Never before has a ribbon mic delivered as much clarity and breadth of sound in a package so fit for both studio and live settings as the supercardioid KU5A. It has the most rejection of any ribbon ever. If you want to remove the "room" from your recordings, the KU5A will do just that. If you need consulting or lessons, contact me. Unlike the BK5, the KU5A is an active microphone, requiring 48V phantom power and delivering a sensitivity of 7mV/Pa. Different in form, yet similar in function, the two KU Series microphones offer a new approach to ribbon recording. I hope that you’ll find the content useful! And in contrast to vintage ribbon microphones, which can sometimes sound dark and murky, the N8, and the R88, capture plenty of high-end and present a controlled low-end. Musicians and engineers lust for the added warmth that Ribbon microphones exhibit naturally, and digital environments sometimes lack. While the N8, or better yer a pair of N8s in Blumlein, will put the listener directly into the hall that the performance takes place. The last decades the trend seems to have shifted, at least partially. Help this site stay alive and allow me to create more content like this. Ribbon microphones are also more forgiving than condensers, which can be a huge advantage in live recordings. Although inspired by the form factor of the RCA BK5, the KU5A delivers vastly different sound with superior rejection from the sides and rear of the mic. 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,. The KU4 design solved that issue by implementing fiberglass in the labyrinth that grants consistency across all units. Either way, a gorgeous sounding recording is guaranteed. With active electronics for fewer noise-related headaches and an extended top-end, AEA carries the natural and calm presentation of vintage ribbon microphones to the demands of a modern workflow. The KUA5 is a front address Super-Cardioid, that eliminates the room and presents the ribbon smoothness and warmth in all its glory, with the benefit of a detailed, extended top. The KU4 stands apart as the brightest of any other ribbon in the AEA lineup. It draws significant inspiration in form and function from the RCA KU-3A, a cardioid, side-address ribbon mic developed in 1948 for Hollywood’s motion picture industry. Furthermore, their pure characteristics and the bi-polar pattern generate a feeling of "being there" in the room with the musicians. Ribbon microphones can be quite fragile and require a lot of attention even on how you store them; additionally, being passive they need a lot of very clean gain from the preamps otherwise the can appear noisy, especially with soft instruments and dynamic styles. Notably, if you play in an ensemble, The Super-Cardioid pattern will minimise the bleed from other instruments into your amplified sound. The KU5A is AEA’s first end-address supercardioid ribbon and features the most focused directionality of any AEA ribbon mic before it. The KU5A is a rather unique design in the world of Ribbon microphones, as not many non-bipolar Ribbons exist, and even less Super-Cardioid. A high-pass filter of 6dB per Octave at 283Hz makes the AEA Super-Cardioid suitable for close-miking any instrument and the transformer-based, active electronics allow it to function perfectly with any decent preamplifier. Figure-8 pattern only is no longer a limitation within the AEA family, the new KU5A addresses this at an amazing price. They are never over-analytic if anything, they offer a relaxed presentation, making them excellent for instruments which mechanical sounds, like fretting or bowing, can be distracting.