When AEA released their first stereo mic, the R88 [Tape Op #96], in the early 2000s it was quite a statement. Other companies, such as Royer Labs, were fairly new to the scene, and ribbon mics seemed to be making a comeback out of nowhere. I remember looking at the R88’s size and design and being completely blown away. It was a Wayne’s World moment for me, “Oh yes, it will be mine!” Fast forward to today, and it’s practically become a studio staple. All the cool kids have one, and I can’t imagine living without mine – though maybe I’m still not that cool.
Twenty years later, I was excited when AEA released their next stereo ribbon microphone, the Nuvo N28. AEA’s learned a lot over the years and made many advancements with their Nuvo series, including a more compact form factor, active circuitry, and now smaller ribbon motor designs. Although the R88 is an impressive sight to behold, it can be difficult to work with (and around) due to its size and form factor. This is especially true when trying to use it outside of typical recording studio confines, such as with film and video work (which I’ve been doing a lot more of lately).
Compared to the R88, the Nuvo N28 is much more reasonably sized. With smaller ribbon motors – each a little over an inch long – AEA was able to create a stereo array that’s not much longer than the other mono offerings in the Nuvo series. We finally have a reasonably-sized stereo ribbon microphone choice! It’s important to note that although the recently-released mono N13 microphone also utilizes a smaller ribbon technology, the N28 is not two N13s in a stereo array. AEA experimented with many different iterations of ribbon length and width to voice the N28 specifically for stereo; even the fabric choice for the grills had to be adjusted. According to specs, the closest comparison would actually be AEA’s KU4 [Tape Op #133]. It’s quite a different beast, though, as it incorporates an acoustical labyrinth that forces the ribbon into a supercardioid pattern. All that is to say that the N28 is a brand-new stereo design.
Nuvo N28’s active circuitry is a welcome addition. With my R88, I have to admit that I’ve become extremely particular about using it with my AEA TRP2 two-channel preamp – it’s more or less become glued to those channels. It’s rare to have a preamp designed by the same company specifically for their microphones, and they’re a match made in heaven. With the N28’s new dual buffer amp and Lehle transformer, you don’t have to be as concerned about major impedance mismatches or needing ungodly gobs of gain. I recently recorded with the N28 outdoors through my portable ZOOM recorder’s built-in preamps. Though I would categorize using the mic this way as a “less than ideal” situation, when I got the files back in the studio it sounded excellent on playback. I don’t imagine it would be any different if I were to bring the N28 on the road and plug it into an inexpensive digital live console’s built-in preamps.
AEA’s Nuvo series offers a variety of choices, with each mic designed and voiced for different situations. On one end of the spectrum, the N22 is designed specifically for near-field placements. You can bring it in close to a source as the proximity effect is not as exaggerated, perfect for smaller rooms that might not have the best acoustics. At the other extreme, the active N8 shares the same ribbon design and motor as one side of the R88. It’s considered “far-field” and offers a much more familiar design and sound to the classic RCA ribbon mics. It can be placed 20 feet back from a source and still sound huge. The Nuvo N28 splits the difference and has been designed specifically for mid-field, which AEA specs as eight inches to three feet ideally. On paper, at least, the N28 should fall into the “Goldilocks zone” in terms of placement.
I spent a lot of time with an active R88 next to the Nuvo N28 so that I would have a familiar frame of reference. With acoustic guitar and drums, it became apparent pretty quickly that the N28 definitely does not disappoint in the low end department. Compared to the R88, though, it’s almost like the frequency emphasis on the N28 has moved up an octave. Where the R88 seems pretty flat and accurate overall with a powerful and deep low end, the N28 emphasizes a strong and punchy midrange. When I had them side by side at further distances, the R88 came across as a bit more open on the top end. The amazing midrange push of the N28 made the R88 almost sound scooped. However, placing each mic respectively in their ideal intended locations, with the R88 further back and the N28 closer in, the N28 really began to shine. In a midfield setting with some gradual high-pass filtering engaged on an AEA TRP500 preamp, sources sound perfectly balanced with more than enough high end. On acoustic guitar, I regularly pair a condenser microphone for presence and articulation with the R88 for more body. The N28 in a mid-field placement on its own sounded similar to that combination. I’m fairly confident that I’ll be able to get away with just the N28 in some mic’ing scenarios moving forward.
Although the R88 has solidified a powerful legacy, I found the Nuvo N28 held its ground quite effortlessly, and in many situations it was the better choice. I think its modern features will make the N28 an easier choice for many, but I’m also happy with how different it sounded from my R88. It’s another great flavor and choice to add to the mic locker and definitely warrants an additional purchase for all the other R88 lovers out there.
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