A handcrafted, museum-quality replica of the 1936 to 1938 RCA 44BX with a hot output, the USA-made AEA Ribbon Mics R44CX is the ultimate solution for engineers, producers, and musicians who desire a high-output version of the acclaimed 44BX sound without the drawbacks of an aged and worn vintage microphone. Utilizing an RCA-spec 2.35" long ribbon, 44BX-interchangeable parts, and a bidirectional figure-8 polar pattern, the R44CX delivers true-to-the-original tonality with up to 90 dB of rejection at the sides. Plus, it can handle extreme SPLs and capture anything from soulful vocals to full orchestras with character and class.

The X-Motor mod adds two magnets to increase the mic's output level by 6 dB, making it ideal for scoring sessions where broad dynamic range is crucial. To distinguish it from the standard R44, the R44CX is adorned with a red badge. The mic's 10' attached cable is terminated with a standard XLR 3-pin male connector for hookup to virtually any microphone preamp, no phantom power required. High-gain, high-impedance preamps are recommended for optimal microphone performance. The integrated yoke-style cushion mount reduces bulkiness while ensuring ease of positioning in the studio. A vertical case is included for proper storage of the mic between sessions.

Faithful Reproduction of RCA 44BX    Museum-Quality Replica of 44BX    X-Motor Mod Increases Output by 6 dB    Bidirectional Figure-8 Polar Pattern    Ribbon Meets/Exceeds Original RCA Spec    Full, Rich Tone with Generous Low-End    Handles SPLs up to 165 dB    Passive Design Requires No Phantom Power    10' Attached Cable with XLR Connector    Handcrafted in the USA

The AEA R44 Series microphones maintain an iconic legacy of great ribbon mics by delivering a rich sound full of character and color. Effective on a broad range of instruments and rooms, R44 mics bolster mids and lows while smoothing harsh high frequencies to produce a multi-dimensional sound unique to itself.

Used on everything from crooning vocalists to full orchestras, an R44 mic is the ideal choice to capture the tone of any voice or instrument while imparting its legendary ribbon character.

AEA's R44 Series microphones all share the authentic sound, feel, and look of the 1936 to 1938 RCA 44BX. The R44 Series microphones are all detailed, handcrafted replicas, using parts that are made to be interchangeable with an original RCA 44. AEA manufactures three different versions of the R44 and "hot rod" variants of the passive R44s.

At the core, every version of the R44 sounds the same when powered with a ribbon preamp. The major differences between the versions are the exterior look and the amount of output level.

The passive R44 is available in two exteriors—the original museum-quality replica R44C and the aesthetically cost-effective R44CE. Both mics have an identical sound and are exactly the same on the inside. The difference between the two is only cosmetics and price. The "X" variants provide a hotter output level.

AEA developed a modified R44 transducer, called the X-Motor, that includes two additional magnets for an extra 6 dB of output. With a sound identical to the original 44, the X-Motor "hot rod" mod is useful for scoring and classical sessions and other applications demanding a wide dynamic range with the classic 44 sound. The X-Motor version of the R44 bears a red badge on the outside instead of the standard black badge.

Since the R44CX is a passive ribbon microphone, a good 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 R44CX, 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.

• Unparalleled warmth and legendary character
• Full and rich tonality with generous low-end and proximity effect
• Faithful reproduction of the RCA R44BX
• Ribbon material meets or exceeds original RCA spec
• Handles SPLs up to 165 dB
• X-Motor mod raises output level by 6 dB
• Versatile in close-range or ambient applications
• Made in the USA

Related Questions and Answers

Q: 1. Anyone have experience using the 4038 to record flugelhorn?

A: The Coles Microphones 4038 Studio Ribbon Microphone should do a very good job to capture the sound from a flugelhorn. It is compatible for recording horns and brass instruments such as trumpet, trombone, saxophone, baritone saxophone, and soprano saxophone, so it should work very well for flugelhorn too.

Q: 2. I want to use this item with an H4N pro and sennheiser Me66 with a K6.My question is should I get this version or the version with phantom? (I will be using the aa battery in mY K6 and not using theH4Npros's phantom power)

A: Get this one. The Zoom H4N has its own phantom power.

Q: 3. Is this a passive microphone?

A: Yes, the MXL R144 is a passive microphone.

Q: 4. How many Watts does this light draw at Maximum Output?

A: The Cineo Lighting Maverick3 High Output Studio Kit BH #CIBT9010079 is a 120w light.

Q: 5. Can you print 8x12 from CK3810 Mitsubishi paper ?

A: Thank you for the question. Because the CK-3810 media is designed to print 8 x 10, you would need to use CK-3812 to print 8 x 12. While you can't print 8 x 12 on CK-3812, you could print 8 x 10 on CK-3812.

Q: 6. Is this appropriate to use with an MKE 600 and Zoom H5?

A: It would not be ideal to use the standard FetHead with the MKE 600, since the MKE 600 requires phantom power, and this version of the standard FetHead does not supply it. The standard FetHead is designed primarily for microphones that don't require external power. If you really need to pre-preamplify the MKE 600, it would be more appropriate to use the FetHead Phantom model. Otherwise, you would have to install a AA battery inside the MKE 600.

Q: 7. Does it come with the case, mount and XLR adapter?

A: The Coles Microphones 4038 Studio Ribbon Microphone comes with an XLR cable, a soft cloth bag, a rigid carrying case, and a simple clip. The elastic suspension mount is sold separately (BH #CO4038SM).

Q: 8. I am considering to order a FetHead for my dynamic mic and wondering if there will be any sound or gain difference between 1) when plugging the FetHead into my mixer/recorder(Zoom F4) first and then plugging the XLR cable to the mic and 2) when plugging the cable into my Zoom F4 first and then plugging the FetHead into my mic? I am not sure if plugging the FetHead into the mixer/recorder first is even possible or not because all the YouTube reviewers use their FetHeads directly on their mics.

A: if you plug in the fathead at your mixer, you would be amplifying the noise level from your cable run as well as your mic level. The fatheads use is to get it as close to your micrphone as possible, prior to your cable run. If youre simply trying to boost gain on a short , noiseless cable run, either end is fine I suppose.

Q: 9. Will the Triton Audio FetHead In-Line Microphone Preamp work with the Sony ECM-44B - Omnidirectional Lavalier Microphone?

A: The Sony ECM-44B is a condenser but can't be phantom powered. The ECM-44B requires an internal AA battery thus the FetHead Regular will work fine. If you want to use an ECM-55B or ECM-77B you'll need the FetHead Phantom unless you want to locally power the mic with an AA battery. Once locally powered, the mic will behave like a standard dynamic mic.

Q: 10. Can this connect to a computer with only USB-A ports?

A: The Polsen USB Boundary Microphone with Headphone Output comes with a 2m USB-C to USB-A cable for use with a computer's USB-A port. A USB-C to USB-C cable (available separately) can be used if a USB-C connection is required.