput impedance: 108 Ω\u003c\/li\u003e\n\u003cli\u003eMinimum load impedance: \u0026gt;1 kΩ\u003c\/li\u003e\n\u003cli\u003eSupply voltage: 48V (\u0026lt;2.2mA)\u003c\/li\u003e\n\u003cli\u003eConnector: 3-pin XLR\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003c\/div\u003e","brand":"Austrian Audio","offers":[{"title":"Default Title","offer_id":58444393644364,"sku":"60626","price":522.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0769\/9854\/1644\/files\/AustrianAudioOC-B6.jpg?v=1786978083"},{"product_id":"austrian-audio-micreator-system-set","title":"Austrian Audio MiCreator System Set","description":"\u003cdiv lang=\"en\"\u003e\n\u003cstrong\u003eAustrian Audio MiCreator System Set\u003c\/strong\u003e — a modular USB-C recording system combining the MiCreator Studio mic\/interface with the Satellite companion mic, mounted on the MCMB MiniBar stereo bar, with swappable faceplates and a carrying case.\n\n\u003cp\u003eThe MiCreator Studio combines a cardioid condenser microphone and a USB-C audio interface in one unit, recording up to 48 kHz\/24-bit with no extra hardware needed. Two hardware gain settings — 0 dB and 20 dB — plus a maximum SPL of 130 dB at low gain let it handle a quiet vocal and a louder guitar combo alike. The System Set adds the Satellite mic built around the same capsule, the MCMB MiniBar stereo bar pre-configured for ORTF placement, the MCC1 and MCC2 cables, swappable black and red faceplates, and the MCSC carrying case.\u003c\/p\u003e\n\n\u003ch3\u003eStereo recording without a separate multi-channel interface\u003c\/h3\u003e\n\u003cp\u003eA common problem for a creator wanting to record an acoustic instrument in stereo: a single USB mic isn't enough, and moving to a full multi-channel interface means extra hardware and a more complex setup. The MiCreator System Set solves this by linking Studio and Satellite through the link port with one cable — the whole rig connects to a computer or mobile device via a single USB-C connection, and the MiniBar holds both mics in a pre-set ORTF geometry, ready for stereo recording without manual angling.\u003c\/p\u003e\n\n\u003ch3\u003eA two-person podcast without an external mixer\u003c\/h3\u003e\n\u003cp\u003eRecording a two-person conversation usually means either two separate USB interfaces or a mixer with multiple mic inputs. Linking Studio and Satellite via the link cable gives two independent input channels managed from a single device, and each mic has its own headphone jack, so both speakers can monitor themselves separately during the recording — without extra routing or an external mixing setup.\u003c\/p\u003e\n\n\u003ch3\u003eKEY FEATURES\u003c\/h3\u003e\n\u003cul\u003e\n\u003cli\u003eMiCreator Studio: cardioid condenser mic + USB-C interface, up to 48 kHz\/24-bit\u003c\/li\u003e\n\u003cli\u003eMiCreator Satellite: second cardioid capsule for stereo or two-person podcast recording\u003c\/li\u003e\n\u003cli\u003eMCMB MiniBar stereo bar pre-configured for ORTF geometry\u003c\/li\u003e\n\u003cli\u003eFlexTilt mechanism for adjusting mic head angle\u003c\/li\u003e\n\u003cli\u003eTwo hardware gain settings: 0 dB \/ 20 dB\u003c\/li\u003e\n\u003cli\u003eInstrument input (MCC1 cable) and headphone jack with zero-latency monitoring\u003c\/li\u003e\n\u003cli\u003eSwappable front and back faceplates: black and red\u003c\/li\u003e\n\u003cli\u003eMCSC carrying case for the full set\u003c\/li\u003e\n\u003c\/ul\u003e\n\n\u003ch3\u003eTECHNICAL SPECIFICATIONS\u003c\/h3\u003e\n\u003cul\u003e\n\u003cli\u003eDigital resolution: up to 48 kHz \/ 24-bit\u003c\/li\u003e\n\u003cli\u003eDigital connector: USB-C, USB Audio Class 1.0\/2.0 compliant\u003c\/li\u003e\n\u003cli\u003ePolar pattern (Studio and Satellite): cardioid\u003c\/li\u003e\n\u003cli\u003eFrequency range: 20 Hz - 20 kHz\u003c\/li\u003e\n\u003cli\u003eSensitivity (Studio): -35 dBFS\/Pa (low gain) \/ -15 dBFS (high gain)\u003c\/li\u003e\n\u003cli\u003eHardware gain: 0 dB (low) \/ 20 dB (high)\u003c\/li\u003e\n\u003cli\u003eEquivalent noise level: 22 dB SPL(A) at high gain\u003c\/li\u003e\n\u003cli\u003eMaximum SPL: 130 dB SPL (low gain)\u003c\/li\u003e\n\u003cli\u003eHeadphone output power: 45 mW (32 Ω load)\u003c\/li\u003e\n\u003cli\u003eDynamic range: 89 dB(A)\u003c\/li\u003e\n\u003cli\u003eStudio dimensions: 155 x 60 x 37 mm, weight 370 g\u003c\/li\u003e\n\u003cli\u003eSatellite dimensions: 100 x 60 x 28 mm, weight 220 g\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003c\/div\u003e","brand":"Austrian Audio","offers":[{"title":"Default Title","offer_id":58444393742668,"sku":"60618","price":371.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0769\/9854\/1644\/files\/AustrianAudioMiCreatorSystemSet1.jpg?v=1786978084"},{"product_id":"austrian-audio-oc16-studio-set","title":"Austrian Audio OC16 Studio Set","description":"\u003cdiv lang=\"en\"\u003e\n\u003cstrong\u003eAustrian Audio OC16 Studio Set\u003c\/strong\u003e — a budget large-diaphragm condenser microphone with the ceramic CKR6 capsule, bundled with the OSC6 shockmount, OCH8 clip, and the MSC6 carrying case.\n\n\u003cp\u003eThe OC16 uses the same handmade-in-Vienna CKR6 capsule as the pricier OC18, but with a simplified mechanical build — a less open basket, no pad, and no middle filter position — cutting the price roughly in half while keeping the OC series' signature open sound. A 20 Hz–20 kHz frequency range, 11 mV\/Pa sensitivity, and a maximum SPL of 148 dB give real dynamic headroom, and Open Acoustics technology, with the capsule elastically suspended at three points, damps structure-borne vibration.\u003c\/p\u003e\n\n\u003ch3\u003eHigh SPL handling without needing a pad\u003c\/h3\u003e\n\u003cp\u003eMany budget condenser mics overload on very loud sources like a kick drum or an overdriven guitar amp if they lack a built-in pad. The OC16 takes a different approach — the CKR6 capsule itself tolerates up to 148 dB SPL, which in practice removes the need for a pad on most instrumental sources found in a studio, from drum cymbals to a guitar combo placed close to the diaphragm.\u003c\/p\u003e\n\n\u003ch3\u003eA suspension that removes the need for a separate shockmount\u003c\/h3\u003e\n\u003cp\u003eRecording in a room without full acoustic isolation, floor and stand vibrations easily transfer to the capsule, degrading the cleanliness of the take. The CKR6 capsule in the OC16 is already suspended inside the mic at three elastic points, addressing this issue at the source — the included OSC6 shockmount adds a further layer of isolation, but the mic keeps low structure-borne noise even without it, useful when working in tight, improvised recording setups.\u003c\/p\u003e\n\n\u003ch3\u003eKEY FEATURES\u003c\/h3\u003e\n\u003cul\u003e\n\u003cli\u003eLarge-diaphragm condenser microphone with ceramic CKR6 capsule\u003c\/li\u003e\n\u003cli\u003eOpen Acoustics technology with a three-point elastically suspended capsule\u003c\/li\u003e\n\u003cli\u003eCardioid pattern with a linear frequency response\u003c\/li\u003e\n\u003cli\u003eSwitchable high-pass filter: 40 Hz or 160 Hz\u003c\/li\u003e\n\u003cli\u003eHigh SPL handling without needing a pad\u003c\/li\u003e\n\u003cli\u003eFlat, lightweight design for positioning in hard-to-reach spots\u003c\/li\u003e\n\u003cli\u003eOSC6 shockmount and OCH8 clip included\u003c\/li\u003e\n\u003cli\u003eMSC6 carrying case\u003c\/li\u003e\n\u003c\/ul\u003e\n\n\u003ch3\u003eTECHNICAL SPECIFICATIONS\u003c\/h3\u003e\n\u003cul\u003e\n\u003cli\u003ePolar pattern: cardioid\u003c\/li\u003e\n\u003cli\u003eFrequency range: 20 Hz - 20 kHz\u003c\/li\u003e\n\u003cli\u003eSensitivity: 11 mV\/Pa\u003c\/li\u003e\n\u003cli\u003eEquivalent noise level: 14 dB SPL(A)\u003c\/li\u003e\n\u003cli\u003eMaximum SPL: 148 dB SPL\u003c\/li\u003e\n\u003cli\u003eLow cut filter: 40 Hz or 160 Hz\u003c\/li\u003e\n\u003cli\u003eImpedance: 275 Ω (symmetrical)\u003c\/li\u003e\n\u003cli\u003eLoad impedance: \u0026gt;1 kΩ\u003c\/li\u003e\n\u003cli\u003eSupply voltage: 48V (\u0026lt;2.2mA)\u003c\/li\u003e\n\u003cli\u003eConnector: 3-pin XLR\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003c\/div\u003e","brand":"Austrian Audio","offers":[{"title":"Default Title","offer_id":58444394496332,"sku":"59236","price":434.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0769\/9854\/1644\/files\/AustrianAudioOC16StudioSet1.jpg?v=1786978093"},{"product_id":"austrian-audio-od5-microphone","title":"Austrian Audio OD5 Microphone","description":"\u003cdiv lang=\"en\"\u003e\n\u003cstrong\u003eAustrian Audio OD5\u003c\/strong\u003e — an active dynamic instrument microphone with a Swivel Joint mechanism allowing 220° rotation of the mic basket, built for drums, guitar amplifiers, and wind instruments.\n\n\u003cp\u003eThe OD5 brings the active dynamic circuit known from the vocal OD505 into an instrument mic format. The capsule delivers 6.7 mV\/Pa sensitivity — approaching condenser-level output — with a 20 Hz–18 kHz frequency range and a maximum SPL of 151 dB (over 160 dB SPL with the -10 dB pad engaged). Open Acoustics technology, with the capsule and mic basket independently suspended, gives a precise, linear cardioid pattern that limits how much the housing itself colors the captured signal.\u003c\/p\u003e\n\n\u003ch3\u003eAngle adjustment without touching the stand\u003c\/h3\u003e\n\u003cp\u003eA common problem when miking a drum kit or guitar combo in a tight space: a small angle correction usually means loosening and re-tightening the entire stand clamp, easily knocking a position you'd already dialed in. The Swivel Joint mechanism on the OD5 suspends the mic basket itself in a movable joint with 220° of range, letting you fine-tune the angle with one hand without touching the stand — a real convenience when mics are packed tightly around cymbals or toms.\u003c\/p\u003e\n\n\u003ch3\u003eA CAB filter instead of one universal setting\u003c\/h3\u003e\n\u003cp\u003eDifferent instrument sources call for different approaches to the low end: a guitar amp benefits from cutting unnecessary low frequencies, while a kick or bass wants a gentler, more general-purpose high-pass. The OD5 addresses this with a two-position CAB (Cut and Boost) filter offering 80 Hz and 120 Hz settings (2nd order), letting the response be matched to the specific source without reaching for EQ on the console, while the -10 dB pad guards the signal against overload on very loud sources like a kick drum or an overdriven combo.\u003c\/p\u003e\n\n\u003ch3\u003eKEY FEATURES\u003c\/h3\u003e\n\u003cul\u003e\n\u003cli\u003eActive dynamic microphone with near-condenser sensitivity\u003c\/li\u003e\n\u003cli\u003eSwivel Joint mechanism: 220° rotation of the mic basket\u003c\/li\u003e\n\u003cli\u003eOpen Acoustics technology with independently suspended capsule and basket\u003c\/li\u003e\n\u003cli\u003eLinear, high-precision cardioid pattern\u003c\/li\u003e\n\u003cli\u003eSwitchable CAB (Cut and Boost) filter: 80 Hz \/ 120 Hz (2nd order)\u003c\/li\u003e\n\u003cli\u003e-10 dB pad for increased overload resistance\u003c\/li\u003e\n\u003cli\u003eRugged die-cast body for demanding stage conditions\u003c\/li\u003e\n\u003cli\u003eOCH8 mic clip and MSC2 carrying case included\u003c\/li\u003e\n\u003c\/ul\u003e\n\n\u003ch3\u003eTECHNICAL SPECIFICATIONS\u003c\/h3\u003e\n\u003cul\u003e\n\u003cli\u003eType: active dynamic\u003c\/li\u003e\n\u003cli\u003ePolar pattern: cardioid (high precision)\u003c\/li\u003e\n\u003cli\u003eFrequency range: 20 Hz - 18 kHz\u003c\/li\u003e\n\u003cli\u003eSensitivity: 6.7 mV\/Pa\u003c\/li\u003e\n\u003cli\u003eEquivalent noise level: 21 dB SPL(A)\u003c\/li\u003e\n\u003cli\u003eMaximum SPL: 151 dB (\u0026gt;160 dB SPL with pad)\u003c\/li\u003e\n\u003cli\u003eHigh-pass filter: 80 Hz (2nd order) or 120 Hz (2nd order)\u003c\/li\u003e\n\u003cli\u003ePad: -10 dB\u003c\/li\u003e\n\u003cli\u003ePower: 48V phantom\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003c\/div\u003e","brand":"Austrian Audio","offers":[{"title":"Default Title","offer_id":58444394692940,"sku":"59234","price":246.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0769\/9854\/1644\/files\/AustrianAudioOD5Microphone1.jpg?v=1786978096"},{"product_id":"austrian-audio-od505","title":"Austrian Audio OD505","description":"\u003cdiv lang=\"en\"\u003e\n\u003cstrong\u003eAustrian Audio OD505\u003c\/strong\u003e — an active dynamic handheld vocal microphone with a dual ODC50 capsule, combining the ruggedness of a dynamic mic with sensitivity close to that of a condenser.\n\n\u003cp\u003eThe OD505 addresses a classic stage-mic trade-off: dynamic capsules handle high SPL well but have lower sensitivity and need stronger preamp gain, while condensers sound more open but are more fragile. Active circuitry powered by 48V phantom raises the front capsule's output to 4.4 mV\/Pa — nearly condenser-level — while keeping the heavy die-cast body typical of stage mics. A supercardioid pattern and a 35 Hz–16 kHz frequency range give a maximum SPL of 154 dB.\u003c\/p\u003e\n\n\u003ch3\u003eA second capsule as a handling-noise canceller\u003c\/h3\u003e\n\u003cp\u003eA common problem with handheld mics: a vocalist gripping the mic during a performance generates handling noise and transmitted vibration straight into the capsule. The OD505 solves this with a passive lower capsule wired in reverse polarity relative to the main capsule — both pick up handling noise equally, but summing the two signals cancels it out, while the wanted vocal signal is captured almost exclusively by the active front capsule. The result is noticeably lower handling noise without reaching for extra noise gates on the console.\u003c\/p\u003e\n\n\u003ch3\u003eConsistent output level regardless of cable length\u003c\/h3\u003e\n\u003cp\u003eClassic high-impedance dynamic mics lose high frequencies and signal level over long cable runs, a real issue on large stages with a distant FOH position. The OD505's active electronics compensate for this, delivering a stable output level regardless of preamp input impedance or cable length — a 6-8 dB gain boost over a standard dynamic mic means the signal stays consistent from soundcheck through the last song of the set, without manual gain riding between positions.\u003c\/p\u003e\n\n\u003ch3\u003eKEY FEATURES\u003c\/h3\u003e\n\u003cul\u003e\n\u003cli\u003eActive dynamic microphone with a dual ODC50 capsule\u003c\/li\u003e\n\u003cli\u003eSupercardioid pattern with strong off-axis rejection\u003c\/li\u003e\n\u003cli\u003eReverse-polarity passive rear capsule reducing handling noise\u003c\/li\u003e\n\u003cli\u003e3D Pop Noise Diffuser reducing plosives without dulling the top end\u003c\/li\u003e\n\u003cli\u003eSwitchable 120 Hz high-pass filter (2nd order)\u003c\/li\u003e\n\u003cli\u003e6-8 dB output gain over a standard dynamic microphone\u003c\/li\u003e\n\u003cli\u003eRugged die-cast body with a steel protective grille\u003c\/li\u003e\n\u003cli\u003e48V phantom power\u003c\/li\u003e\n\u003c\/ul\u003e\n\n\u003ch3\u003eTECHNICAL SPECIFICATIONS\u003c\/h3\u003e\n\u003cul\u003e\n\u003cli\u003eType: active dynamic, dual capsule\u003c\/li\u003e\n\u003cli\u003ePolar pattern: supercardioid\u003c\/li\u003e\n\u003cli\u003eFrequency range: 35 Hz - 16 kHz\u003c\/li\u003e\n\u003cli\u003eSensitivity: 4.4 mV\/Pa\u003c\/li\u003e\n\u003cli\u003eMaximum SPL: 154 dB SPL\u003c\/li\u003e\n\u003cli\u003eLow cut filter: 120 Hz (2nd order)\u003c\/li\u003e\n\u003cli\u003eLoad impedance: \u0026gt;1 kΩ\u003c\/li\u003e\n\u003cli\u003ePower: 48V phantom (\u0026lt;1 mA)\u003c\/li\u003e\n\u003cli\u003eConnector: 3-pin XLR\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003c\/div\u003e","brand":"Austrian Audio","offers":[{"title":"Default Title","offer_id":58444394758476,"sku":"59233","price":235.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0769\/9854\/1644\/files\/AustrianAudioOD5051.jpg?v=1786978097"},{"product_id":"austrian-audio-oc18-studio-set","title":"Austrian Audio OC18 Studio Set","description":"\u003cdiv lang=\"en\"\u003e\n\u003cstrong\u003eAustrian Audio OC18 Studio Set\u003c\/strong\u003e — a large-diaphragm cardioid condenser microphone with the CKR6 ceramic capsule, bundled with a spider shockmount, mic clip, foam windscreen, and a carrying case.\n\n\u003cp\u003eThe OC18 is a single-diaphragm version of the flagship CKR12 capsule found in the OC818, built with Open Acoustic technology to minimize internal housing resonance. A 20 Hz–20 kHz frequency range, 13 mV\/Pa sensitivity, and a maximum SPL of 148 dB (158 dB with the pad engaged) give enough headroom for both delicate vocal work and loud instrumental sources. The Studio Set includes the OCS8 shockmount, the OCH8 mic clip, the OCW8 foam windscreen, and a protective carrying case — a complete kit ready to use straight out of the box.\u003c\/p\u003e\n\n\u003ch3\u003eLevel control without losing signal clarity\u003c\/h3\u003e\n\u003cp\u003eA common problem when recording loud sources like a guitar amp or toms with a well-regarded condenser: overloading the capsule at high SPL. The OC18 addresses this with a two-stage -10\/-20 dB pad that reduces signal level ahead of the capsule rather than after it, preserving the natural tonal character even close to loud sources. Combined with three high-pass filter settings (40\/80\/160 Hz), the mic handles both a quiet vocal and an overdriven guitar combo without repositioning or reaching for an external pad.\u003c\/p\u003e\n\n\u003ch3\u003eA complete shockmount included, not an afterthought\u003c\/h3\u003e\n\u003cp\u003eBuying a mic without a proper shockmount usually means floor and stand vibrations get transmitted straight to the capsule, which is a real problem for vocal recording in a room without full acoustic isolation. The Studio Set includes the OCS8 spider shockmount, designed specifically for this microphone series, removing the guesswork of testing generic mount compatibility with the OC18's body, plus a foam windscreen to reduce plosives on close-miked recordings.\u003c\/p\u003e\n\n\u003ch3\u003eKEY FEATURES\u003c\/h3\u003e\n\u003cul\u003e\n\u003cli\u003eOC18 condenser microphone with CKR6 capsule, cardioid pattern\u003c\/li\u003e\n\u003cli\u003eFactory-matched, compatible with another OC18 or an OC818 in cardioid mode\u003c\/li\u003e\n\u003cli\u003eOpen Acoustic technology minimizing internal housing resonance\u003c\/li\u003e\n\u003cli\u003eSwitchable -10 dB \/ -20 dB pad and 40\/80\/160 Hz high-pass filter\u003c\/li\u003e\n\u003cli\u003eOCS8 shockmount included\u003c\/li\u003e\n\u003cli\u003eOCH8 mic clip and OCW8 foam windscreen included\u003c\/li\u003e\n\u003cli\u003eCarrying case\u003c\/li\u003e\n\u003cli\u003e48V phantom power\u003c\/li\u003e\n\u003c\/ul\u003e\n\n\u003ch3\u003eTECHNICAL SPECIFICATIONS\u003c\/h3\u003e\n\u003cul\u003e\n\u003cli\u003ePolar pattern: cardioid\u003c\/li\u003e\n\u003cli\u003eFrequency range: 20 Hz - 20 kHz\u003c\/li\u003e\n\u003cli\u003eSensitivity: 13 mV\/Pa\u003c\/li\u003e\n\u003cli\u003eEquivalent noise level: 9 dB(A)\u003c\/li\u003e\n\u003cli\u003eMaximum SPL: 148 dB SPL (158 dB SPL with -20 dB pad)\u003c\/li\u003e\n\u003cli\u003eLow cut filter: 40 Hz (2nd order), 80 Hz (2nd order), 160 Hz (1st order down to 80Hz, 2nd order below)\u003c\/li\u003e\n\u003cli\u003eImpedance: 275 Ω (symmetrical)\u003c\/li\u003e\n\u003cli\u003eLoad impedance: \u0026gt;1 kΩ\u003c\/li\u003e\n\u003cli\u003eSupply voltage: 48V (\u0026lt;2.2mA)\u003c\/li\u003e\n\u003cli\u003eConnector: 3-pin XLR\u003c\/li\u003e\n\u003cli\u003eDimensions: 157 x 63 x 35 mm\u003c\/li\u003e\n\u003cli\u003eWeight: 335 g\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003c\/div\u003e","brand":"Austrian Audio","offers":[{"title":"Default Title","offer_id":58444394889548,"sku":"59232","price":681.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0769\/9854\/1644\/files\/AustrianAudioOC18StudioSet1.jpg?v=1786978099"},{"product_id":"austrian-audio-oc818-studio-set","title":"Austrian Audio OC818 Studio Set","description":"\u003cdiv lang=\"en\"\u003e\n\u003cstrong\u003eAustrian Audio OC818 Studio Set\u003c\/strong\u003e — a multi-pattern condenser microphone with a dual-diaphragm CKR12 capsule and separate outputs per diaphragm, bundled with a spider shockmount, a mini XLR cable, a windscreen, and a carrying case.\n\n\u003cp\u003eThe OC818 is Austrian Audio's flagship microphone, built around a handmade CKR12 capsule based on the classic CK12 design but with two independent diaphragms. A five-position switch selects cardioid, hypercardioid, figure-8, omnidirectional, or a Preset mode for custom settings, and each diaphragm has its own output — a standard XLR for the front and a 5-pin mini XLR for the rear. The Studio Set includes the OCS8 shockmount, the OCC8 cable for dual-output mode, a mic clip, a foam windscreen, and a carrying case.\u003c\/p\u003e\n\n\u003ch3\u003eChoosing the polar pattern after the session instead of before it\u003c\/h3\u003e\n\u003cp\u003eA common problem with multi-track recording: the polar pattern has to be chosen before the session, and a wrong call only shows up at mix time, when fixing it means re-recording. The OC818's dual-output mode captures both diaphragms separately via the OCC8 cable, letting you shape any polar pattern after the fact in PolarDesigner, including custom patterns spread across five frequency bands. The same signal can also feed StereoCreator to experiment with stereo miking techniques without repositioning the mic.\u003c\/p\u003e\n\n\u003ch3\u003eRemote parameter control without stepping into the room\u003c\/h3\u003e\n\u003cp\u003eChanging polar pattern, pad, or high-pass filter directly on the mic body requires physical access to the stand, which breaks session flow, especially with vocalists tracking in an isolated booth. The optional OCR8 Bluetooth module, paired with the PolarPilot app, lets these parameters be changed remotely from the control room, without entering the space and interrupting the performer's focus — particularly useful for live broadcasts, streaming, or multi-take sessions.\u003c\/p\u003e\n\n\u003ch3\u003eKEY FEATURES\u003c\/h3\u003e\n\u003cul\u003e\n\u003cli\u003eHandmade CKR12 capsule with two independent diaphragms\u003c\/li\u003e\n\u003cli\u003e5 polar patterns: cardioid, hypercardioid, figure-8, omnidirectional, Preset mode\u003c\/li\u003e\n\u003cli\u003eDual output: separate XLR and mini XLR outputs per diaphragm\u003c\/li\u003e\n\u003cli\u003eCompatible with PolarDesigner, StereoCreator, and AmbiCreator (post-production)\u003c\/li\u003e\n\u003cli\u003eOptional remote control via the OCR8 Bluetooth module and PolarPilot app\u003c\/li\u003e\n\u003cli\u003eSwitchable -10 dB \/ -20 dB pad and 40\/80\/160 Hz high-pass filter\u003c\/li\u003e\n\u003cli\u003eOCS8 shockmount, OCC8 cable, clip, windscreen, and case included\u003c\/li\u003e\n\u003cli\u003e48V phantom power\u003c\/li\u003e\n\u003c\/ul\u003e\n\n\u003ch3\u003eTECHNICAL SPECIFICATIONS\u003c\/h3\u003e\n\u003cul\u003e\n\u003cli\u003ePolar pattern: cardioid, omnidirectional, figure-8, hypercardioid, programmable mode\u003c\/li\u003e\n\u003cli\u003eFrequency range: 20 Hz - 20 kHz\u003c\/li\u003e\n\u003cli\u003eSensitivity: 13 mV\/Pa\u003c\/li\u003e\n\u003cli\u003eEquivalent noise level: 9 dB SPL(A)\u003c\/li\u003e\n\u003cli\u003eMaximum SPL: 148 dB SPL (158 dB SPL with -20 dB pad)\u003c\/li\u003e\n\u003cli\u003eLow cut filter: 40 Hz (2nd order), 80 Hz (2nd order), 160 Hz (1st order down to 80Hz, 2nd order below)\u003c\/li\u003e\n\u003cli\u003eImpedance: 275 Ω (symmetrical)\u003c\/li\u003e\n\u003cli\u003eLoad impedance: \u0026gt;1 kΩ\u003c\/li\u003e\n\u003cli\u003eSupply voltage: 48V (\u0026lt;4mA, typical 2.1mA)\u003c\/li\u003e\n\u003cli\u003eMain connector: 3-pin XLR; second connector: 5-pin mini XLR (rear diaphragm)\u003c\/li\u003e\n\u003cli\u003eDimensions: 157 x 63 x 36 mm\u003c\/li\u003e\n\u003cli\u003eWeight: 360 g\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003c\/div\u003e","brand":"Austrian Audio","offers":[{"title":"Default Title","offer_id":58444394955084,"sku":"59231","price":1175.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0769\/9854\/1644\/files\/AustrianAudioOC818StudioSet1.jpg?v=1786978100"},{"product_id":"austrian-audio-oc18-dual-set-plus","title":"Austrian Audio OC18 Dual Set Plus","description":"\u003cdiv lang=\"en\"\u003e\n\u003cstrong\u003eAustrian Audio OC18 Dual Set Plus\u003c\/strong\u003e — a matched pair of large-diaphragm cardioid condenser microphones with the CKR6 ceramic capsule, bundled with shockmounts, a stereo bar, and a carrying case.\n\n\u003cp\u003eThe OC18 is a single-diaphragm version of the flagship CKR12 capsule found in the OC818, built with Open Acoustic technology to minimize internal housing resonance. The Dual Set Plus pairs two OC18 units, factory-matched in cardioid mode (and compatible with an OC818 running in cardioid mode), delivering a 20 Hz–20 kHz frequency range, 13 mV\/Pa sensitivity, and a maximum SPL of 148 dB (158 dB with the pad engaged). The bundle includes two shockmounts, a stereo bar, and a carrying case housing the full set.\u003c\/p\u003e\n\n\u003ch3\u003eFactory matching instead of manual pairing in the studio\u003c\/h3\u003e\n\u003cp\u003eA common problem when building a stereo pair from separately purchased mics: sensitivity and frequency-response differences between units that need to be caught and compensated for in the mix. OC18 capsules are measured and matched at the Vienna factory, and any unit pairs consistently with any other OC18 or an OC818 in cardioid mode — removing the need to hand-select matching mics before a session using X-Y, ORTF, or Blumlein techniques.\u003c\/p\u003e\n\n\u003ch3\u003eA complete mounting kit instead of sourcing extra hardware\u003c\/h3\u003e\n\u003cp\u003eWith stereo techniques like spaced pair or ORTF, a missing stereo bar or mismatched shockmounts can stall a session before the first take. The Dual Set Plus ships with two shockmounts and a stereo bar included, so the pair can be mounted on a single stand in precisely set geometry without hunting for extra accessories, and the carrying case keeps the whole kit organized and protected between sessions.\u003c\/p\u003e\n\n\u003ch3\u003eKEY FEATURES\u003c\/h3\u003e\n\u003cul\u003e\n\u003cli\u003e2x OC18 condenser microphone with CKR6 capsule, cardioid pattern\u003c\/li\u003e\n\u003cli\u003eFactory-matched, compatible with an OC818 in cardioid mode\u003c\/li\u003e\n\u003cli\u003eOpen Acoustic technology minimizing internal housing resonance\u003c\/li\u003e\n\u003cli\u003eSwitchable -10 dB \/ -20 dB pad and 40\/80\/160 Hz high-pass filter\u003c\/li\u003e\n\u003cli\u003e2x shockmount, stereo bar included\u003c\/li\u003e\n\u003cli\u003eCarrying case for the full set\u003c\/li\u003e\n\u003cli\u003e48V phantom power\u003c\/li\u003e\n\u003c\/ul\u003e\n\n\u003ch3\u003eTECHNICAL SPECIFICATIONS\u003c\/h3\u003e\n\u003cul\u003e\n\u003cli\u003ePolar pattern: cardioid\u003c\/li\u003e\n\u003cli\u003eFrequency range: 20 Hz - 20 kHz\u003c\/li\u003e\n\u003cli\u003eSensitivity: 13 mV\/Pa\u003c\/li\u003e\n\u003cli\u003eEquivalent noise level: 9 dB(A)\u003c\/li\u003e\n\u003cli\u003eMaximum SPL: 148 dB SPL (158 dB SPL with -20 dB pad)\u003c\/li\u003e\n\u003cli\u003eLow cut filter: 40 Hz (2nd order), 80 Hz (2nd order), 160 Hz (1st order down to 80Hz, 2nd order below)\u003c\/li\u003e\n\u003cli\u003eImpedance: 275 Ω (symmetrical)\u003c\/li\u003e\n\u003cli\u003eLoad impedance: \u0026gt;1 kΩ\u003c\/li\u003e\n\u003cli\u003eSupply voltage: 48V (\u0026lt;2.2mA)\u003c\/li\u003e\n\u003cli\u003eConnector: 3-pin XLR\u003c\/li\u003e\n\u003cli\u003eDimensions (single mic): 157 x 63 x 35 mm\u003c\/li\u003e\n\u003cli\u003eWeight (single mic): 335 g\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003c\/div\u003e","brand":"Austrian Audio","offers":[{"title":"Default Title","offer_id":58444395053388,"sku":"53011","price":1363.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0769\/9854\/1644\/files\/AustrianAudioOC18DualSetPlus1.jpg?v=1786978101"},{"product_id":"avantone-pro-kick","title":"Avantone Pro KICK","description":"\u003cdiv lang=\"en\"\u003e\n\u003cstrong\u003eAvantone Pro Kick\u003c\/strong\u003e — a sub-frequency dynamic microphone built around a legendary white-cone low-frequency driver, housed in a real wooden drum shell with a mesh head.\n\n\u003cp\u003eKick isn't another dynamic mic repurposed for bass drum duty — it's a low-frequency driver, the AV10-MLF, operating as a microphone, enclosed in an actual wooden drum shell with a 10\" mesh head. A 50 Hz–2000 Hz frequency response and figure-8 pattern give a focused, massive picture of the low end without needing extra low-end shaping downstream. A 6.3 Ω output impedance and moving-coil construction keep the signal dense and resistant to overload even at the very high SPLs a kick drum or bass cabinet can produce.\u003c\/p\u003e\n\n\u003ch3\u003eA driver acting as a microphone instead of a standard dynamic capsule\u003c\/h3\u003e\n\u003cp\u003eA common problem when miking a kick: standard dynamic mics capture the beater attack fine but lose that low, chest-thumping pressure that's felt more than heard through headphones. The AV10-MLF, built with a single continuous press-formed 18cm cone, reproduces the kind of frequency response you get from a woofer running in reverse as a microphone — hence the \"white cone\" reputation. In practice that means a signal that already sounds like a boosted sub, rather than a kick that needs a bass-synth plugin layered on top.\u003c\/p\u003e\n\n\u003ch3\u003eAn enclosed drum shell instead of an open speaker face\u003c\/h3\u003e\n\u003cp\u003eThe open construction of typical speaker-as-microphone designs easily picks up bleed from other kit elements sitting close to the kick, especially the snare and hi-hat. Kick encloses the driver in a real wooden drum shell with an actual 10\" mesh head, which naturally limits how much surrounding sound gets in and keeps the mic focused on what's directly in front of it. The heavy-duty, double-braced drum stand included with the unit removes the need to mount it on a standard mic stand, which simply wouldn't hold this weight and shell size — whether you're tracking in the studio or running it live.\u003c\/p\u003e\n\n\u003ch3\u003eKEY FEATURES\u003c\/h3\u003e\n\u003cul\u003e\n\u003cli\u003eSub-frequency moving-coil dynamic microphone\u003c\/li\u003e\n\u003cli\u003eAV10-MLF element: single continuous press-formed 18cm cone\u003c\/li\u003e\n\u003cli\u003eFigure-8 polar pattern\u003c\/li\u003e\n\u003cli\u003eReal wooden drum shell with a 10\" mesh head\u003c\/li\u003e\n\u003cli\u003eHeavy-duty, double-braced drum stand included\u003c\/li\u003e\n\u003cli\u003eMale XLR connector\u003c\/li\u003e\n\u003cli\u003eOptimized for kick drum, bass cabinets, and other large low-frequency sources\u003c\/li\u003e\n\u003c\/ul\u003e\n\n\u003ch3\u003eTECHNICAL SPECIFICATIONS\u003c\/h3\u003e\n\u003cul\u003e\n\u003cli\u003eType: moving coil dynamic\u003c\/li\u003e\n\u003cli\u003eFrequency response: 50 Hz - 2000 Hz\u003c\/li\u003e\n\u003cli\u003eOutput impedance: 6.3 Ω\u003c\/li\u003e\n\u003cli\u003ePolar pattern: figure-8\u003c\/li\u003e\n\u003cli\u003eElement: AV10-MLF, 18cm cone\u003c\/li\u003e\n\u003cli\u003eConnector: male XLR\u003c\/li\u003e\n\u003cli\u003eShell: birch ply\u003c\/li\u003e\n\u003cli\u003eDrum head: 10\" mesh\u003c\/li\u003e\n\u003cli\u003eSize: 11.375\" W x 11.375\" H x 5.5\" D (without stand)\u003c\/li\u003e\n\u003cli\u003eWeight: 3.1 kg \/ 6.8 lb without stand, 4.6 kg \/ 10.1 lb with stand\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003c\/div\u003e","brand":"Avantone Pro","offers":[{"title":"Default Title","offer_id":58444396691788,"sku":"40945","price":373.65,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0769\/9854\/1644\/files\/AvantoneProKICK1.jpg?v=1786978112"},{"product_id":"telefunken-elektroakustik-u47","title":"TELEFUNKEN Elektroakustik U47","description":"\u003cdiv lang=\"en\"\u003e\n\u003cp\u003e\u003cstrong\u003eTELEFUNKEN Elektroakustik U47\u003c\/strong\u003e is a large-diaphragm tube condenser microphone, a faithful recreation of one of the most iconic studio microphones in recording history. Hand-wired point to point in South Windsor, Connecticut, it retains the historical M7 capsule, the BV8 transformer and the VF14K tube rebuilt to the original specifications, giving the engineer the sound that has defined vocals, guitars and orchestras for more than seven decades.\u003c\/p\u003e\n\n\u003ch3\u003eHistorical components, modern reliability\u003c\/h3\u003e\n\u003cp\u003eThree components defined the character of the original and the same three define this microphone. The M7 capsule with a centre-terminated 25.4 mm diaphragm delivers full, powerful low-end, a natural mid-range transition and a gently rising presence that doesn't sharpen or irritate over long vocal sessions. The VF14K tube — a recreation of the original VF14M in a metal envelope with a new glass element — provides the same harmonic richness and gentle saturation as the original. The BV8 output transformer wound to the historical specification controls phase response and dynamics at high SPL. The entire signal path mirrors the original.\u003c\/p\u003e\n\n\u003ch3\u003eSound in the session and in the mix\u003c\/h3\u003e\n\u003cp\u003eThe vocal character of the U47 — authoritative mid-range, extended low-end and open, soft high-end — means tracks recorded with this microphone sit in the mix naturally without the EQ that more analytical condensers demand. Engineers use it on lead vocals, electric guitars (including close-miced amplifiers), chamber strings and choirs. The cardioid pattern gives good rear rejection on stage and in the control room; omnidirectional works for capturing room acoustics and solo instruments that need surrounding air.\u003c\/p\u003e\n\n\u003ch3\u003eKEY FEATURES\u003c\/h3\u003e\n\u003cul\u003e\n\u003cli\u003eLarge-diaphragm tube condenser microphone, recreation of the original\u003c\/li\u003e\n\u003cli\u003e25.4 mm M7 capsule with centre-terminated diaphragm\u003c\/li\u003e\n\u003cli\u003eTELEFUNKEN Elektroakustik VF14K tube (VF14M recreation)\u003c\/li\u003e\n\u003cli\u003eBV8 output transformer wound to the historical specification\u003c\/li\u003e\n\u003cli\u003eHand point-to-point wiring, made in USA\u003c\/li\u003e\n\u003cli\u003eTwo polar patterns: cardioid and omnidirectional\u003c\/li\u003e\n\u003cli\u003eClassic long-body chassis with chrome headgrille and matte nickel-plated body\u003c\/li\u003e\n\u003cli\u003eIncluded: M940H power supply, Sommer M840TH 7.5 m cable, M740 shock mount, FC40 locking flight case, WB40 wooden box\u003c\/li\u003e\n\u003c\/ul\u003e\n\n\u003ch3\u003eTECHNICAL SPECIFICATIONS\u003c\/h3\u003e\n\u003cul\u003e\n\u003cli\u003eManufacturer: TELEFUNKEN Elektroakustik\u003c\/li\u003e\n\u003cli\u003eType: large-diaphragm tube condenser microphone\u003c\/li\u003e\n\u003cli\u003eCapsule: TELEFUNKEN Elektroakustik M7, 25.4 mm, centre-terminated\u003c\/li\u003e\n\u003cli\u003eTube: TELEFUNKEN Elektroakustik VF14K\u003c\/li\u003e\n\u003cli\u003eTransformer: TELEFUNKEN Elektroakustik BV8\u003c\/li\u003e\n\u003cli\u003ePolar patterns: cardioid, omnidirectional\u003c\/li\u003e\n\u003cli\u003eFrequency range: 20 Hz – 20 kHz (±3 dB)\u003c\/li\u003e\n\u003cli\u003eSensitivity: 24.5 mV\/Pa (±1 dB)\u003c\/li\u003e\n\u003cli\u003eTHD at 1 kHz, 1 Pa: below 0.3%\u003c\/li\u003e\n\u003cli\u003eOutput impedance: 400 Ω\u003c\/li\u003e\n\u003cli\u003eMax SPL (at 1% THD): 127 dB\u003c\/li\u003e\n\u003cli\u003eSignal-to-noise ratio: 85 dBA\u003c\/li\u003e\n\u003cli\u003eSelf-noise (amplifier): 9 dBA\u003c\/li\u003e\n\u003cli\u003ePower: external M940H power supply (6-pin Tuchel)\u003c\/li\u003e\n\u003cli\u003eDimensions: 240 mm L x 60 mm dia\u003c\/li\u003e\n\u003cli\u003eWeight: 620 g\u003c\/li\u003e\n\u003cli\u003eMade in: South Windsor, Connecticut, USA\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003c\/div\u003e","brand":"TELEFUNKEN Elektroakustik","offers":[{"title":"Default Title","offer_id":58444480741708,"sku":"28882","price":11599.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0769\/9854\/1644\/files\/TELEFUNKENElektroakustikU471_bf39736d-2dfa-4442-b71b-7bb9cf40ec54.jpg?v=1786978627"},{"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":58444498174284,"sku":"59168","price":3032.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0769\/9854\/1644\/files\/AEANUVOFlight1.jpg?v=1786978831"},{"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":58444498567500,"sku":"59164","price":3099.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0769\/9854\/1644\/files\/AEAN28NUVOStereo1.jpg?v=1786978832"},{"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":58444500992332,"sku":"59169","price":3240.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0769\/9854\/1644\/files\/AEAN13StereoKit1.jpg?v=1786978833"},{"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":58444502106444,"sku":"59163","price":1456.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0769\/9854\/1644\/files\/AEAN13NUVOMid1.jpg?v=1786978834"},{"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":58444508660044,"sku":"52365","price":799.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0769\/9854\/1644\/files\/AEATRP500.jpg?v=1786978838"},{"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":58444511314252,"sku":"29700","price":1259.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0769\/9854\/1644\/files\/AEAR921.jpg?v=1786978839"},{"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":58444512461132,"sku":"29697","price":3018.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0769\/9854\/1644\/files\/AEAN22STEREOKIT1.jpg?v=1786978840"},{"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":58444514263372,"sku":"29696","price":3399.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0769\/9854\/1644\/files\/AEAN8STEREOKIT1.jpg?v=1786978842"},{"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":58444514328908,"sku":"25528","price":1307.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0769\/9854\/1644\/files\/AEAN221.jpg?v=1786978843"},{"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":58444514591052,"sku":"25527","price":1444.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0769\/9854\/1644\/files\/AEAR841.jpg?v=1786978844"},{"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":58444514754892,"sku":"27628","price":4626.68,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0769\/9854\/1644\/files\/AEAR44CXE1.jpg?v=1786978846"},{"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":58444514918732,"sku":"27627","price":5895.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0769\/9854\/1644\/files\/AEAR44CX1.jpg?v=1786978847"},{"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":58444514984268,"sku":"27626","price":4199.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0769\/9854\/1644\/files\/AEAR44CE1.jpg?v=1786978850"},{"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":58444515082572,"sku":"27625","price":4979.64,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0769\/9854\/1644\/files\/AEAR44C1.jpg?v=1786978850"},{"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":58444515148108,"sku":"27623","price":6869.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0769\/9854\/1644\/files\/AEAKU4.jpg?v=1786978851"},{"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":58444516655436,"sku":"27622","price":7489.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0769\/9854\/1644\/files\/AEAA4401.jpg?v=1786978852"},{"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":58444516720972,"sku":"42563","price":1699.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0769\/9854\/1644\/files\/AEAR84A_fd49fae5-540e-49ff-ad79-ae5e9e828ce9.jpg?v=1786978853"},{"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":58444516819276,"sku":"50960","price":3159.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0769\/9854\/1644\/files\/AEAR88AActiveStereoRibbonMic.jpg?v=1786978855"},{"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":58444516917580,"sku":"16963","price":2709.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0769\/9854\/1644\/files\/AEAR88mk21.jpg?v=1786978856"},{"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":58444517048652,"sku":"27624","price":1399.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0769\/9854\/1644\/files\/AEAN8NUVO1.jpg?v=1786978859"},{"product_id":"royer-labs-r-122v-tube-version-matched-pair","title":"Royer Labs R-122V Tube Version - Matched Pair","description":"\u003cdiv lang=\"en\"\u003e\n  \u003cp\u003e\u003cstrong\u003eRoyer Labs R-122V Tube Version – Matched Pair\u003c\/strong\u003e is a factory-matched pair of active tube ribbon microphones, hand-built in Burbank, California. The R-122V is the world's first commercially produced tube ribbon microphone and the pinnacle of Royer's R-Series line – pairing the proven ribbon transducer from the R-121 and R-122 with a vacuum tube output stage that delivers warmth, depth, and headroom unavailable from any phantom-powered ribbon design.\u003c\/p\u003e\n\n  \u003ch3\u003eTube in the Ribbon Signal Path – What It Actually Changes\u003c\/h3\u003e\n  \u003cp\u003eThe output stage is built around a JAN mil-spec 5840W pentode wired in triode configuration, operating at a 135 V DC plate supply – headroom that no phantom-powered circuit can match. The result is a sensitivity of -36 dBV\/Pa with self-noise below 18 dB, and an output approximately 25 dB hotter than a passive R-121, while retaining the smoothness and detail characteristic of the best tube condensers. The active circuitry provides optimal impedance to the ribbon element under any load condition, eliminating the damping problem caused by low-impedance preamp inputs. A Jensen 8:1 output transformer delivers a fully balanced, electrically isolated output capable of driving any preamplifier and long cable runs without signal loss.\u003c\/p\u003e\n\n  \u003ch3\u003eRibbon Transducer and Figure-8 Pattern – Studio and Stage\u003c\/h3\u003e\n  \u003cp\u003eThe 2.5-micron aluminium ribbon at 99.99% purity operates in a neodymium magnet field within Royer's patented offset-ribbon flux frame, which reduces stray magnetic radiation. The figure-8 polar pattern delivers equal sensitivity from both sides of the capsule, opening up MS, mid-side with a cardioid, and classic two-mic stereo configurations. The rear axis has a slightly brighter character within approximately three feet, which can be exploited deliberately on acoustic sources. The Matched Pair designation means factory-selected units with closely matched sensitivity and frequency response – a necessary condition for a coherent stereo image.\u003c\/p\u003e\n\n  \u003ch3\u003eKEY FEATURES\u003c\/h3\u003e\n  \u003cul\u003e\n    \u003cli\u003eWorld's first commercial tube ribbon microphone – limited production, hand-built in Burbank CA\u003c\/li\u003e\n    \u003cli\u003eJAN mil-spec 5840W tube in triode configuration – headroom far beyond phantom power supply limits\u003c\/li\u003e\n    \u003cli\u003e2.5-micron aluminium ribbon, 99.99% purity, neodymium magnets in patented flux frame\u003c\/li\u003e\n    \u003cli\u003eOutput approximately 25 dB hotter than passive R-121 with low self-noise maintained\u003c\/li\u003e\n    \u003cli\u003eJensen 8:1 output transformer – symmetrical, fully balanced output signal\u003c\/li\u003e\n    \u003cli\u003eFigure-8 polar pattern – equal sensitivity both sides, rear axis slightly brighter in close field\u003c\/li\u003e\n    \u003cli\u003eSPL handling above 135 dB @ 20 Hz – electric guitar, cymbals, and drums without issue\u003c\/li\u003e\n    \u003cli\u003eFactory Matched Pair – selected for stereo and MS use\u003c\/li\u003e\n    \u003cli\u003eDedicated power supply included, military-grade locking XLR cable set, RSM-1 shockmount, wooden storage case\u003c\/li\u003e\n    \u003cli\u003eLifetime warranty to original owner; tube warranted 10 years; first re-ribbon free of charge\u003c\/li\u003e\n  \u003c\/ul\u003e\n\n  \u003ch3\u003eTECHNICAL SPECIFICATIONS\u003c\/h3\u003e\n  \u003cul\u003e\n    \u003cli\u003eAcoustic operating principle: electrodynamic pressure gradient with vacuum tube electronics\u003c\/li\u003e\n    \u003cli\u003eVacuum tube: JAN mil-spec 5840W pentode in triode configuration\u003c\/li\u003e\n    \u003cli\u003ePolar pattern: figure-8\u003c\/li\u003e\n    \u003cli\u003eGenerating element: 2.5-micron aluminium ribbon\u003c\/li\u003e\n    \u003cli\u003eMagnets: rare earth neodymium\u003c\/li\u003e\n    \u003cli\u003eFrequency response: 30–15,000 Hz ±3 dB\u003c\/li\u003e\n    \u003cli\u003eSensitivity: -36 dBV\/Pa ±1 dB\u003c\/li\u003e\n    \u003cli\u003eSelf-noise: \u0026lt;18 dB\u003c\/li\u003e\n    \u003cli\u003eOutput impedance: 200 Ω, balanced\u003c\/li\u003e\n    \u003cli\u003eRated load impedance: 1 kΩ\u003c\/li\u003e\n    \u003cli\u003eMaximum SPL: \u0026gt;135 dB @ 20 Hz\u003c\/li\u003e\n    \u003cli\u003ePower requirements: plate 135 V DC @ 2 mA, filament 6 V DC @ 150 mA (dedicated power supply)\u003c\/li\u003e\n    \u003cli\u003eDimensions: 206 mm L x 25 mm W\u003c\/li\u003e\n    \u003cli\u003eWeight: 300 g (10.9 oz)\u003c\/li\u003e\n    \u003cli\u003eFinish: dull satin nickel \/ matte black chrome optional\u003c\/li\u003e\n  \u003c\/ul\u003e\n\u003c\/div\u003e","brand":"Royer Labs","offers":[{"title":"Default Title","offer_id":58444522553676,"sku":"28592","price":8812.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0769\/9854\/1644\/files\/RoyerLabsR-122VTubeVersion-MatchedPair1.jpg?v=1786978929"},{"product_id":"royer-labs-sf-12","title":"Royer Labs SF-12","description":"\u003cdiv lang=\"en\"\u003e\n  \u003cp\u003e\u003cstrong\u003eRoyer Labs SF-12\u003c\/strong\u003e is a passive stereo coincident ribbon microphone, hand-built in Burbank, California. A single enclosure – dimensionally identical to the mono R-121 – houses two matched ribbon transducers arranged in the classic Blumlein configuration: each rotated 45 degrees from the vertical axis, stacked one above the other. The SF-12 is based on Bob Speiden's original design, developed by Royer Labs with improved toroidal transformers and a lower-mass ribbon.\u003c\/p\u003e\n\n  \u003ch3\u003eBlumlein on One Stand – Geometry Two Separate Mics Cannot Replicate\u003c\/h3\u003e\n  \u003cp\u003eThe Blumlein technique requires zero acoustic distance between two figure-8 elements crossed at 90 degrees. Two separate microphones can never fully satisfy this requirement due to the physical offset between their housings. The SF-12 solves this structurally: both ribbons share the same vertical axis, eliminating inter-channel phase delay and delivering stereo imaging with exceptional depth and mono coherence. Summing both channels to mono produces no phase artifacts – the SF-12 can be collapsed to mono in a mixer without consequence. The lower element is the left channel, the upper the right, referenced from the rear of the microphone.\u003c\/p\u003e\n\n  \u003ch3\u003ePassive Ribbon in Studio and Live Applications\u003c\/h3\u003e\n  \u003cp\u003eThe absence of internal active electronics means there is no circuit inside the microphone capable of overloading regardless of SPL – the 130 dB ceiling is a mechanical ribbon limit, not an electronic one. The 1.8-micron aluminium ribbons at approximately 1\/3 milligram each respond to transients with an accuracy unavailable from higher-mass condenser diaphragms. High-efficiency toroidal transformers with a gold-plated 5-pin XLR output connector – with a Y-cable splitting to two standard XLRs included in the box – deliver low self-noise and a stable 300 Ω output impedance. The ingot iron case forms part of the magnetic return circuit, minimising flux leakage and contributing to the relatively high sensitivity in a compact package.\u003c\/p\u003e\n\n  \u003ch3\u003eKEY FEATURES\u003c\/h3\u003e\n  \u003cul\u003e\n    \u003cli\u003eTwo matched ribbon transducers in 90° Blumlein configuration – coincident stereo from one stand position\u003c\/li\u003e\n    \u003cli\u003eFull mono compatibility – channel summing without phase artifacts\u003c\/li\u003e\n    \u003cli\u003eM-S recording possible by re-routing channels\u003c\/li\u003e\n    \u003cli\u003eNo internal active electronics – no electronic overload up to maximum SPL rating\u003c\/li\u003e\n    \u003cli\u003e1.8-micron aluminium ribbons, approx. 1\/3 mg each – exceptional transient response\u003c\/li\u003e\n    \u003cli\u003eHigh-efficiency toroidal transformers with gold-plated 5-pin XLR output connector\u003c\/li\u003e\n    \u003cli\u003eIngot iron case – forms part of the magnetic circuit, very low flux leakage\u003c\/li\u003e\n    \u003cli\u003e5-pin XLR to dual 3-pin XLR Y-cable (Upper \/ Lower) included\u003c\/li\u003e\n    \u003cli\u003eRibbon element unaffected by temperature and humidity changes\u003c\/li\u003e\n    \u003cli\u003eHand-built in Burbank, CA\u003c\/li\u003e\n  \u003c\/ul\u003e\n\n  \u003ch3\u003eTECHNICAL SPECIFICATIONS\u003c\/h3\u003e\n  \u003cul\u003e\n    \u003cli\u003eAcoustic operating principle: electrodynamic pressure gradient (passive)\u003c\/li\u003e\n    \u003cli\u003ePolar pattern: symmetrical figure-8 (both elements)\u003c\/li\u003e\n    \u003cli\u003eGenerating element: 1.8-micron aluminium ribbon\u003c\/li\u003e\n    \u003cli\u003eFrequency response: 30–15,000 Hz ±3 dB\u003c\/li\u003e\n    \u003cli\u003eSensitivity: \u0026gt;-52 dBV re. 1 V\/Pa\u003c\/li\u003e\n    \u003cli\u003eOutput impedance: 300 Ω @ 1 kHz (nominal)\u003c\/li\u003e\n    \u003cli\u003eRated load impedance: \u0026gt;1500 Ω\u003c\/li\u003e\n    \u003cli\u003eMaximum SPL: \u0026gt;130 dB\u003c\/li\u003e\n    \u003cli\u003eOutput connector: 5-pin male XLR (stereo)\u003c\/li\u003e\n    \u003cli\u003eDimensions: 206 mm L x 25 mm W\u003c\/li\u003e\n    \u003cli\u003eWeight: 369 g (13 oz)\u003c\/li\u003e\n    \u003cli\u003eFinish: matte black chrome (standard) \/ dull satin nickel (optional)\u003c\/li\u003e\n  \u003c\/ul\u003e\n\u003c\/div\u003e","brand":"Royer Labs","offers":[{"title":"Default Title","offer_id":58444522586444,"sku":"28593","price":2747.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0769\/9854\/1644\/files\/RoyerLabsSF-12RibbonMicrophone.jpg?v=1786978931"},{"product_id":"nordic-audio-labs-nu-100k","title":"Nordic Audio Labs NU-100K","description":"\u003cdiv lang=\"en\"\u003e\n  \u003cp\u003e\u003cstrong\u003eNordic Audio Labs NU-100K – Multi-Pattern Condenser Microphone with FloFET Technology\u003c\/strong\u003e\u003c\/p\u003e\n\n  \u003cp\u003eThe NU-100K is a hand-built, large-diaphragm multi-pattern condenser microphone from Finnish manufacturer Nordic Audio Labs, designed by CEO and head engineer Martin Kantola. The current version introduces the proprietary FloFET circuit – a solid-state topology engineered to produce the warmth, glow, and harmonic dimensionality associated with tube microphones, without requiring tubes, transformers, or an external power supply. Standard 48V phantom power is all it takes. At the core is the D100K capsule: a 30mm edge-terminated design with an aluminium diaphragm, delivering the off-axis smoothness and transient accuracy that makes the mic perform well far beyond standard cardioid vocal work.\u003c\/p\u003e\n\n  \u003ch3\u003eFloFET: Tube Character Without the Infrastructure\u003c\/h3\u003e\n  \u003cp\u003eFloFET is Nordic Audio Labs' proprietary transistor circuit that replicates the saturation and tonal colouration mechanisms of classic tube designs while retaining the consistency of solid-state operation. There is no warm-up period, no gain drift over time, and no sensitivity to ambient temperature changes – common liabilities of genuine tube circuits. The figure-8 polar pattern has been specifically voiced to deliver ribbon-like tonal qualities: a dense midrange and a controlled top end that avoids the edge that capacitor microphones can exhibit on sibilants and transients. The cardioid and omnidirectional patterns complete a set that handles stereo recording techniques, room acoustics, and close-miked instruments without swapping mics.\u003c\/p\u003e\n\n  \u003ch3\u003eD100K Capsule and Off-Axis Performance\u003c\/h3\u003e\n  \u003cp\u003eThe 30mm D100K aluminium-diaphragm capsule uses edge-terminated mounting geometry to achieve an off-axis response that remains phase-coherent and tonally consistent well away from the primary axis. This matters in practice when the mic is used in stereo pairs (AB, XY, Mid-Side), when recording instruments in natural acoustics, or when bleed from adjacent sources needs to translate musically rather than as artefacts. Sensitivity of 31 mV\/Pa and a self-noise floor of 13 dB(A) position the NU-100K in the upper tier of studio condensers. The 137 dB(A) SPL ceiling at 1% THD with a 6kΩ load gives sufficient headroom for close-miking drums, brass, and amplifiers without capsule overload. Available in three finishes: Black\/Black, Grey\/Gold, and Gold\/Gold.\u003c\/p\u003e\n\n  \u003ch3\u003eKEY FEATURES\u003c\/h3\u003e\n  \u003cul\u003e\n    \u003cli\u003eFloFET technology – tube-like warmth and dimension, no tubes or transformers, runs on 48V phantom\u003c\/li\u003e\n    \u003cli\u003eProprietary D100K capsule – 30mm, edge-terminated, aluminium diaphragm\u003c\/li\u003e\n    \u003cli\u003e3 polar patterns: cardioid, omnidirectional, figure-8 (ribbon-voiced)\u003c\/li\u003e\n    \u003cli\u003eExceptional off-axis phase coherence and tonal consistency\u003c\/li\u003e\n    \u003cli\u003eSelf-noise: 13 dB(A)\u003c\/li\u003e\n    \u003cli\u003eSensitivity: 31 mV\/Pa (-30.2 dBV)\u003c\/li\u003e\n    \u003cli\u003eMax SPL: 137 dB(A) at 1% THD (6kΩ load)\u003c\/li\u003e\n    \u003cli\u003eOutput impedance: 22 Ω\u003c\/li\u003e\n    \u003cli\u003eHand-built in Finland\u003c\/li\u003e\n    \u003cli\u003eAvailable in 3 colour variants\u003c\/li\u003e\n  \u003c\/ul\u003e\n\n  \u003ch3\u003eTECHNICAL SPECIFICATIONS\u003c\/h3\u003e\n  \u003cul\u003e\n    \u003cli\u003eType: large-diaphragm multi-pattern condenser\u003c\/li\u003e\n    \u003cli\u003eCapsule: D100K, 30mm, edge-terminated, aluminium diaphragm\u003c\/li\u003e\n    \u003cli\u003eCircuit: FloFET (solid-state, transformerless, no tubes)\u003c\/li\u003e\n    \u003cli\u003ePolar patterns: cardioid, omnidirectional, figure-8\u003c\/li\u003e\n    \u003cli\u003eSensitivity: 31 mV\/Pa (-30.2 dBV)\u003c\/li\u003e\n    \u003cli\u003eSelf-noise: 13 dB(A)\u003c\/li\u003e\n    \u003cli\u003eMax SPL: 137 dB(A) @ 1% THD, 6kΩ load\u003c\/li\u003e\n    \u003cli\u003eOutput impedance: 22 Ω\u003c\/li\u003e\n    \u003cli\u003ePhantom power: 48V, 5.3 mA\u003c\/li\u003e\n    \u003cli\u003eDimensions: 192.5 mm x 38 mm\u003c\/li\u003e\n    \u003cli\u003eWeight: 395 g\u003c\/li\u003e\n    \u003cli\u003eFinishes: Black\/Black, Grey\/Gold, Gold\/Gold\u003c\/li\u003e\n  \u003c\/ul\u003e\n\u003c\/div\u003e","brand":"Nordic Audio Labs","offers":[{"title":"Default Title","offer_id":58444527894860,"sku":"59180","price":2791.85,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0769\/9854\/1644\/files\/NordicAudioLabsNU-100K.jpg?v=1786979006"},{"product_id":"nordic-audio-labs-nu-24k","title":"Nordic Audio Labs NU-24K","description":"\u003cdiv lang=\"en\"\u003e\n  \u003cp\u003e\u003cstrong\u003eNordic Audio Labs NU-24K – Fixed-Cardioid Large-Diaphragm Condenser Microphone\u003c\/strong\u003e\u003c\/p\u003e\n\n  \u003cp\u003eThe NU-24K is the latest microphone from Nordic Audio Labs, designed by Martin Kantola as an entry point into the company's D100K capsule and FloFET circuit ecosystem at a more accessible price than the flagship NU-100K. It is a fixed-cardioid, transformerless, solid-state condenser with no pattern switching and no additional controls – just the capsule, the FloFET amplifier circuit, and a body engineered to the same build standard as the rest of the range. Ships in a Peli-type hard case with a Rycote InVision shockmount included. Hand-built in Finland with a 10-year warranty.\u003c\/p\u003e\n\n  \u003ch3\u003eD100K Capsule and FloFET: Same Core as the NU-100K\u003c\/h3\u003e\n  \u003cp\u003eThe D100K is Nordic Audio Labs' proprietary 30mm edge-terminated capsule with an aluminium diaphragm. Edge-terminated mounting reduces the resonance artefacts common in conventional capsule designs, which translates to a frequency response that is wide and smooth without harshness in the top end – and, critically, recordings that take EQ and compression without fighting back. The FloFET circuit operates identically to the one in the NU-100K: a solid-state topology running on standard 48V phantom power that produces the harmonic saturation and dimensional quality of high-end tube microphones without requiring tubes, transformers, or an external power supply. Tape Op reviewers noted a particularly useful property of the polar pattern: lower frequencies behave closer to supercardioid, while higher frequencies open toward a wider cardioid shape. This means the microphone can be positioned further from the source to manage proximity effect without losing presence – a quality that reduces the need for de-essing and pop filtering in post.\u003c\/p\u003e\n\n  \u003ch3\u003eSpecifications That Matter in Practice\u003c\/h3\u003e\n  \u003cp\u003eThe frequency response of 17 Hz to 27 kHz is broader than most large-diaphragm condensers in this class. Sensitivity of 18 mV\/Pa and a maximum SPL of 136 dB before clipping give the NU-24K sufficient range to handle both quiet, dynamically nuanced vocal performances and louder acoustic instruments without gain staging issues. The microphone is purpose-voiced for a full, forward modern vocal character – wide, present, and detailed without the clinical edge that makes many condensers demanding to work with in mix. The 10-year warranty reflects the build standard of hand-assembled production in Finland.\u003c\/p\u003e\n\n  \u003ch3\u003eKEY FEATURES\u003c\/h3\u003e\n  \u003cul\u003e\n    \u003cli\u003eFixed cardioid pattern – voiced for vocal and acoustic instrument recording\u003c\/li\u003e\n    \u003cli\u003eFloFET circuit – tube-like warmth without tubes, transformers, or external PSU\u003c\/li\u003e\n    \u003cli\u003eD100K capsule – 30mm, edge-terminated, aluminium diaphragm\u003c\/li\u003e\n    \u003cli\u003eFrequency response: 17 Hz – 27 kHz\u003c\/li\u003e\n    \u003cli\u003eSensitivity: 18 mV\/Pa\u003c\/li\u003e\n    \u003cli\u003eMax SPL: 136 dB before clipping\u003c\/li\u003e\n    \u003cli\u003eSmooth, phase-coherent off-axis response\u003c\/li\u003e\n    \u003cli\u003eRecordings accept processing with minimal artefacts\u003c\/li\u003e\n    \u003cli\u003eIncludes Peli-type hard case and Rycote InVision shockmount\u003c\/li\u003e\n    \u003cli\u003eHand-built in Finland\u003c\/li\u003e\n    \u003cli\u003e10-year warranty\u003c\/li\u003e\n  \u003c\/ul\u003e\n\n  \u003ch3\u003eTECHNICAL SPECIFICATIONS\u003c\/h3\u003e\n  \u003cul\u003e\n    \u003cli\u003eType: large-diaphragm condenser, fixed cardioid\u003c\/li\u003e\n    \u003cli\u003eCapsule: D100K, 30mm, edge-terminated, aluminium diaphragm\u003c\/li\u003e\n    \u003cli\u003eCircuit: FloFET (solid-state, transformerless, no tubes)\u003c\/li\u003e\n    \u003cli\u003ePolar pattern: cardioid (fixed)\u003c\/li\u003e\n    \u003cli\u003eFrequency response: 17 Hz – 27 kHz\u003c\/li\u003e\n    \u003cli\u003eSensitivity: 18 mV\/Pa\u003c\/li\u003e\n    \u003cli\u003eMax SPL: 136 dB (before clipping)\u003c\/li\u003e\n    \u003cli\u003ePhantom power: 48V\u003c\/li\u003e\n    \u003cli\u003eDimensions: 192 x 38 mm\u003c\/li\u003e\n    \u003cli\u003eWeight: 380 g\u003c\/li\u003e\n    \u003cli\u003eIncluded accessories: Peli-type hard case, Rycote InVision shockmount\u003c\/li\u003e\n    \u003cli\u003eWarranty: 10 years\u003c\/li\u003e\n    \u003cli\u003eOrigin: Finland (hand-assembled)\u003c\/li\u003e\n  \u003c\/ul\u003e\n\u003c\/div\u003e","brand":"Nordic Audio Labs","offers":[{"title":"Default Title","offer_id":58444528025932,"sku":"59179","price":1450.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0769\/9854\/1644\/files\/NordicAudioLabsNU-24K1.jpg?v=1786979008"},{"product_id":"royer-labs-sf24","title":"Royer Labs SF24","description":"\u003cdiv lang=\"en\"\u003e\n  \u003cp\u003e\u003cstrong\u003eRoyer Labs SF-24\u003c\/strong\u003e is a phantom-powered active stereo ribbon microphone — a direct counterpart to the passive SF-12, with Royer's proprietary Active Ribbon electronics built in. Two matched 1.8-micron aluminum ribbon transducers are mounted one above the other in a true coincident Blumlein configuration, each aimed 45 degrees off center, delivering a single-point stereo capture with crossed figure-eight patterns. Ultra-low noise FET circuits and custom-wound toroidal transformers provide a sensitivity of -38 dB, placing the SF-24 on par with phantom-powered condenser microphones. Royer Labs is a Grammy Award recipient, recognized for their contributions to ribbon microphone technology.\u003c\/p\u003e\n\n  \u003ch3\u003eActive electronics eliminate the preamp problem\u003c\/h3\u003e\n  \u003cp\u003ePassive ribbon microphones require 15–30 dB more gain than condensers and are sensitive to preamp input impedance — improper loading results in loss of low end, diminished body, and reduced sensitivity. The SF-24 resolves both issues at the source: two fully balanced, discrete head amplifier systems per capsule maintain a constant, optimal load on each ribbon element regardless of what follows in the chain. The higher output level is not the result of an amplification stage — the active circuit operates below unity gain, with the increased sensitivity coming entirely from the high-efficiency toroidal transformers (free gain). Self-noise remains below 18 dB, unchanged despite the higher output. The low-impedance output (200 ohms) allows for very long cable runs without high-frequency loss, and the ribbon elements are fully protected against phantom power, miswired cables, and electrical transients.\u003c\/p\u003e\n\n  \u003ch3\u003eRecording configurations and applications\u003c\/h3\u003e\n  \u003cp\u003eThe SF-24 supports two coincident stereo techniques from a single mic position: classic Blumlein (two figure-eights at 90 degrees) and M\/S — requiring only matrix processing in the console or DAW. Each channel can be used independently as a standalone mono figure-eight microphone; phase compatibility between the two channels is complete, allowing stereo-to-mono summing without artifacts. Off-axis coloration is negligible — frequency response stays consistent regardless of the angle of the incoming sound. Primary applications include full orchestra and choral recording, classical piano, drum overheads, acoustic instruments of any kind, vocal ensembles, and room ambience capture. The microphone ships with an extension cable terminating in a Y-splitter to two standard 3-pin XLR connectors, labeled Upper and Lower for the respective capsules.\u003c\/p\u003e\n\n  \u003ch3\u003eKEY FEATURES\u003c\/h3\u003e\n  \u003cul\u003e\n    \u003cli\u003eTwo matched 1.8-micron aluminum ribbons in Blumlein configuration (crossed figure-eights, 45° off axis)\u003c\/li\u003e\n    \u003cli\u003eActive Ribbon electronics: -38 dB sensitivity — on par with phantom-powered condenser microphones\u003c\/li\u003e\n    \u003cli\u003eTwo discrete head amplifier systems with high-efficiency toroidal transformers (free gain)\u003c\/li\u003e\n    \u003cli\u003eSelf-noise below 18 dB — no increase despite higher sensitivity\u003c\/li\u003e\n    \u003cli\u003eConstant optimal ribbon load impedance regardless of preamp characteristics\u003c\/li\u003e\n    \u003cli\u003e200-ohm output impedance — suitable for long cable runs without HF loss\u003c\/li\u003e\n    \u003cli\u003eRibbon elements protected against phantom power, electrical transients, and miswired cables\u003c\/li\u003e\n    \u003cli\u003eSupports Blumlein and M\/S configurations from a single mic position\u003c\/li\u003e\n    \u003cli\u003eEach channel usable independently as a mono figure-eight microphone\u003c\/li\u003e\n    \u003cli\u003eFull phase compatibility — stereo summing to mono without artifacts\u003c\/li\u003e\n    \u003cli\u003eNegligible off-axis coloration; consistent frequency response regardless of angle\u003c\/li\u003e\n    \u003cli\u003eMaximum SPL above 130 dB with no distortion\u003c\/li\u003e\n    \u003cli\u003ePower: 48V phantom only, 4 mA per channel\u003c\/li\u003e\n    \u003cli\u003eIncludes: extension cable with Y-splitter (XLR5 to 2x XLR3), Sling-Shock shockmount\u003c\/li\u003e\n  \u003c\/ul\u003e\n\n  \u003ch3\u003eTECHNICAL SPECIFICATIONS\u003c\/h3\u003e\n  \u003cul\u003e\n    \u003cli\u003eAcoustic operating principle: electrodynamic pressure gradient with active electronics\u003c\/li\u003e\n    \u003cli\u003ePolar pattern: crossed figure-eights (Blumlein)\u003c\/li\u003e\n    \u003cli\u003eGenerating element: 1.8-micron aluminum ribbon\u003c\/li\u003e\n    \u003cli\u003eFrequency response: 40–15,000 Hz +\/- 2 dB\u003c\/li\u003e\n    \u003cli\u003eSensitivity: -38 dB (re. 1V\/Pa +\/-1 dB)\u003c\/li\u003e\n    \u003cli\u003eSelf-noise: below 18 dB\u003c\/li\u003e\n    \u003cli\u003eOutput impedance: 200 ohms\u003c\/li\u003e\n    \u003cli\u003eRated load impedance: 1k ohm\u003c\/li\u003e\n    \u003cli\u003eMaximum SPL: above 130 dB\u003c\/li\u003e\n    \u003cli\u003eOutput connector: male XLR 5-pin (stereo)\u003c\/li\u003e\n    \u003cli\u003ePower requirements: 48V phantom only, 4 mA per channel\u003c\/li\u003e\n    \u003cli\u003eDimensions: 270 mm x 39 mm (base) x 25 mm (top)\u003c\/li\u003e\n    \u003cli\u003eWeight: 583 g (20.5 oz)\u003c\/li\u003e\n    \u003cli\u003eFinish: Optical Black; optional 18K Gold\u003c\/li\u003e\n  \u003c\/ul\u003e\n\u003c\/div\u003e","brand":"Royer Labs","offers":[{"title":"Default Title","offer_id":58444550472012,"sku":"26876","price":4157.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0769\/9854\/1644\/files\/RoyerLabsSF241.jpg?v=1786979230"},{"product_id":"royer-labs-r121-matched-pair","title":"Royer Labs R121 Matched Pair","description":"\u003cdiv lang=\"en\"\u003e\n  \u003cp\u003e\u003cstrong\u003eRoyer Labs R-121 Matched Pair\u003c\/strong\u003e consists of two R-121 ribbon microphones factory-selected and paired on the basis of matched sensitivity and frequency response. The R-121 was introduced in 1998 as the first radically reengineered modern ribbon microphone and remains Royer's flagship model — the industry benchmark for recording electric guitars, brass, drums, and a broad range of acoustic sources. Royer Labs' Grammy Award formally recognizes the R-121's place in the history of recording technology.\u003c\/p\u003e\n\n  \u003ch3\u003ePatented offset ribbon — two sonic characters in one body\u003c\/h3\u003e\n  \u003cp\u003eA 2.5-micron, 99.99% pure aluminum ribbon element is positioned asymmetrically closer to the front (logo) side of the housing — Patent #6,434,252. This arrangement has two practical consequences: first, the ribbon has greater room to deflect rearward within the prime magnetic field under high-SPL conditions, allowing full-frequency response without distortion or ribbon damage directly in front of cranked amplifiers and brass instruments; second, at distances of approximately three feet and closer, the rear side of the microphone captures a noticeably brighter response than the front — effectively two distinct tonal characters from one transducer. The front delivers deep, well-balanced low end, defined mids, and a smooth, non-sibilant top. The rear is the better choice for acoustic guitar, vocals, and softer sources that benefit from added clarity and air.\u003c\/p\u003e\n\n  \u003ch3\u003eMatched Pair — stereo consistency and configuration options\u003c\/h3\u003e\n  \u003cp\u003eEach R-121 MP set is factory-matched for sensitivity and frequency response, enabling ORTF, X-Y, Blumlein, or wide ambient stereo configurations with the confidence that both microphones behave identically. The figure-eight polar pattern provides natural separation and bleed control in multi-instrument tracking environments. Phase linearity — no high-frequency phase shift — simplifies mono summing without comb filtering artifacts. The R-121 contains no active electronics: no FET or tube stages that can overload internally; the only component in the signal path beyond the ribbon and magnet assembly is a miniature impedance-matching transformer. Lifetime warranty to the original owner; first ribbon replacement is free of charge.\u003c\/p\u003e\n\n  \u003ch3\u003eKEY FEATURES\u003c\/h3\u003e\n  \u003cul\u003e\n    \u003cli\u003eTwo factory-matched R-121 microphones with identical sensitivity and frequency response\u003c\/li\u003e\n    \u003cli\u003e2.5-micron, 99.99% pure aluminum ribbon; rare earth Neodymium magnets\u003c\/li\u003e\n    \u003cli\u003ePatented offset ribbon design (Patent #6,434,252) — higher SPL handling front, brighter character rear\u003c\/li\u003e\n    \u003cli\u003eMaximum SPL 135 dB @ 30 Hz — direct placement in front of high-wattage amplifiers\u003c\/li\u003e\n    \u003cli\u003eFully passive construction — no active electronics, no internal overload point\u003c\/li\u003e\n    \u003cli\u003eFigure-eight polar pattern: natural separation, bleed control, ambient and orchestral use\u003c\/li\u003e\n    \u003cli\u003ePhase-linear response — no high-frequency phase shift, clean mono summing\u003c\/li\u003e\n    \u003cli\u003eFlat frequency response: 30 Hz – 15 kHz\u003c\/li\u003e\n    \u003cli\u003eRibbon element unaffected by heat or humidity\u003c\/li\u003e\n    \u003cli\u003eTransformer-isolated from phantom power and miswired cables\u003c\/li\u003e\n    \u003cli\u003eCompact, lightweight body (244 g per microphone)\u003c\/li\u003e\n    \u003cli\u003eLifetime warranty to original owner; first ribbon replacement free\u003c\/li\u003e\n    \u003cli\u003eApplications: electric guitar amps, brass, drum overheads and rooms, strings, choirs, orchestras, ambience\u003c\/li\u003e\n  \u003c\/ul\u003e\n\n  \u003ch3\u003eTECHNICAL SPECIFICATIONS\u003c\/h3\u003e\n  \u003cul\u003e\n    \u003cli\u003eAcoustic operating principle: electrodynamic pressure gradient (passive)\u003c\/li\u003e\n    \u003cli\u003ePolar pattern: figure-8\u003c\/li\u003e\n    \u003cli\u003eGenerating element: 2.5-micron aluminum ribbon (99.99% Al)\u003c\/li\u003e\n    \u003cli\u003eMagnets: rare earth Neodymium\u003c\/li\u003e\n    \u003cli\u003eFrequency response: 30–15,000 Hz +\/- 3 dB\u003c\/li\u003e\n    \u003cli\u003eSensitivity: -47 dBv re. 1V\/Pa\u003c\/li\u003e\n    \u003cli\u003eOutput impedance: 300 ohms @ 1 kHz (nominal)\u003c\/li\u003e\n    \u003cli\u003eRated load impedance: 1,500 ohms\u003c\/li\u003e\n    \u003cli\u003eMaximum SPL: 135 dB @ 30 Hz\u003c\/li\u003e\n    \u003cli\u003eOutput connector: XLR 3-pin\u003c\/li\u003e\n    \u003cli\u003eDimensions: 155.7 mm (L) x 25 mm (W)\u003c\/li\u003e\n    \u003cli\u003eWeight: 244 g (8.6 oz) per microphone\u003c\/li\u003e\n    \u003cli\u003eFinish: Dull Satin Nickel; optional Matte Black Chrome\u003c\/li\u003e\n    \u003cli\u003eIncludes: two R-121 microphones, mic clips, carrying case\u003c\/li\u003e\n  \u003c\/ul\u003e\n\u003c\/div\u003e","brand":"Royer Labs","offers":[{"title":"Default Title","offer_id":58444550668620,"sku":"28587","price":3546.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0769\/9854\/1644\/files\/RoyerLabsR121MatchedPair1.jpg?v=1786979231"},{"product_id":"royer-labs-r121-live-matched-pair","title":"Royer Labs R121 Live Matched Pair","description":"\u003cdiv lang=\"en\"\u003e\n  \u003cp\u003e\u003cstrong\u003eRoyer Labs R-121 Live Matched Pair\u003c\/strong\u003e consists of two factory-matched R-121 Live ribbon microphones — the ruggedized live-sound variant of Royer's flagship R-121, built specifically for FOH and monitor engineers who want ribbon character on stage without compromising durability through nightly touring. The defining difference from the studio version is a 4-micron aluminum ribbon element instead of 2.5 microns: more resistant to road abuse, with a slightly reduced high-frequency response — which in a live context is a practical advantage, as it reduces the need to cut harsh top end at the console. The R-121 Live is visually identified by a red logo badge. The Live Series won the 2008 TEC Award in the Microphone Technology\/Sound Reinforcement category.\u003c\/p\u003e\n\n  \u003ch3\u003e4-micron ribbon and nightly stage use\u003c\/h3\u003e\n  \u003cp\u003eThe patented offset ribbon design (Patent #6,434,252) — shared across all Royer R-series models — positions the ribbon element closer to the front (logo) side of the housing. The ribbon has greater room to deflect rearward within the prime magnetic field under high-SPL conditions, allowing direct placement in front of full-power guitar amplifiers without distortion or ribbon damage. Maximum SPL from the front is 135 dB @ 20 Hz; rear-side recording should not exceed 115 dB SPL, as the ribbon moves toward the closer front damping screen when driven from the rear. The R-121 Live naturally rolls off the aggressive, sizzling high-frequency content typical of electric guitars and brass in live environments, arriving at the console with far less need for corrective EQ. The figure-eight pattern, with its strong side and top\/bottom rejection, allows effective bleed control: orienting the microphone's ears toward monitors or adjacent instruments virtually eliminates pickup from those directions.\u003c\/p\u003e\n\n  \u003ch3\u003eMatched pair — stereo and multi-mic stage configurations\u003c\/h3\u003e\n  \u003cp\u003eEach R-121 Live MP set is factory-matched for sensitivity and frequency response, enabling ORTF, X-Y, or wide overhead stereo configurations with confidence that both microphones behave identically — no level trimming or tonal correction required between channels. Phase linearity across the frequency range guarantees clean mono summing without comb-filtering artifacts, essential in live PA environments where mono compatibility is non-negotiable. The R-121 Live contains no active electronics: the only component in the signal path beyond the ribbon and magnet assembly is a miniature impedance-matching transformer, which also shields the ribbon from phantom power, electrical transients, and miswired cables. Lifetime warranty to the original owner; first ribbon replacement is free of charge.\u003c\/p\u003e\n\n  \u003ch3\u003eKEY FEATURES\u003c\/h3\u003e\n  \u003cul\u003e\n    \u003cli\u003eTwo factory-matched R-121 Live microphones with identical sensitivity and frequency response\u003c\/li\u003e\n    \u003cli\u003e4-micron aluminum ribbon — increased road durability vs. 2.5-micron studio version\u003c\/li\u003e\n    \u003cli\u003eNaturally rolled-off high end — less corrective EQ needed on guitars and brass at FOH\u003c\/li\u003e\n    \u003cli\u003ePatented offset ribbon design (Patent #6,434,252) — high SPL handling front, ribbon protection at excursion limits\u003c\/li\u003e\n    \u003cli\u003eMaximum SPL (front): 135 dB @ 20 Hz; rear side: max 115 dB SPL\u003c\/li\u003e\n    \u003cli\u003eFully passive construction — no active electronics, no internal overload point\u003c\/li\u003e\n    \u003cli\u003eFigure-eight polar pattern: strong side rejection, effective bleed control on stage\u003c\/li\u003e\n    \u003cli\u003ePhase-linear response — clean stereo-to-mono summing\u003c\/li\u003e\n    \u003cli\u003eTransformer-isolated from phantom power, miswired cables, and electrical transients\u003c\/li\u003e\n    \u003cli\u003eRibbon element unaffected by heat or humidity\u003c\/li\u003e\n    \u003cli\u003eVisually differentiated from studio R-121 by red logo badge\u003c\/li\u003e\n    \u003cli\u003e2008 TEC Award — Microphone Technology\/Sound Reinforcement\u003c\/li\u003e\n    \u003cli\u003eLifetime warranty to original owner; first ribbon replacement free\u003c\/li\u003e\n  \u003c\/ul\u003e\n\n  \u003ch3\u003eTECHNICAL SPECIFICATIONS\u003c\/h3\u003e\n  \u003cul\u003e\n    \u003cli\u003eAcoustic operating principle: electrodynamic pressure gradient (passive)\u003c\/li\u003e\n    \u003cli\u003ePolar pattern: figure-8\u003c\/li\u003e\n    \u003cli\u003eGenerating element: 4-micron aluminum ribbon\u003c\/li\u003e\n    \u003cli\u003eMagnets: rare earth Neodymium\u003c\/li\u003e\n    \u003cli\u003eFrequency response: 30–15,000 Hz +\/- 3 dB\u003c\/li\u003e\n    \u003cli\u003eSensitivity: -50 dBv re. 1V\/Pa\u003c\/li\u003e\n    \u003cli\u003eOutput impedance: 300 ohms @ 1 kHz (nominal)\u003c\/li\u003e\n    \u003cli\u003eRated load impedance: 1,500 ohms\u003c\/li\u003e\n    \u003cli\u003eMaximum SPL (front): 135 dB @ 20 Hz\u003c\/li\u003e\n    \u003cli\u003eMaximum SPL (rear): 115 dB\u003c\/li\u003e\n    \u003cli\u003eOutput connector: XLR 3-pin (Pin 2 Hot)\u003c\/li\u003e\n    \u003cli\u003eDimensions: 156 mm (L) x 25 mm (W)\u003c\/li\u003e\n    \u003cli\u003eWeight: 244 g (8.6 oz) per microphone\u003c\/li\u003e\n    \u003cli\u003eFinish: Dull Satin Nickel; optional Matte Black Chrome\u003c\/li\u003e\n    \u003cli\u003eIncludes: two R-121 Live microphones, mic clips, wooden case\u003c\/li\u003e\n  \u003c\/ul\u003e\n\u003c\/div\u003e","brand":"Royer Labs","offers":[{"title":"Default Title","offer_id":58444550734156,"sku":"28588","price":3508.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0769\/9854\/1644\/files\/RoyerLabsR121LiveMatchedPair1.jpg?v=1786979233"},{"product_id":"royer-labs-r122-mkii-matched-pair","title":"Royer Labs R122 MKII Matched Pair","description":"\u003cdiv lang=\"en\"\u003e\n  \u003cp\u003e\u003cstrong\u003eRoyer Labs R-122 MKII Matched Pair\u003c\/strong\u003e consists of two factory-matched R-122 MKII active ribbon microphones — built on the foundation of the original R-122 from 2002, which was the world's first phantom-powered active ribbon microphone. The MKII preserves the complete architecture of its predecessor and adds two switchable circuits: a -15 dB pad and a bass-cut filter. Both are fully removed from the signal path when disengaged, meaning that with both switches off, the microphone is functionally identical to the original R-122. Active electronics deliver a sensitivity of -36 dB, placing the R-122 MKII on par with studio condenser microphones, with self-noise below 18 dB.\u003c\/p\u003e\n\n  \u003ch3\u003eActive electronics, pad, and filter — three levels of control\u003c\/h3\u003e\n  \u003cp\u003eA hand-wired discrete head amplifier using ultra-low-noise FETs and a custom-wound toroidal transformer maintains a constant, optimal impedance load on the ribbon element regardless of the downstream preamp's input characteristics. The higher sensitivity comes entirely from the transformer (free gain) — the active circuitry functions as an impedance converter and contributes no noise of its own. The -15 dB pad is positioned before the microphone's electronics, not after — which means that at high SPLs, the signal is attenuated before it reaches any active component, eliminating the possibility of distortion in the microphone or at the preamp input. With the pad engaged, the R-122 MKII's output is 2 dB lower than the passive R-121. The switchable bass-cut filter operates at 100 Hz with a 6 dB per octave slope, providing smooth proximity effect reduction for close-miking and effective rumble suppression. Both switches are recessed into the body to prevent accidental activation.\u003c\/p\u003e\n\n  \u003ch3\u003eFaster transient response and matched stereo pair\u003c\/h3\u003e\n  \u003cp\u003eRoyer's purpose-designed toroidal transformer delivers faster transient response than conventional passive ribbon designs — the result is a tighter, more controlled low end and a sense of more open highs, making the R-122 MKII the first-call option over the R-121 for drum overheads, acoustic instruments, strings, and vocals. The patented offset ribbon design (Patent #6,434,252) — identical to the R-121 — positions the ribbon closer to the front of the housing for higher SPL handling from the logo side; the rear side captures a slightly brighter response at distances of approximately three feet and closer (phase reversed in this position). Each R-122 MKII MP set is factory-matched for sensitivity and frequency response, enabling precise stereo configurations. The 200-ohm output impedance supports long cable runs without HF loss or signal degradation. Lifetime warranty to original owner; first ribbon replacement free.\u003c\/p\u003e\n\n  \u003ch3\u003eKEY FEATURES\u003c\/h3\u003e\n  \u003cul\u003e\n    \u003cli\u003eTwo factory-matched R-122 MKII microphones with identical sensitivity and frequency response\u003c\/li\u003e\n    \u003cli\u003eActive Ribbon electronics: -36 dB sensitivity — condenser microphone output level\u003c\/li\u003e\n    \u003cli\u003eHand-wired discrete head amplifier with ultra-low-noise FETs and toroidal transformer (free gain)\u003c\/li\u003e\n    \u003cli\u003eSelf-noise below 18 dB\u003c\/li\u003e\n    \u003cli\u003eSwitchable -15 dB pad positioned before electronics — eliminates mic and preamp distortion at high SPL\u003c\/li\u003e\n    \u003cli\u003eSwitchable HPF: 100 Hz, 6 dB\/oct — proximity effect reduction and rumble suppression\u003c\/li\u003e\n    \u003cli\u003eBoth switches fully removed from signal path when disengaged\u003c\/li\u003e\n    \u003cli\u003eFaster transient response than R-121 — preferred for drum overheads, acoustic sources, strings\u003c\/li\u003e\n    \u003cli\u003ePatented offset ribbon design (Patent #6,434,252) — high SPL front, brighter character rear\u003c\/li\u003e\n    \u003cli\u003eConstant optimal ribbon load impedance regardless of preamp\u003c\/li\u003e\n    \u003cli\u003e200-ohm output — long cable runs without HF loss\u003c\/li\u003e\n    \u003cli\u003eRibbon element protected from phantom power, electrical transients, miswired cables\u003c\/li\u003e\n    \u003cli\u003e2.5-micron aluminum ribbon (99.99% Al); rare earth Neodymium magnets\u003c\/li\u003e\n    \u003cli\u003eLifetime warranty to original owner; first ribbon replacement free\u003c\/li\u003e\n  \u003c\/ul\u003e\n\n  \u003ch3\u003eTECHNICAL SPECIFICATIONS\u003c\/h3\u003e\n  \u003cul\u003e\n    \u003cli\u003eAcoustic operating principle: electrodynamic pressure gradient with active electronics\u003c\/li\u003e\n    \u003cli\u003ePolar pattern: figure-8\u003c\/li\u003e\n    \u003cli\u003eGenerating element: 2.5-micron aluminum ribbon (99.99% Al)\u003c\/li\u003e\n    \u003cli\u003eMagnets: rare earth Neodymium\u003c\/li\u003e\n    \u003cli\u003eFrequency response: 30–15,000 Hz +\/- 3 dB\u003c\/li\u003e\n    \u003cli\u003eSensitivity: -36 dB (re. 1V\/Pa +\/-1 dB)\u003c\/li\u003e\n    \u003cli\u003eSwitchable pad: -15 dB (pre-electronics)\u003c\/li\u003e\n    \u003cli\u003eSwitchable bass cut: 100 Hz, 6 dB per octave\u003c\/li\u003e\n    \u003cli\u003eSelf-noise: below 18 dB\u003c\/li\u003e\n    \u003cli\u003eOutput impedance: 200 ohms, balanced\u003c\/li\u003e\n    \u003cli\u003eRated load impedance: 1k ohm minimum\u003c\/li\u003e\n    \u003cli\u003eMaximum SPL: 135 dB @ 30 Hz\u003c\/li\u003e\n    \u003cli\u003eOutput connector: XLR 3-pin (Pin 2 Hot)\u003c\/li\u003e\n    \u003cli\u003ePower requirements: 48V phantom only, 4 mA\u003c\/li\u003e\n    \u003cli\u003eDimensions: 206 mm (L) x 25 mm (W)\u003c\/li\u003e\n    \u003cli\u003eWeight: 309 g (10.9 oz) per microphone\u003c\/li\u003e\n    \u003cli\u003eFinish: Burnished Satin Nickel; optional Matte Black Chrome\u003c\/li\u003e\n    \u003cli\u003eIncludes: two R-122 MKII microphones, wooden case, mic socks\u003c\/li\u003e\n  \u003c\/ul\u003e\n\u003c\/div\u003e","brand":"Royer Labs","offers":[{"title":"Default Title","offer_id":58444550832460,"sku":"28589","price":4039.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0769\/9854\/1644\/files\/RoyerLabsR122MKIIMatchedPair1.jpg?v=1786979234"},{"product_id":"royer-labs-r122-mkii-live-matched-pair","title":"Royer Labs R122 MKII Live Matched Pair","description":"\u003cdiv lang=\"en\"\u003e\n  \u003cp\u003e\u003cstrong\u003eRoyer Labs R-122 MKII Live Matched Pair\u003c\/strong\u003e consists of two factory-matched R-122 MKII Live active ribbon microphones — the road-optimized variant of the studio R-122 MKII, built for FOH and monitor engineers who need condenser-level output, daily touring durability, and direct SPL and low-end control at the microphone itself. The single difference from the studio version is the ribbon element: 4 microns instead of 2.5 microns — more resistant to road abuse, with a slightly attenuated high-frequency response that on stage translates to less corrective EQ work on guitars and brass. Active electronics deliver the same -36 dB sensitivity as the studio MKII. The Live variant is identified by a red logo badge.\u003c\/p\u003e\n\n  \u003ch3\u003eActive electronics, pad, and filter — regardless of stage SPL\u003c\/h3\u003e\n  \u003cp\u003eA hand-wired discrete head amplifier using ultra-low-noise FETs and a custom-wound toroidal transformer maintains constant, optimal impedance loading on the ribbon element irrespective of the FOH console's preamp input characteristics. The higher sensitivity comes entirely from the transformer (free gain) — the active circuitry functions as an impedance converter and contributes no additional noise. The -15 dB pad is positioned before the microphone's electronics, meaning that at high SPLs the signal is attenuated before reaching any active component, eliminating the risk of microphone distortion and console input overload. The switchable bass-cut filter operates at 100 Hz with a 6 dB per octave slope, controlling proximity effect buildup on close-miked guitars and suppressing low-frequency rumble. Both switches are recessed into the body and fully removed from the signal path when disengaged. The 200-ohm output impedance supports long stage cable runs without HF loss or RF interference.\u003c\/p\u003e\n\n  \u003ch3\u003eFaster transient response and matched pair on stage\u003c\/h3\u003e\n  \u003cp\u003eRoyer's purpose-designed toroidal transformer delivers faster transient response than passive ribbon designs — producing tighter, more controlled low end and a sense of more open highs, making the R-122 MKII Live the go-to choice for live drum overheads, horn sections, and acoustic instruments on stage. The patented offset ribbon design (Patent #6,434,252) positions the ribbon element closer to the front of the housing for higher SPL handling from the logo side; the rear side captures a slightly brighter response at approximately three feet and closer (phase reversed in this position). The figure-eight pattern, with strong side and top\/bottom rejection, allows effective bleed control — orienting the ears toward monitors or adjacent instruments virtually eliminates pickup from those directions. Each MP set is factory-matched. Lifetime warranty to original owner; first ribbon replacement free.\u003c\/p\u003e\n\n  \u003ch3\u003eKEY FEATURES\u003c\/h3\u003e\n  \u003cul\u003e\n    \u003cli\u003eTwo factory-matched R-122 MKII Live microphones with identical sensitivity and frequency response\u003c\/li\u003e\n    \u003cli\u003e4-micron aluminum ribbon — increased road durability vs. 2.5-micron studio version\u003c\/li\u003e\n    \u003cli\u003eActive Ribbon electronics: -36 dB sensitivity — condenser microphone output level\u003c\/li\u003e\n    \u003cli\u003eHand-wired discrete head amplifier with ultra-low-noise FETs and toroidal transformer (free gain)\u003c\/li\u003e\n    \u003cli\u003eSelf-noise below 18 dB\u003c\/li\u003e\n    \u003cli\u003eSwitchable -15 dB pad positioned before electronics — eliminates mic and preamp distortion at high SPL\u003c\/li\u003e\n    \u003cli\u003eSwitchable HPF: 100 Hz, 6 dB\/oct — proximity effect reduction and rumble suppression\u003c\/li\u003e\n    \u003cli\u003eBoth switches recessed and fully removed from signal path when disengaged\u003c\/li\u003e\n    \u003cli\u003eNaturally rolled-off high end — less corrective EQ needed at FOH on guitars and brass\u003c\/li\u003e\n    \u003cli\u003eFaster transient response — drum overheads, brass sections, acoustic instruments on stage\u003c\/li\u003e\n    \u003cli\u003ePatented offset ribbon design (Patent #6,434,252) — high SPL front, brighter character rear\u003c\/li\u003e\n    \u003cli\u003eFigure-eight pattern: strong side rejection, effective bleed control on stage\u003c\/li\u003e\n    \u003cli\u003e200-ohm output — long stage cable runs without HF loss or RF interference\u003c\/li\u003e\n    \u003cli\u003eVisually differentiated from studio version by red logo badge\u003c\/li\u003e\n    \u003cli\u003eLifetime warranty to original owner; first ribbon replacement free\u003c\/li\u003e\n  \u003c\/ul\u003e\n\n  \u003ch3\u003eTECHNICAL SPECIFICATIONS\u003c\/h3\u003e\n  \u003cul\u003e\n    \u003cli\u003eAcoustic operating principle: electrodynamic pressure gradient with active electronics\u003c\/li\u003e\n    \u003cli\u003ePolar pattern: figure-8\u003c\/li\u003e\n    \u003cli\u003eGenerating element: 4-micron aluminum ribbon\u003c\/li\u003e\n    \u003cli\u003eMagnets: rare earth Neodymium\u003c\/li\u003e\n    \u003cli\u003eFrequency response: 30–15,000 Hz +\/- 3 dB\u003c\/li\u003e\n    \u003cli\u003eSensitivity: -36 dB (re. 1V\/Pa +\/-1 dB)\u003c\/li\u003e\n    \u003cli\u003eSwitchable pad: -15 dB (pre-electronics)\u003c\/li\u003e\n    \u003cli\u003eSwitchable bass cut: 100 Hz, 6 dB per octave\u003c\/li\u003e\n    \u003cli\u003eSelf-noise: below 18 dB\u003c\/li\u003e\n    \u003cli\u003eOutput impedance: 200 ohms, balanced\u003c\/li\u003e\n    \u003cli\u003eRated load impedance: 1k ohm minimum\u003c\/li\u003e\n    \u003cli\u003eMaximum SPL: 135 dB @ 30 Hz\u003c\/li\u003e\n    \u003cli\u003eOutput connector: XLR 3-pin (Pin 2 Hot)\u003c\/li\u003e\n    \u003cli\u003ePower requirements: 48V phantom only, 4 mA\u003c\/li\u003e\n    \u003cli\u003eDimensions: 206 mm (L) x 25 mm (W)\u003c\/li\u003e\n    \u003cli\u003eWeight: 309 g (10.9 oz) per microphone\u003c\/li\u003e\n    \u003cli\u003eFinish: Dull Satin Nickel; optional Matte Black Chrome\u003c\/li\u003e\n    \u003cli\u003eIncludes: two R-122 MKII Live microphones, wooden case, mic socks\u003c\/li\u003e\n  \u003c\/ul\u003e\n\u003c\/div\u003e","brand":"Royer Labs","offers":[{"title":"Default Title","offer_id":58444550930764,"sku":"28590","price":4040.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0769\/9854\/1644\/files\/RoyerLabsR122MKIIMatchedPair1_dbd2dca5-f9bb-4b0f-903c-2573a50bfd2a.jpg?v=1786979236"},{"product_id":"royer-labs-sf2","title":"Royer Labs SF2","description":"\u003cdiv lang=\"en\"\u003e\n  \u003cp\u003e\u003cstrong\u003eRoyer Labs SF-2\u003c\/strong\u003e is a compact, monaural, phantom-powered active ribbon microphone — the active successor to the passive SF-1, designed primarily for classical recording, scoring stages, and acoustic instruments. At the core of the microphone is a proprietary crossfield motor assembly: four Neodymium magnets with Permendur iron pole pieces arranged in a geometry that minimizes the front-to-rear acoustic path length inside the capsule, which directly extends the high-frequency ceiling of the design. The 1.8-micron aluminum ribbon element's low mass delivers fast transient response. Twenty SF-2 prototypes circulated in major studios and scoring stages for years prior to the microphone's commercial release, establishing its reputation in classical and orchestral recording circles before the product ever appeared in a catalog. Active electronics deliver -38 dB sensitivity, placing the SF-2 on par with phantom-powered condenser microphones.\u003c\/p\u003e\n\n  \u003ch3\u003eCrossfield motor assembly — architecture built for high-frequency extension\u003c\/h3\u003e\n  \u003cp\u003eIn a conventional ribbon motor, the ribbon is suspended between two pole pieces and the front-to-rear acoustic path length constrains high-frequency response. The SF-2's crossfield motor solves this differently: four Neodymium magnets surrounding the ribbon with Permendur iron pole pieces minimize the effective acoustic path to the shortest possible distance, allowing a flat frequency response across 30 Hz – 15 kHz +\/- 2 dB without artificial high-frequency boost. The 1.8-micron ribbon's low mass produces fast transient response — audible on strings, woodwinds, and percussion. The stainless steel body forms part of the magnetic return circuit, actively containing stray flux, which matters when the microphone is positioned near other sensitive equipment on a recording session.\u003c\/p\u003e\n\n  \u003ch3\u003eActive electronics and preamp independence\u003c\/h3\u003e\n  \u003cp\u003eThe SF-2's active electronics — identical in architecture to the R-122 and SF-24 — consist of a custom toroidal step-up transformer delivering 14 dB of free gain, followed by an active impedance conversion stage operating below unity gain and contributing no noise of its own. Self-noise is below 18 dB. The circuit maintains constant, optimal impedance loading on the ribbon element regardless of the downstream preamp's input characteristics — the SF-2 performs equally with a broadcast console and a studio tube preamplifier. The 200-ohm output impedance supports long cable runs without HF loss. The ribbon element is fully protected against phantom power, miswired cables, and electrical transients. Primary applications: choir and orchestra, classical piano, strings, woodwinds, harp, acoustic guitar, mandolin, ambient miking, voice-over. The symmetrical figure-eight pattern enables use as the Side microphone in an M\/S array. Lifetime warranty to original owner; first ribbon replacement free.\u003c\/p\u003e\n\n  \u003ch3\u003eKEY FEATURES\u003c\/h3\u003e\n  \u003cul\u003e\n    \u003cli\u003eCompact, monaural active ribbon microphone, phantom powered\u003c\/li\u003e\n    \u003cli\u003eProprietary crossfield motor: 4x Neodymium magnets + Permendur pole pieces — minimal acoustic path, maximum HF extension\u003c\/li\u003e\n    \u003cli\u003e1.8-micron aluminum ribbon — low mass, fast transient response\u003c\/li\u003e\n    \u003cli\u003eActive Ribbon electronics: -38 dB sensitivity — condenser microphone output level\u003c\/li\u003e\n    \u003cli\u003e14 dB free gain from toroidal transformer — zero added noise from active circuit\u003c\/li\u003e\n    \u003cli\u003eSelf-noise below 18 dB\u003c\/li\u003e\n    \u003cli\u003eConstant optimal ribbon load impedance regardless of preamp characteristics\u003c\/li\u003e\n    \u003cli\u003e200-ohm output — long cable runs without HF loss\u003c\/li\u003e\n    \u003cli\u003eFlat frequency response: 30 Hz – 15 kHz +\/- 2 dB\u003c\/li\u003e\n    \u003cli\u003eNegligible off-axis coloration; consistent response regardless of incidence angle\u003c\/li\u003e\n    \u003cli\u003eSymmetrical figure-eight — usable as Side microphone in M\/S configurations\u003c\/li\u003e\n    \u003cli\u003eStainless steel body with internal baffle and damper; low external magnetic leakage\u003c\/li\u003e\n    \u003cli\u003eGold-plated XLR output connector\u003c\/li\u003e\n    \u003cli\u003eRibbon element protected from phantom power, miswired cables, and electrical transients\u003c\/li\u003e\n    \u003cli\u003eLifetime warranty to original owner; first ribbon replacement free\u003c\/li\u003e\n  \u003c\/ul\u003e\n\n  \u003ch3\u003eTECHNICAL SPECIFICATIONS\u003c\/h3\u003e\n  \u003cul\u003e\n    \u003cli\u003eAcoustic operating principle: electrodynamic pressure gradient with active electronics\u003c\/li\u003e\n    \u003cli\u003ePolar pattern: figure-8\u003c\/li\u003e\n    \u003cli\u003eGenerating element: 1.8-micron aluminum ribbon\u003c\/li\u003e\n    \u003cli\u003eMotor assembly: crossfield — 4x Neodymium magnets + Permendur iron pole pieces\u003c\/li\u003e\n    \u003cli\u003eFrequency response: 30–15,000 Hz +\/- 2 dB\u003c\/li\u003e\n    \u003cli\u003eSensitivity: -38 dBv re. 1V\/Pa\u003c\/li\u003e\n    \u003cli\u003eSelf-noise: below 18 dB\u003c\/li\u003e\n    \u003cli\u003eOutput impedance: 200 ohms @ 1 kHz\u003c\/li\u003e\n    \u003cli\u003eRated load impedance: above 1,500 ohms\u003c\/li\u003e\n    \u003cli\u003eMaximum SPL: above 130 dB\u003c\/li\u003e\n    \u003cli\u003eOutput connector: XLR 3-pin (Pin 2 Hot), gold-plated\u003c\/li\u003e\n    \u003cli\u003ePower requirements: 48V phantom, 4 mA\u003c\/li\u003e\n    \u003cli\u003eDimensions: 142 mm (L) x 39 mm (base) x 25 mm (top)\u003c\/li\u003e\n    \u003cli\u003eWeight: 448 g (15.8 oz)\u003c\/li\u003e\n    \u003cli\u003eFinish: Matte Black\u003c\/li\u003e\n    \u003cli\u003eIncludes: SF-2 microphone, SFS-2 shockmount, mic sock, aluminum carrying case\u003c\/li\u003e\n  \u003c\/ul\u003e\n\u003c\/div\u003e","brand":"Royer Labs","offers":[{"title":"Default Title","offer_id":58444551029068,"sku":"28594","price":2630.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0769\/9854\/1644\/files\/RoyerLabsSF21.jpg?v=1786979237"},{"product_id":"royer-labs-sf2-matched-pair","title":"Royer Labs SF2 Matched Pair","description":"\u003cdiv lang=\"en\"\u003e\n  \u003cp\u003e\u003cstrong\u003eRoyer Labs SF-2 Matched Pair\u003c\/strong\u003e consists of two factory-matched SF-2 active ribbon microphones selected for identical sensitivity and frequency response, assembled as a stereo set for classical recording, scoring, and acoustic instrument applications. Factory matching is critical in stereo configurations — ORTF, X-Y, wide ambient overhead — where any mismatch between the two microphones directly affects stereo imaging accuracy and channel balance. The technical specification is fully identical to the single SF-2: crossfield motor assembly with four Neodymium magnets and Permendur pole pieces, 1.8-micron aluminum ribbon, active electronics at -38 dB sensitivity, and self-noise below 18 dB. Twenty SF-2 prototypes circulated across major studios and scoring stages for years before commercial release, establishing the model's reputation in classical and film recording circles before it ever appeared in a catalog.\u003c\/p\u003e\n\n  \u003ch3\u003eCrossfield motor and active electronics — two defining factors\u003c\/h3\u003e\n  \u003cp\u003eThe proprietary crossfield motor minimizes the front-to-rear acoustic path length inside the capsule: four Neodymium magnets surrounding the ribbon with Permendur iron pole pieces reduce this path to the shortest possible distance, enabling a flat response across 30 Hz – 15 kHz +\/- 2 dB without artificial high-frequency boost. This distinguishes the SF-2 from most ribbon microphones in the same price bracket, where the upper frequency limit is often a practical constraint, not a design achievement. The 1.8-micron aluminum ribbon's low mass delivers fast transient response — audible and measurable on strings, woodwinds, piano, and percussion. Active electronics — a hand-wired FET circuit with a custom toroidal transformer — provide 14 dB of free gain with no added noise and maintain constant optimal impedance loading on the ribbon regardless of what preamp follows in the chain. The 200-ohm output supports long cable runs without HF degradation.\u003c\/p\u003e\n\n  \u003ch3\u003eMatched pair — stereo and M\/S without level adjustment\u003c\/h3\u003e\n  \u003cp\u003eFactory matching eliminates the need to calibrate levels or correct tonal character between channels when setting up stereo configurations. The symmetrical figure-eight pattern makes each microphone usable as the Side element in an M\/S array, where sensitivity matching between Mid and Side has a direct impact on stereo width after matrixing. The SF-2 operates as a complete, self-sufficient microphone — requiring no high-gain specialist preamp and no impedance matching considerations from the console. The ribbon element is fully protected against phantom power, miswired cables, and electrical transients. Primary applications: choir and orchestra, classical piano, strings, woodwinds, harp, acoustic guitar and other plucked instruments, voice-over, ambient miking, room recording. Lifetime warranty to original owner; first ribbon replacement free.\u003c\/p\u003e\n\n  \u003ch3\u003eKEY FEATURES\u003c\/h3\u003e\n  \u003cul\u003e\n    \u003cli\u003eTwo factory-matched SF-2 microphones with identical sensitivity and frequency response\u003c\/li\u003e\n    \u003cli\u003eProprietary crossfield motor: 4x Neodymium magnets + Permendur pole pieces — minimal acoustic path, maximum HF extension\u003c\/li\u003e\n    \u003cli\u003e1.8-micron aluminum ribbon — low mass, fast transient response\u003c\/li\u003e\n    \u003cli\u003eActive Ribbon electronics: -38 dB sensitivity — condenser microphone output level\u003c\/li\u003e\n    \u003cli\u003e14 dB free gain from toroidal transformer — zero added noise from active circuit\u003c\/li\u003e\n    \u003cli\u003eSelf-noise below 18 dB\u003c\/li\u003e\n    \u003cli\u003eConstant optimal ribbon load impedance regardless of preamp characteristics\u003c\/li\u003e\n    \u003cli\u003e200-ohm output — long cable runs without HF loss\u003c\/li\u003e\n    \u003cli\u003eFlat frequency response: 30 Hz – 15 kHz +\/- 2 dB\u003c\/li\u003e\n    \u003cli\u003eNegligible off-axis coloration; consistent response regardless of incidence angle\u003c\/li\u003e\n    \u003cli\u003eSymmetrical figure-eight — each microphone usable as Side element in M\/S\u003c\/li\u003e\n    \u003cli\u003eStainless steel body with internal baffle and damper; low external magnetic leakage\u003c\/li\u003e\n    \u003cli\u003eGold-plated XLR output connectors\u003c\/li\u003e\n    \u003cli\u003eRibbon elements protected from phantom power, miswired cables, and electrical transients\u003c\/li\u003e\n    \u003cli\u003eLifetime warranty to original owner; first ribbon replacement free\u003c\/li\u003e\n  \u003c\/ul\u003e\n\n  \u003ch3\u003eTECHNICAL SPECIFICATIONS\u003c\/h3\u003e\n  \u003cul\u003e\n    \u003cli\u003eAcoustic operating principle: electrodynamic pressure gradient with active electronics\u003c\/li\u003e\n    \u003cli\u003ePolar pattern: figure-8\u003c\/li\u003e\n    \u003cli\u003eGenerating element: 1.8-micron aluminum ribbon\u003c\/li\u003e\n    \u003cli\u003eMotor assembly: crossfield — 4x Neodymium magnets + Permendur iron pole pieces\u003c\/li\u003e\n    \u003cli\u003eFrequency response: 30–15,000 Hz +\/- 2 dB\u003c\/li\u003e\n    \u003cli\u003eSensitivity: -38 dBv re. 1V\/Pa\u003c\/li\u003e\n    \u003cli\u003eSelf-noise: below 18 dB\u003c\/li\u003e\n    \u003cli\u003eOutput impedance: 200 ohms @ 1 kHz\u003c\/li\u003e\n    \u003cli\u003eRated load impedance: above 1,500 ohms\u003c\/li\u003e\n    \u003cli\u003eMaximum SPL: above 130 dB\u003c\/li\u003e\n    \u003cli\u003eOutput connector: XLR 3-pin (Pin 2 Hot), gold-plated\u003c\/li\u003e\n    \u003cli\u003ePower requirements: 48V phantom, 4 mA per microphone\u003c\/li\u003e\n    \u003cli\u003eDimensions: 142 mm (L) x 39 mm (base) x 25 mm (top)\u003c\/li\u003e\n    \u003cli\u003eWeight: 448 g (15.8 oz) per microphone\u003c\/li\u003e\n    \u003cli\u003eFinish: Matte Black\u003c\/li\u003e\n    \u003cli\u003eIncludes: two SF-2 microphones, SFS-2 shockmounts, mic socks, aluminum carrying case\u003c\/li\u003e\n  \u003c\/ul\u003e\n\u003c\/div\u003e","brand":"Royer Labs","offers":[{"title":"Default Title","offer_id":58444551192908,"sku":"28595","price":5385.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0769\/9854\/1644\/files\/RoyerLabsSF2MatchedPair1.jpg?v=1786979239"},{"product_id":"royer-labs-sf24v","title":"Royer Labs SF24V","description":"\u003cdiv lang=\"en\"\u003e\n  \u003cp\u003e\u003cstrong\u003eRoyer Labs SF-24V\u003c\/strong\u003e is a stereo vacuum tube ribbon microphone — the pinnacle of Royer's SF series and the world's first commercially produced stereo ribbon microphone with tube electronics. Two matched 1.8-micron aluminum ribbon elements are mounted one above the other in a true coincident Blumlein configuration (crossed figure-eights, 45 degrees off axis), each driven through an independent tube circuit derived from the same electronics as Royer's TEC Award-winning mono R-122V. The tubes are JAN military-specification 5840W pentodes wired in triode configuration as cathode followers, burned in at the Royer factory before shipment. Output signals are transformer-coupled and galvanically isolated via Jensen transformers housed in the dedicated external power supply, which also contains the plate supply (135 VDC) and filament supply (6 VDC) sections.\u003c\/p\u003e\n\n  \u003ch3\u003eTube electronics — headroom, detail, and air\u003c\/h3\u003e\n  \u003cp\u003eThe triode cathode follower configuration eliminates typical tube coloration while retaining the advantages of thermionic technology: greater headroom and faster transient response compared to the FET-based SF-24. The higher output level comes entirely from the internal toroidal step-up transformers (free gain) — the tube circuit itself operates below unity gain and contributes no noise of its own; self-noise remains below 18 dB. Jensen transformers in the power supply provide galvanic isolation and output balancing, virtually eliminating induced noise on long cable runs. Active tube electronics maintain a constant, optimal impedance load on both ribbon elements regardless of the downstream preamp's input characteristics — the SF-24V works with any professional preamplifier without impedance matching concerns or overload risk. Output impedance is 450 ohms — higher than the FET SF-24's 200 ohms, a result of the transformer-coupled output stage.\u003c\/p\u003e\n\n  \u003ch3\u003eStereo configurations and mono operation\u003c\/h3\u003e\n  \u003cp\u003eThe Blumlein configuration — two figure-eights at 90 degrees — provides true single-point stereo capture with no inter-channel time-of-arrival delay to correct. Alternatively, the SF-24V operates in M\/S configuration with standard matrix processing in the console or DAW. Phase compatibility between the two channels is complete — stereo-to-mono summing produces no artifacts, which makes the microphone viable as a wide mono source when capturing performers with unstable positioning relative to a single-axis microphone. Each channel can be used independently as a standalone mono figure-eight microphone. The SF-24V ships with a dedicated external power supply, a 7-pin XLR cable, shockmount, and a handcrafted Padauk wood presentation case. Lifetime warranty to the original owner.\u003c\/p\u003e\n\n  \u003ch3\u003eKEY FEATURES\u003c\/h3\u003e\n  \u003cul\u003e\n    \u003cli\u003eWorld's first commercially produced stereo vacuum tube ribbon microphone\u003c\/li\u003e\n    \u003cli\u003eTwo matched 1.8-micron aluminum ribbons in Blumlein configuration (figure-eights, 45° off axis)\u003c\/li\u003e\n    \u003cli\u003eTwo independent tube circuits: JAN mil-spec 5840W pentode wired in triode configuration\u003c\/li\u003e\n    \u003cli\u003eTubes burned in at Royer factory before shipment\u003c\/li\u003e\n    \u003cli\u003eTube electronics derived from TEC Award-winning R-122V\u003c\/li\u003e\n    \u003cli\u003eGreater headroom and faster transient response than FET SF-24\u003c\/li\u003e\n    \u003cli\u003eSensitivity -38 dB — condenser microphone output level\u003c\/li\u003e\n    \u003cli\u003eSelf-noise below 18 dB — free gain from toroidal transformers, no noise from tube stage\u003c\/li\u003e\n    \u003cli\u003eJensen transformers in power supply: galvanic isolation and balanced output\u003c\/li\u003e\n    \u003cli\u003eConstant optimal ribbon load impedance regardless of preamp\u003c\/li\u003e\n    \u003cli\u003eSupports Blumlein and M\/S configurations from a single mic position\u003c\/li\u003e\n    \u003cli\u003eFull phase compatibility — stereo-to-mono summing without artifacts\u003c\/li\u003e\n    \u003cli\u003eEach channel independently usable as a mono figure-eight microphone\u003c\/li\u003e\n    \u003cli\u003eRibbon elements protected from phantom power, electrical transients, and miswired cables\u003c\/li\u003e\n    \u003cli\u003eDedicated external power supply (135 VDC plate \/ 6 VDC filament)\u003c\/li\u003e\n    \u003cli\u003eHandcrafted Padauk wood presentation case; lifetime warranty\u003c\/li\u003e\n  \u003c\/ul\u003e\n\n  \u003ch3\u003eTECHNICAL SPECIFICATIONS\u003c\/h3\u003e\n  \u003cul\u003e\n    \u003cli\u003eAcoustic operating principle: electrodynamic pressure gradient with vacuum tube electronics\u003c\/li\u003e\n    \u003cli\u003eVacuum tube: JAN mil-spec 5840W pentode, triode-wired cathode follower\u003c\/li\u003e\n    \u003cli\u003ePolar pattern: crossed figure-eights (Blumlein)\u003c\/li\u003e\n    \u003cli\u003eGenerating element: 1.8-micron aluminum ribbon\u003c\/li\u003e\n    \u003cli\u003eFrequency response: 30–15,000 Hz +\/- 3 dB\u003c\/li\u003e\n    \u003cli\u003eSensitivity: -38 dB (re. 1V\/Pa +\/-1 dB)\u003c\/li\u003e\n    \u003cli\u003eSelf-noise: below 18 dB\u003c\/li\u003e\n    \u003cli\u003eOutput impedance: 450 ohms @ 1 kHz\u003c\/li\u003e\n    \u003cli\u003eRecommended load impedance: 1,500 ohms or greater\u003c\/li\u003e\n    \u003cli\u003eMaximum SPL: above 130 dB\u003c\/li\u003e\n    \u003cli\u003eMicrophone output connector: XLR 7-pin (stereo)\u003c\/li\u003e\n    \u003cli\u003ePower supply output connectors: 2x XLR 3-pin\u003c\/li\u003e\n    \u003cli\u003ePower requirements: plate 135 VDC @ 2 mA; filament 6 VDC @ 150 mA (dedicated PSU)\u003c\/li\u003e\n    \u003cli\u003eSupply current: 4 mA per channel\u003c\/li\u003e\n    \u003cli\u003eMicrophone dimensions: 270 mm x 39 mm (base) x 25 mm (top)\u003c\/li\u003e\n    \u003cli\u003eWeight: 583 g (20.5 oz)\u003c\/li\u003e\n    \u003cli\u003eFinish: Dull Satin Nickel; optional Optical Black\u003c\/li\u003e\n    \u003cli\u003eIncludes: SF-24V microphone, dedicated power supply, 7-pin XLR cable, shockmount, Padauk wood case\u003c\/li\u003e\n  \u003c\/ul\u003e\n\u003c\/div\u003e","brand":"Royer Labs","offers":[{"title":"Default Title","offer_id":58444551258444,"sku":"28596","price":6169.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0769\/9854\/1644\/files\/RoyerLabsSF24V1.jpg?v=1786979240"},{"product_id":"royer-labs-r122-mkii","title":"Royer Labs R122 mkII","description":"\u003cdiv lang=\"en\"\u003e\n  \u003cp\u003e\u003cstrong\u003eRoyer Labs R-122 MKII\u003c\/strong\u003e is a phantom-powered active ribbon microphone — the updated version of the original R-122 from 2002, the world's first phantom-powered active ribbon microphone. The MKII preserves the complete architecture of its predecessor and adds two switchable circuits: a -15 dB pad and a bass-cut filter. Both are fully removed from the signal path when disengaged, meaning that with both switches off, the microphone is functionally identical to the original R-122. Active electronics deliver -36 dB sensitivity, placing the R-122 MKII on par with studio condenser microphones, with self-noise below 18 dB. Hand-wired and assembled at Royer's facility in Burbank, California.\u003c\/p\u003e\n\n  \u003ch3\u003eActive electronics, pad, and filter — three levels of control\u003c\/h3\u003e\n  \u003cp\u003eA hand-wired discrete head amplifier using ultra-low-noise FETs and a custom-wound toroidal transformer maintains a constant, optimal impedance load on the ribbon element regardless of the downstream preamp's input characteristics. The higher sensitivity comes entirely from the transformer (free gain) — the active circuitry functions as an impedance converter and contributes no noise of its own. The -15 dB pad is positioned before the microphone's electronics: at high SPLs, the signal is attenuated before reaching any active component, eliminating the possibility of distortion in the microphone or at the preamp input. With the pad engaged, the R-122 MKII's output is 2 dB lower than the passive R-121. The switchable high-pass filter operates at 100 Hz with a 6 dB per octave slope, providing proximity effect control and rumble suppression. Both switches are recessed into the body to prevent accidental activation.\u003c\/p\u003e\n\n  \u003ch3\u003eFaster transient response and patented offset ribbon\u003c\/h3\u003e\n  \u003cp\u003eRoyer's purpose-designed toroidal transformer delivers faster transient response than conventional passive ribbon designs — producing tighter, more controlled low end and a sense of more open highs. Engineers frequently reach for the R-122 MKII over the R-121 for drum overheads, acoustic instruments, strings, and vocals precisely for this reason; the R-121 is sometimes preferred for electric guitars and brass where a less open top end is an advantage. The patented offset ribbon design (Patent #6,434,252) positions the ribbon element closer to the front of the housing for higher SPL handling from the logo side; the rear side captures a slightly brighter response at approximately three feet and closer (phase reversed in this position). The 200-ohm output impedance supports long cable runs without signal loss. Lifetime warranty to the original owner; first ribbon replacement free.\u003c\/p\u003e\n\n  \u003ch3\u003eKEY FEATURES\u003c\/h3\u003e\n  \u003cul\u003e\n    \u003cli\u003eActive Ribbon electronics: -36 dB sensitivity — condenser microphone output level\u003c\/li\u003e\n    \u003cli\u003eHand-wired discrete head amplifier with ultra-low-noise FETs and toroidal transformer (free gain)\u003c\/li\u003e\n    \u003cli\u003eSelf-noise below 18 dB\u003c\/li\u003e\n    \u003cli\u003eSwitchable -15 dB pad positioned before electronics — eliminates mic and preamp distortion at high SPL\u003c\/li\u003e\n    \u003cli\u003eSwitchable HPF: 100 Hz, 6 dB\/oct — proximity effect reduction and rumble suppression\u003c\/li\u003e\n    \u003cli\u003eBoth switches recessed and fully removed from signal path when disengaged\u003c\/li\u003e\n    \u003cli\u003eFaster transient response than R-121 — drum overheads, acoustic instruments, strings, vocals\u003c\/li\u003e\n    \u003cli\u003ePatented offset ribbon design (Patent #6,434,252) — high SPL front, brighter character rear\u003c\/li\u003e\n    \u003cli\u003eConstant optimal ribbon load impedance regardless of preamp\u003c\/li\u003e\n    \u003cli\u003e200-ohm output — long cable runs without HF loss\u003c\/li\u003e\n    \u003cli\u003eRibbon element protected from phantom power, electrical transients, miswired cables\u003c\/li\u003e\n    \u003cli\u003e2.5-micron aluminum ribbon (99.99% Al); rare earth Neodymium magnets\u003c\/li\u003e\n    \u003cli\u003eHand-wired and assembled in Burbank, California\u003c\/li\u003e\n    \u003cli\u003eLifetime warranty to original owner; first ribbon replacement free\u003c\/li\u003e\n  \u003c\/ul\u003e\n\n  \u003ch3\u003eTECHNICAL SPECIFICATIONS\u003c\/h3\u003e\n  \u003cul\u003e\n    \u003cli\u003eAcoustic operating principle: electrodynamic pressure gradient with active electronics\u003c\/li\u003e\n    \u003cli\u003ePolar pattern: figure-8\u003c\/li\u003e\n    \u003cli\u003eGenerating element: 2.5-micron aluminum ribbon (99.99% Al)\u003c\/li\u003e\n    \u003cli\u003eMagnets: rare earth Neodymium\u003c\/li\u003e\n    \u003cli\u003eFrequency response: 30–15,000 Hz +\/- 3 dB\u003c\/li\u003e\n    \u003cli\u003eSensitivity: -36 dB (re. 1V\/Pa +\/-1 dB)\u003c\/li\u003e\n    \u003cli\u003eSwitchable pad: -15 dB (pre-electronics)\u003c\/li\u003e\n    \u003cli\u003eSwitchable bass cut: 100 Hz, 6 dB per octave\u003c\/li\u003e\n    \u003cli\u003eSelf-noise: below 18 dB\u003c\/li\u003e\n    \u003cli\u003eOutput impedance: 200 ohms, balanced\u003c\/li\u003e\n    \u003cli\u003eRated load impedance: 1k ohm minimum\u003c\/li\u003e\n    \u003cli\u003eMaximum SPL: 135 dB @ 30 Hz\u003c\/li\u003e\n    \u003cli\u003eOutput connector: XLR 3-pin (Pin 2 Hot)\u003c\/li\u003e\n    \u003cli\u003ePower requirements: 48V phantom only, 4 mA\u003c\/li\u003e\n    \u003cli\u003eDimensions: 206 mm (L) x 25 mm (W)\u003c\/li\u003e\n    \u003cli\u003eWeight: 309 g (10.9 oz)\u003c\/li\u003e\n    \u003cli\u003eFinish: Burnished Satin Nickel; optional Matte Black Chrome\u003c\/li\u003e\n    \u003cli\u003eIncludes: R-122 MKII microphone, wooden case, mic sock\u003c\/li\u003e\n  \u003c\/ul\u003e\n\u003c\/div\u003e","brand":"Royer Labs","offers":[{"title":"Default Title","offer_id":58444551323980,"sku":"45602","price":1973.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0769\/9854\/1644\/files\/RoyerLabsR122mkII1.jpg?v=1786979241"},{"product_id":"royer-labs-r122v-matched-pair","title":"Royer Labs R122V Matched Pair","description":"\u003cdiv lang=\"en\"\u003e\n  \u003cp\u003e\u003cstrong\u003eRoyer Labs R-122V Matched Pair\u003c\/strong\u003e consists of two hand-matched vacuum tube ribbon microphones — the pinnacle of Royer's R-Series line and the world's first commercially produced active vacuum tube ribbon microphone. Each pair is hand-selected for sensitivity matching within 0.5 dB and frequency response within +\/-1 dB. The R-122V uses the same ribbon transducer assembly as the R-121 and R-122 — 2.5-micron aluminum ribbon with patented offset placement (Patent #6,434,252) and Neodymium magnets — but replaces the FET active circuit with a JAN military-specification 5840W vacuum tube in triode cathode follower configuration, coupled to a Jensen output transformer. The high plate voltage of the tube supply (135 VDC) provides headroom far beyond what phantom power can deliver.\u003c\/p\u003e\n\n  \u003ch3\u003eJAN 5840W and Jensen — tube architecture without tube coloration\u003c\/h3\u003e\n  \u003cp\u003eThe triode cathode follower configuration is specifically designed to eliminate typical tube harmonic coloration — this is a circuit built for transparency, not character. The higher output level comes entirely from Royer's custom-wound toroidal step-up transformer (free gain) — the tube circuit itself operates below unity gain and contributes no noise of its own; self-noise remains below 18 dB. The Jensen output transformer housed in the external power supply provides galvanic isolation and balanced output, virtually eliminating induced noise on long cable runs. The triode cathode follower configuration is inherently resistant to HF loss on extended cable runs — a practical advantage in orchestral and live recording environments where the distance from microphone to console can be substantial. Active tube electronics maintain constant, optimal impedance loading on the ribbon element regardless of the downstream preamp's input characteristics.\u003c\/p\u003e\n\n  \u003ch3\u003ePatented offset ribbon and precision-matched stereo pair\u003c\/h3\u003e\n  \u003cp\u003eThe patented offset ribbon design (Patent #6,434,252) — shared across the entire R-series — positions the ribbon element closer to the front of the housing for higher SPL handling from the logo side and ribbon protection at maximum excursion. The rear side captures a slightly brighter response at approximately three feet and closer (phase reversed in this position) — two distinct tonal characters from one transducer. Precision factory matching eliminates the need to calibrate levels or compensate for tonal differences between channels in ORTF, X-Y, or Decca Tree configurations. Applications: electric guitar, brass, drum overheads and rooms, strings, woodwinds, piano, acoustic guitar, vocals, classical and orchestral recording. Each pair is supplied with two power supplies, two locking 25-foot cable assemblies, two RSM-1 shockmounts, and two protective wooden cases. Lifetime warranty to original owner; first ribbon replacement free.\u003c\/p\u003e\n\n  \u003ch3\u003eKEY FEATURES\u003c\/h3\u003e\n  \u003cul\u003e\n    \u003cli\u003eTwo hand-matched R-122V microphones: sensitivity within 0.5 dB, frequency response within +\/-1 dB\u003c\/li\u003e\n    \u003cli\u003eWorld's first commercially produced active vacuum tube ribbon microphone\u003c\/li\u003e\n    \u003cli\u003eSame ribbon transducer as R-121 and R-122: 2.5-micron ribbon, Neodymium magnets\u003c\/li\u003e\n    \u003cli\u003eJAN mil-spec 5840W pentode in triode cathode follower configuration\u003c\/li\u003e\n    \u003cli\u003eHigh plate voltage headroom (135 VDC) — unavailable from phantom power\u003c\/li\u003e\n    \u003cli\u003eSensitivity -36 dB — condenser microphone output level\u003c\/li\u003e\n    \u003cli\u003eSelf-noise below 18 dB — free gain from toroidal transformer, no noise from tube stage\u003c\/li\u003e\n    \u003cli\u003eJensen output transformer in PSU: galvanic isolation and balanced output\u003c\/li\u003e\n    \u003cli\u003eTriode cathode follower: long cable runs without HF loss\u003c\/li\u003e\n    \u003cli\u003eConstant optimal ribbon load impedance regardless of preamp\u003c\/li\u003e\n    \u003cli\u003e200-ohm balanced output\u003c\/li\u003e\n    \u003cli\u003ePatented offset ribbon design (Patent #6,434,252) — high SPL front, brighter character rear\u003c\/li\u003e\n    \u003cli\u003eRibbon element protected from phantom power, electrical transients, miswired cables\u003c\/li\u003e\n    \u003cli\u003eLifetime warranty to original owner; first ribbon replacement free\u003c\/li\u003e\n  \u003c\/ul\u003e\n\n  \u003ch3\u003eTECHNICAL SPECIFICATIONS\u003c\/h3\u003e\n  \u003cul\u003e\n    \u003cli\u003eAcoustic operating principle: electrodynamic pressure gradient with vacuum tube electronics\u003c\/li\u003e\n    \u003cli\u003eVacuum tube: JAN mil-spec 5840W pentode, triode-wired cathode follower\u003c\/li\u003e\n    \u003cli\u003ePolar pattern: figure-8\u003c\/li\u003e\n    \u003cli\u003eGenerating element: 2.5-micron aluminum ribbon (99.99% Al)\u003c\/li\u003e\n    \u003cli\u003eMagnets: rare earth Neodymium\u003c\/li\u003e\n    \u003cli\u003eFrequency response: 30–15,000 Hz +\/- 3 dB\u003c\/li\u003e\n    \u003cli\u003eSensitivity: -36 dB (re. 1V\/Pa +\/-1 dB)\u003c\/li\u003e\n    \u003cli\u003eSelf-noise: below 18 dB\u003c\/li\u003e\n    \u003cli\u003eOutput impedance: 200 ohms, balanced\u003c\/li\u003e\n    \u003cli\u003eRated load impedance: 1k ohm minimum\u003c\/li\u003e\n    \u003cli\u003eMaximum SPL: above 135 dB @ 20 Hz\u003c\/li\u003e\n    \u003cli\u003ePower requirements: plate 135 VDC @ 2 mA; filament 6 VDC @ 150 mA (dedicated PSU)\u003c\/li\u003e\n    \u003cli\u003eDimensions: 206 mm (L) x 25 mm (W)\u003c\/li\u003e\n    \u003cli\u003eWeight: 300 g (10.9 oz) per microphone\u003c\/li\u003e\n    \u003cli\u003eFinish: Dull Satin Nickel; optional Matte Black Chrome\u003c\/li\u003e\n    \u003cli\u003eIncludes: 2x R-122V, 2x dedicated power supply, 2x locking 25-ft cable assembly, 2x RSM-1 shockmount, 2x wooden case\u003c\/li\u003e\n  \u003c\/ul\u003e\n\u003c\/div\u003e","brand":"Royer Labs","offers":[{"title":"Default Title","offer_id":58444551455052,"sku":"48275","price":8809.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0769\/9854\/1644\/files\/RoyerLabsR122VMatchedPair1.jpg?v=1786979243"},{"product_id":"royer-labs-r122v","title":"Royer Labs R122V","description":"\u003cdiv lang=\"en\"\u003e\n  \u003cp\u003e\u003cstrong\u003eRoyer Labs R-122V\u003c\/strong\u003e is a monaural vacuum tube ribbon microphone with a dedicated external power supply — the pinnacle of Royer's R-Series line and the world's first commercially produced active vacuum tube ribbon microphone. The R-122V uses the same ribbon transducer assembly as the R-121 and R-122 — 2.5-micron aluminum ribbon (99.99%) with patented offset placement (Patent #6,434,252) and Neodymium magnets — but replaces the FET active circuit with a JAN military-specification 5840W vacuum tube in triode cathode follower configuration, coupled to a Jensen output transformer housed in the external power supply. Chronologically, the R-122V predates the R-122: research into the tube circuit was a prerequisite for developing the specialized toroidal transformer that later went into the phantom-powered FET R-122.\u003c\/p\u003e\n\n  \u003ch3\u003eJAN 5840W tube — headroom and transparency without coloration\u003c\/h3\u003e\n  \u003cp\u003eThe triode cathode follower configuration is specifically designed to eliminate typical tube harmonic coloration — the R-122V is built for transparency, not for character. The higher output level comes entirely from Royer's custom toroidal step-up transformer (free gain) — the tube circuit itself operates below unity gain and contributes no noise of its own; self-noise remains below 18 dB. The high plate voltage (135 VDC) delivers headroom far beyond what a phantom power supply can provide — this translates directly into the ability to capture high-SPL sources without compression or distortion artifacts. The Jensen output transformer in the power supply provides galvanic isolation and output balancing, virtually eliminating induced noise on long cable runs. The triode cathode follower configuration is inherently resistant to HF loss over extended cable lengths — a practical advantage in orchestral and film scoring environments where the microphone-to-console distance is often considerable.\u003c\/p\u003e\n\n  \u003ch3\u003ePatented offset ribbon and applications\u003c\/h3\u003e\n  \u003cp\u003eThe patented offset ribbon design (Patent #6,434,252) positions the ribbon closer to the front of the housing for higher SPL handling from the logo side and ribbon protection at maximum excursion. The rear side captures a slightly brighter response at approximately three feet and closer (phase reversed) — two distinct tonal characters from a single microphone. Active tube electronics maintain constant, optimal impedance loading on the ribbon regardless of the downstream preamp's input characteristics. Applications: electric guitar, brass, drum overheads and rooms, strings, woodwinds, piano, acoustic guitar, vocals; in classical recording as a spot microphone or in Decca Tree configurations; at distances of two to six feet from condenser spots, R-122Vs add dimensionality, warmth, and size to the recording. Lifetime warranty to original owner; 10-year tube warranty; first ribbon replacement free.\u003c\/p\u003e\n\n  \u003ch3\u003eKEY FEATURES\u003c\/h3\u003e\n  \u003cul\u003e\n    \u003cli\u003eWorld's first commercially produced active vacuum tube ribbon microphone\u003c\/li\u003e\n    \u003cli\u003eSame ribbon transducer as R-121 and R-122: 2.5-micron ribbon (99.99% Al), Neodymium magnets\u003c\/li\u003e\n    \u003cli\u003eJAN mil-spec 5840W pentode in triode cathode follower configuration\u003c\/li\u003e\n    \u003cli\u003eHigh plate voltage headroom (135 VDC) — unavailable from phantom power\u003c\/li\u003e\n    \u003cli\u003eSensitivity -36 dB — condenser microphone output level\u003c\/li\u003e\n    \u003cli\u003eSelf-noise below 18 dB — free gain from toroidal transformer, no noise from tube stage\u003c\/li\u003e\n    \u003cli\u003eJensen output transformer in PSU: galvanic isolation and balanced output\u003c\/li\u003e\n    \u003cli\u003eTriode cathode follower: long cable runs without HF loss\u003c\/li\u003e\n    \u003cli\u003eConstant optimal ribbon load impedance regardless of preamp\u003c\/li\u003e\n    \u003cli\u003e200-ohm balanced output\u003c\/li\u003e\n    \u003cli\u003ePatented offset ribbon design (Patent #6,434,252) — high SPL front, brighter character rear\u003c\/li\u003e\n    \u003cli\u003eRibbon element protected from phantom power, electrical transients, miswired cables\u003c\/li\u003e\n    \u003cli\u003eDedicated external power supply (135 VDC plate \/ 6 VDC filament)\u003c\/li\u003e\n    \u003cli\u003eLifetime warranty; 10-year tube warranty; first ribbon replacement free\u003c\/li\u003e\n  \u003c\/ul\u003e\n\n  \u003ch3\u003eTECHNICAL SPECIFICATIONS\u003c\/h3\u003e\n  \u003cul\u003e\n    \u003cli\u003eAcoustic operating principle: electrodynamic pressure gradient with vacuum tube electronics\u003c\/li\u003e\n    \u003cli\u003eVacuum tube: JAN mil-spec 5840W pentode, triode-wired cathode follower\u003c\/li\u003e\n    \u003cli\u003ePolar pattern: figure-8\u003c\/li\u003e\n    \u003cli\u003eGenerating element: 2.5-micron aluminum ribbon (99.99% Al)\u003c\/li\u003e\n    \u003cli\u003eMagnets: rare earth Neodymium\u003c\/li\u003e\n    \u003cli\u003eFrequency response: 30–15,000 Hz +\/- 3 dB\u003c\/li\u003e\n    \u003cli\u003eSensitivity: -36 dB (re. 1V\/Pa +\/-1 dB)\u003c\/li\u003e\n    \u003cli\u003eSelf-noise: below 18 dB\u003c\/li\u003e\n    \u003cli\u003eOutput impedance: 200 ohms, balanced\u003c\/li\u003e\n    \u003cli\u003eRated load impedance: 1k ohm minimum\u003c\/li\u003e\n    \u003cli\u003eMaximum SPL: above 135 dB @ 20 Hz\u003c\/li\u003e\n    \u003cli\u003eMicrophone output connector: XLR 7-pin\u003c\/li\u003e\n    \u003cli\u003ePower requirements: plate 135 VDC @ 2 mA; filament 6 VDC @ 150 mA (dedicated PSU)\u003c\/li\u003e\n    \u003cli\u003eDimensions: 206 mm (L) x 25 mm (W)\u003c\/li\u003e\n    \u003cli\u003eWeight: 300 g (10.9 oz)\u003c\/li\u003e\n    \u003cli\u003eFinish: Dull Satin Nickel; optional Matte Black Chrome\u003c\/li\u003e\n    \u003cli\u003eIncludes: R-122V microphone, dedicated power supply, 7-pin cable, RSM-1 shockmount, mic sock, wooden case\u003c\/li\u003e\n  \u003c\/ul\u003e\n\u003c\/div\u003e","brand":"Royer Labs","offers":[{"title":"Default Title","offer_id":58444551520588,"sku":"48276","price":3381.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0769\/9854\/1644\/files\/RoyerLabsR122V1.jpg?v=1786979244"},{"product_id":"royer-labs-sf12","title":"Royer Labs SF12","description":"\u003cdiv lang=\"en\"\u003e\n  \u003cp\u003e\u003cstrong\u003eRoyer Labs SF-12\u003c\/strong\u003e is a passive stereo coincident ribbon microphone — two matched 1.8-micron aluminum ribbon elements mounted one above the other in a true Blumlein configuration (crossed figure-eights, 45 degrees off center) within a single ingot iron body. The SF-12 is fully passive: the absence of any active electronics eliminates any internal overload point, maintaining full frequency response all the way to the maximum SPL rating of above 130 dB. Each of the two transducers uses a proprietary crossfield motor assembly: four Neodymium magnets with Permendur iron pole pieces minimize the front-to-rear acoustic path length, extending the high-frequency ceiling without artificial boost. The ingot iron body forms part of the magnetic return circuit, actively containing stray flux — the source of the microphone's relatively high sensitivity for such a compact package. The SF-12 design originates with Bob Speiden; Royer produces it with upgraded toroidal transformers, a lower-mass ribbon, and improved transducer mechanics.\u003c\/p\u003e\n\n  \u003ch3\u003eCrossfield motor and ingot iron body — the physics behind the SF-12's sound\u003c\/h3\u003e\n  \u003cp\u003eA stereo ribbon setup built from two separate microphones — on a stereo bar or in separate housings — always introduces a small but measurable spacing between capsules. The SF-12 is genuinely coincident: both elements occupy the same acoustic point, eliminating inter-channel time-of-arrival differences and producing stereo imaging that collapses to mono without artifacts. The crossfield motor in each transducer — four Neodymium magnets with Permendur pole pieces — shortens the front-to-rear acoustic path to the minimum achievable, directly extending the high-frequency response while maintaining the flat characteristic of a well-designed ribbon. The 1.8-micron ribbons, each weighing approximately one-third of a milligram, deliver transient response comparable to a condenser microphone. Negligible off-axis coloration means the SF-12 maintains consistent character regardless of the angle of incoming sound — critical when miking wide sections or ensembles where sources span a broad horizontal arc.\u003c\/p\u003e\n\n  \u003ch3\u003eRecording configurations and mono operation\u003c\/h3\u003e\n  \u003cp\u003eThe SF-12 supports two configurations from a single mic position: classic Blumlein and M\/S — the latter requiring only matrix processing in the console or DAW, enabling post-session stereo width adjustment without moving the microphone. The lower element corresponds to the left channel and the upper to the right, referenced from behind the microphone. Phase compatibility between the two channels is complete — summing to mono creates no artifacts. Either element can be used independently as a standalone mono figure-eight microphone. As a passive design, the SF-12 requires a high-gain, high-input-impedance preamplifier; its sensitivity of above -52 dBv is at passive ribbon levels, which distinguishes it clearly from the active SF-24. The extension cable terminates in a Y-splitter to two 3-pin XLR connectors labeled Upper and Lower. Applications: drum overheads (jazz, rock, classical), orchestra and choir, piano, acoustic guitar, ensembles, voice-over, ambient capture. Lifetime warranty; first ribbon replacement free.\u003c\/p\u003e\n\n  \u003ch3\u003eKEY FEATURES\u003c\/h3\u003e\n  \u003cul\u003e\n    \u003cli\u003ePassive stereo coincident ribbon microphone in Blumlein configuration\u003c\/li\u003e\n    \u003cli\u003eTwo matched 1.8-micron aluminum ribbon elements (99.99% Al), each ~1\/3 mg — fast transient response\u003c\/li\u003e\n    \u003cli\u003eCrossfield motor per transducer: 4x Neodymium magnets + Permendur pole pieces — short acoustic path, HF extension\u003c\/li\u003e\n    \u003cli\u003eIngot iron body as part of magnetic return circuit — low stray flux, high relative sensitivity\u003c\/li\u003e\n    \u003cli\u003eNo active electronics — no internal overload point up to maximum SPL\u003c\/li\u003e\n    \u003cli\u003eTrue coincidence: both elements at the same acoustic point — perfect mono compatibility\u003c\/li\u003e\n    \u003cli\u003eSupports Blumlein and M\/S configurations from a single mic position\u003c\/li\u003e\n    \u003cli\u003eEach channel usable independently as a mono figure-eight microphone\u003c\/li\u003e\n    \u003cli\u003eNegligible off-axis coloration; consistent response regardless of incidence angle\u003c\/li\u003e\n    \u003cli\u003eNo audible diffraction effects or cavity resonance\u003c\/li\u003e\n    \u003cli\u003eHigh-efficiency matching toroidal transformers; very low magnetic leakage\u003c\/li\u003e\n    \u003cli\u003eRibbon elements unaffected by heat or humidity\u003c\/li\u003e\n    \u003cli\u003eExtension cable with Y-splitter (XLR5 → 2x XLR3), labeled Upper and Lower\u003c\/li\u003e\n    \u003cli\u003eLifetime warranty; first ribbon replacement free\u003c\/li\u003e\n  \u003c\/ul\u003e\n\n  \u003ch3\u003eTECHNICAL SPECIFICATIONS\u003c\/h3\u003e\n  \u003cul\u003e\n    \u003cli\u003eAcoustic operating principle: electrodynamic pressure gradient (passive)\u003c\/li\u003e\n    \u003cli\u003ePolar pattern: symmetrical figure-8 (Blumlein)\u003c\/li\u003e\n    \u003cli\u003eGenerating element: 1.8-micron aluminum ribbon (99.99% Al)\u003c\/li\u003e\n    \u003cli\u003eMotor assembly: crossfield — 4x Neodymium magnets + Permendur iron pole pieces per transducer\u003c\/li\u003e\n    \u003cli\u003eFrequency response: 30–15,000 Hz +\/- 3 dB\u003c\/li\u003e\n    \u003cli\u003eSensitivity: above -52 dBv re. 1V\/Pa\u003c\/li\u003e\n    \u003cli\u003eOutput impedance: 300 ohms @ 1 kHz (nominal)\u003c\/li\u003e\n    \u003cli\u003eRated load impedance: above 1,500 ohms\u003c\/li\u003e\n    \u003cli\u003eMaximum SPL: above 130 dB\u003c\/li\u003e\n    \u003cli\u003eOutput connector: XLR 5-pin (stereo)\u003c\/li\u003e\n    \u003cli\u003eDimensions: 206 mm (L) x 25 mm (W)\u003c\/li\u003e\n    \u003cli\u003eWeight: 369 g (13 oz)\u003c\/li\u003e\n    \u003cli\u003eFinish: Matte Black Chrome; optional Dull Satin Nickel\u003c\/li\u003e\n    \u003cli\u003eIncludes: SF-12 microphone, extension cable with Y-splitter (XLR5 → 2x XLR3), wooden case\u003c\/li\u003e\n  \u003c\/ul\u003e\n\u003c\/div\u003e","brand":"Royer Labs","offers":[{"title":"Default Title","offer_id":58444551586124,"sku":"48277","price":2747.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0769\/9854\/1644\/files\/RoyerLabsSF121.jpg?v=1786979245"}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0769\/9854\/1644\/collections\/studio_mic.png?v=1694627286","url":"https:\/\/noiseroom.lt\/collections\/studio-microphones.oembed?page=2","provider":"Noise Room","version":"1.0","type":"link"}