Next up I threw the KU5A on vocals for the Young Supply session a few months back. Beyer used to offer a range of ribbon mics for stage vocal use, but the last of these now seems to have been discontinued, as has the Silvia Classics SC5C/Telefunken RM-5C. It has the most rejection of any ribbon ever. The KU5A is thus optimised for use close up and on loud sources, with a maximum SPL of 135 or 141 dB depending on whether you believe the spec sheet or AEA's website. It has the most rejection of any ribbon ever. On this session we used the KU5A on the snare drum. Said to have been designed, among other things, for recording gunshots for movie soundtracks, the BK5 was notable both for its somewhat cardioid pickup pattern and its ruggedness. It's not designed to share the BK5's unique tonality, but rather, to sound good in the same sorts of roles for which the BK5 was intended. If these guys made a vacuum cleaner I would buy it, so when Sammy, Charlene, and Wes of AEA started talking to me about this new supercardioid mic they were making, I immediately threw my hat into the ring as a beta tester for this secret mic. It took compression well without increasing bleed or any perceptible noise floor. Milan was immediately comfortable with theintense array of robot and otherworldly vocal sounds she was generating. Importantly, though, it's not an out-and-out 'character mic' in the way that the BK5 is. All rights reserved. Sonically I was blown away. The long, narrow aluminum briefcase of the PM40 PianoMic System certainly makes one. You may login with either your assigned username or your e-mail address. However, the KU5A is meant less as a faithful recreation of the BK5, and more as a new design which takes that mic as its inspiration. Some of you may remember that Zach Saginaw of Shigeto is a long-time client and main homie of mine. It may be pricey, but it's also a seriously useful mic. I used the KU5A on Joey Del Re's vocals. We did a West Coast run last fall that were some of the most gratifying gigs I've mixed. They are an acoustic trio with a nylon string guitar, a steel string guitar, and an upright bass, with both guitar players singing. What sets the AEA KU5A apart from the RCA BK-5A (or any other ribbon for that matter) is its polar pattern. There was a certain economy to those labels, and you knew your money was well spent. I met trumpet player Kris Johnson during a Black Milk session a few years back. Figure of Eight Microphones in Near Co-incident Stereo ... Re: One Synth Challenge V - The Filter Strikes Back! The views expressed are those of the contributors and not necessarily those of the publishers. The KU5A is also, as far as I'm aware, the only mic of its kind on the market at present. Knowing Wes and AEA's penchant for the RCA lineage, I'd always wondered if this somewhat lesser-known cousin of the RCA family would ever see its due, and when I opened the box I was stoked to see it had. The band is playing mostly Zach's tunes, but the presentation is Ptah... era Alice Coltrane meets Eddie Henderson's Realization. Ask a rock singer to scream directly into it from an inch or so away, and it'll shrug its shoulders and say 'Yeah, is that all you got?' In short, the KU5A has all the qualities you've grown to love from AEA: magnificent sound, absurd price point versus performance, durability, and shockingly flexible. It's a supercardioid mic, not an omni. Why Are Some A-B Stereo Arrays Angled Outwards? First, I took the KU5A on the road with the Shigeto Live Ensemble. What is a "hybrid" audio interface anyway? it became a staple. The luxury of knowing exactly what a mic will do, and not do, and using it not only to capture a performance, but also to front load the sonicprocess as I move forward on a recording, is priceless to me. On neither front does it score highly against today's mics, but what the BK5 does have is a very characteristic mid-forward sound. We were able to adapt to any EQ needs simply by proximity or via the extremely useful high-pass filter. His playing is also fairly dynamic, so I was stoked to find a new home for the KU5A. The R84 and original RCA 44 (now the AEA R44C) share the same Big Ribbon element, transformer and other mechanical elements by design. The KU5A also has a seven-layer protection screen in front of the ribbon, so no pop filter is needed unless you're going for the kick drum. Wes Dooley & Audio Engineering Associates, Win! Recording Nate is a real joy; he's one of those guys that makes it easy. Matt started Micparts a few years ago... A few months ago, Blue Rock studios in Wimberley, Texas hosted a shootout of several microphones geared toward lead vocals. Q. The only thing I didn't love it on was piano. The terminology matters little, but suffice it to say the rejection this microphone presents, while still sounding natural, is bordering on the absurd. The bleed is nonexistent, so cymbal hash is not even an issue. Her contribution to Splice's sample pack was putting the new iZotope VocalSynth 2 through its paces. It seems like the market has never been more saturated with various types of new recording equipment attempting to emulate vintage gear. Mastering Essentials Part 3 - How loud should I master? It requires a wider snapshot as to not reveal its sonic blemishes. This has been followed by original AEA designs such as the R84 and N22, and also by an equally meticulous recreation of the KU3A. The increased sensitivity compared with passive ribbon mics comes from the use of a custom-made, amorphous-core transformer with a 1:110 turns ratio,. Limited high-frequency response won't suit all applications. The latest mic to emerge from AEA's Pasadena HQ is a unidirectional ribbon that is designed to be robust, has the number 5 in its name and is housed in a large cylindrical metal body with radio DJ-style yoke suspension. When we did have problems, we were able to do very useful things with phase at both monitors and FOH on either mic to avert feedback issues. Over the past few months I have used this mic on nearly everything. I feel the same way about AEA – there aren't a lot of audio manufacturers I can say that about! As usual, the AEA folks have raised the bar yet again! And to risk stating the obvious, it's also fixed in length, and I often found myself needing to extend it. Much to my delight that is exactly what happened. This first test was definitely a trial session, and the KU5A passed with flying colors! I know this may seem like hyperbole, but there some kind of magic happening here. It can handle 135 dB SPL, and all this glorious audio exits the microphone via the same transformer found in all the AEA active ribbon mics, using an active buffer to ensure it works well with all consoles and interfaces. Wolfman Jack made it his choice (adding to the RCA BK-5A's historical significance), but it wasn't until the late '90s, when Fletcher (of Mercenary Audio [Tape Op #34]) began touting it as a fantastic guitar mic, that I bought mine. Perhaps it's the form factor, or possibly the examples shown on AEA's website, but I came to view it as an excellent candidate for roles that the Shure SM7B usually fills. The most famous of RCA's unidirectional ribbon mics are probably the iconic 77, with its mechanically switchable patterns, and the rare KU3A 'skunk mic', one of the best ribbon mics ever made. They are both dynamic singers, and obviously the nylon guitar is a different animal than the steel string. It also allowed us to do some significant position and EQ adjustments via mic placement due to the tight polar pattern and the high-pass filter. I always like having a lot of options in my mic closet. The very first time I used the KU5A it was actually a prototype. In 2018, the wonderful folks from Splice Studio came through Detroit to capture sound and document the city sonically for their Movement 2018 Sample Pack. The KU5A is, to be blunt, a better microphone in almost every respect, and a much smoother-sounding one. Delivers the warm tone often associated with high-class ribbons, in a heavy-duty supercardioid mic that can be worked up close. With its massive 3kHz peak, rolled-off highs and non-existent low bass, the BK5 can be a great mic for guitar amps, partly because their bandwidth is restricted in a fairly similar fashion. One mic was a beyerdynamic M160 [#60] through some pedals and into a Rupert Neve Designs DI [Tape Op #113], and the KU5A went straight into the console.

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