Capture lush stereo recordings in minimal setup time with the AEA Ribbon Mics R88mk2, a passive stereo far-field ribbon microphone designed for quick and precise Blumlein and mid-side configurations on a single mic stand. Offering the open and natural sound of two traditional side-address, large-ribbon mics in a compact and lightweight form factor designed for far-field use, the R88mk2 ribbon mic is ideal when positioned 16" to 20' away from the source, be it for group vocals, acoustic instruments, ensembles, or drums, in the studio or on the stage.

As a far-field ribbon, the R88mk2 provides full low- and high-end tone when capturing sources in the context of a room. Plus, it boasts the widest frequency range of any AEA mic (along with the NUVO N8). The figure-8 polar pattern of each ribbon element exhibits the classic pickup traits and side-rejection qualities associated with ribbon mics. The mic's XLR 5-pin male connector and included breakout cable (XLR 5-pin to dual XLR 3-pin) allow hookup to virtually any microphone preamp; no phantom power required. High-gain, high-impedance preamps are recommended for optimal microphone performance.

2 x Figure-8 Ribbon Elements    Includes Professional Studio Boom Stand    Includes CL-2 for +25 dB of Clean Gain    Includes XLR Breakout & 25' XLR Cables    For Blumlein and Near-Coincident Arrays    Side-Address, Large-Ribbon Design    Open and Natural Sound    Retains Lows and Highs in Far-Field Use    Widest Frequency Range of All AEA Mics    Handles SPLs up to 165 dB

The R88mk2 captures a space as it sounds live and in person, with all the present subtlety and nuance. Its expansive frequency response and balanced low-end make it superbly effective when capturing the full breadth of sound from the back of a room, above a drum set, or overhead a string section.

It is designed to be positioned at an ideal distance of 16 inches or farther from the source of sound. This far-field design allows for a wide range of options when positioning the R88mk2 to best capture an instrument within the context of a room.

From as far away as 20 feet away, the R88mk2 retains the low-end frequencies of the sources it captures, and its open, natural tonality makes it perfect to record an entire orchestra or the full low-end of a drum kit from overhead.

The proximity effect of the R88mk2 is present when recording a source from closer than 16 inches, so this feature can be used to accentuate the low-end of a vocal or string instrument. Potential damage from loud sources is of no concern, even at such a short distance, as the R88mk2 can handle 165+ dB SPL at 1 kHz.

The R88mk2 uses two bidirectional figure-8 ribbons for producing an authentic representation of a performance. The pair of elements are angled in perfect phase at 90 degrees and mounted in close proximity to each other along the vertical axis of the microphone.

As an alternative to Blumlein's technique, the microphone can also be used for mid-side (MS) stereo, providing excellent mono compatibility and full control over the width of the stereo image.

Since the R88mk2 is a dual passive ribbon microphone, the preamp is critical for optimum performance. Preamp gain should be at least +60 dB or higher and it should have a very-high impedance. These requirements are vital for the ideal performance of any ribbon mic.

To guarantee consistent, full-range ribbon sound with the passive R88mk2, preamps designed specifically for ribbon microphones (such as AEA's RPQ2, RPQ500, and TRP2 preamps) are available separately. However, preamps with above a 5-Kilohm impedance found in many live soundboards are adequate for guitar amps and other louder instruments. On quiet sound sources or for distance recording, an AEA preamp is highly recommended.

• Open and natural sound
• Far-field ribbon mic that retains lows and highs from a distance
• Passive, stereo version of the AEA N8 ribbon mic
• Compact, lightweight, and low-profile design
• Handles SPLs up to 165 dB
• Made in the USA

Related Questions and Answers

Q: 1. Can you attach a Rode VideoMic (with a shoe mount) to this as-is, or would you need an adapter? If so which adapter?

A: An Onstage #MA100 is required to mount the Rode Video Mic on to this Onstage boom microphone stand.

Q: 2. Is this stand collapsible? Does it come with a bag to transport it?

A: Yes, the stand is collapsible to 53.8". It does not included a bag for transporting it. You could use the Ultimate Support Bag-99D Heavy-Duty Padded Tote Bag - for Two TS-99 or TS-88 Speaker Stands (B&H # ULBAG99D) which has interior dimensions of 14.5 x 60.5". That should give you enough space for the wheels and cables too.

Q: 3. I'd like to use this mic on my Canon C70. Is there a XLR 5-pin female to dual mini XLR 3-pin male cable?

A: The BP4025 comes with an XLR 5-pin female to dual XLR 3-pin male Y-cable. We do not a Y-cable with mini-XLR 3-pin male connectors, but you can use adapters to convert standard XLR male to mini-XLR male. The Laird Digital Cinema Premium 3-Pin Standard XLR Female to TA3M 3-Pin Mini XLR Male Audio Adapter (B&H # LARD1XFTA3M) will work or if you prefer longer adapter cables, you can use the Blackmagic Design Set of 2 Mini XLR to XLR Audio Cables for Video Assist 4K - 19.5" (B&H # BLAXLRMINI2). Both of these options will convert the standard XLR male connector to mini-XLR male for compatibility with the C70 mic inputs.

Q: 4. What are the dimensions and weight of the base?

A: The Atlas Sound SB36WE base measures 15" from corner to corner, but unfortunately we do not have a spec for the weight of the base alone.

Q: 5. Does this item have locking wheels? What mechanism does it use to lock them?

A: That is an Atlas Boom it does not have locking wheels. It is used primarily for used for vocal and string recording.

Q: 6. What is the folded length?

A: The stand is 44-inches when folded up, but the boom portion is 82-inches. If you are looking for a more mobile option that collapses to a smaller size, you may consider the Impact Multiboom Light Stand and Reflector Holder (13'), BH #IMLSRH. This light stand is only 40-inches when folded up, and can be used as a mic boom, with the addition of a thread adapter, such as the Impact Female 1/4"-20 to Male 3/8"-16 Thread Adapter, BH #IMCA109.

Q: 7. What is the diameter of the shaft? I'm wanting to mount this in the mic holder on my Sony PXW-X70. It appears the mic holder would require a diameter of around 15/16 inch or 25mm. If the BP4025 shaft is narrower than that, are there mounting kits available to work with pro-level handles on cams? Thank you!

A: The mic holder attachment on most cameras have a diameter larger than most available microphones. We do offer a solution that allows mics to fit securely in these mounts. The ROCS Rubber O-Rings.

Q: 8. Can I use this as a mono mic for podcast if I do not connect one of the xlr's?

A: You could in that form just to connect oneside of the mic, just keep in mind that this mic is a condensor mic it still is sensitive and it will pickup ambience from the room if its not acousticlly treated.

Q: 9. Which windscreen is suitable for BP4025?

A: You can use the K-Tek KR-50-70 Fur Windsock for Ball-Type Handheld Microphones (B&H # KTKR5070) with the Audio-Technica BP4025 X/Y Stereo Field Recording Microphone. It is suitable for both indoor and outdoor applications.

Q: 10. If I only connect one of the xlr's can I use this mic as a mono podcast or youtube mic?

A: Yes, but you will only hear half of the information picked up by the mic, The one that is connected must provide phantom power.