AEA RPQ500 500 Series Ribbon Microphone Pre in Silver/Gray

Description

Category
500 Series
Modular Synth
Keyboards
Microphones
Preamps
Dynamics
Equalizers
Monitoring
Computer Audio
Interfaces
Software
Beat Production
AEA RPQ500
The
AEA RPQ500
module, designed after the successful RPQ preamp, provides the same ultra-clean, high-gain signal path that has earned AEA preamps their great reputation, but in a 500 series package. JFET circuit topology provides all the dynamics, subwoofer bass, and fast transients that your microphones can record. The NoLoad™ input impedance above 10K Ohms means the RPQ won’t load down a mic and change its sound. Low Energy Storage™ circuit design instantly recovers from overloads for superior dynamic performance. The original RPQ with CurveShaper™ was designed to fully capture every nuance of ribbon microphones: vintage or modern, passive or phantom powered. Engineers have discovered that the RPQ500 also complements their moving coil, condenser mics. By virtue of its sonic qualities and versatility, the VPR Alliance approved AEA RPQ500 is the tool of choice for all microphones whenever a true and pristine signal path is desired.
Two Peas in a Pod: Musical Preamp, Sweet EQ
The CurveShaper’s™ high-frequency filter boost enables you to add a little extra “presence” or “air” to your source. The circuit functions similarly to a conventional parametric shelving boost, but with a significant difference: the slope varies as both the CurveShaper™ and HF Gain controls are adjusted. This unique bell curve was designed with the intention to compensate for the high-frequency roll-off that is inherent to most ribbon microphones. But beyond ribbon mics, the smooth HF filter is remarkably well suited for brightening up condenser mics used at a distance, restore presence in overly “dry” acoustical environments, or even as a clean and transparent air-band boost on the 2-bus.
The CurveShaper’s™ low-frequency control easily removes boxiness and boominess in a fast and unobtrusive way. Ribbon mics are capable of delivering strong subwoofer lows, and can have a significant bass proximity effect. Such strong low-frequency content can mask high-frequency intelligibility, so the tunable LF filter was engineered to tame low-frequency energy to appropriate levels. Its -20dB shelving curve is ideally suited to reduce excessive proximity effect, opening up new possibilities to use ribbon mics in close-up applications.
Your Sound At Your Fingertips
With mixing consoles disappearing from control rooms, dedicated preamps can take on the role of providing a high-quality front end giving you intuitive control to make critical decisions during tracking rather than “fixing it in the mix”. The RPQ500 is a workhorse tool for your API 500 compatible rack. The Line/Mic switch bypasses the microphone gain stage and allows the EQ to be used for tracking with other preamps or during mixdown. Add the output level control, and the RPQ500 becomes a high-quality processing tool that can be used for mixing and mastering when combined with summing racks and mixers such as the Purple Audio Moiyn or the Roll Music Folcrom.
Features:
One channel with 81dB of sweet and quiet JFET gain for all mics
High frequency CurveShaper™ EQ and low frequency proximity control
Mic and line inputs for mixdown EQ versatility
Switchable phantom power, polarity, line/mic, and EQ inserts
NoLoad™ 10k Ohm high-impedance circuitry providing better overall transients, frequency response, and higher output sensitivity
Specifications:
Gain at 1 kHz: 81 dB of gain at 1kHz balanced-in to balanced-out in Microphone Input Mode
Noise figure RMS A-weighted: <2 dB
Noise figure RMS unweighted: <3 dB 20 kHz LPF bandwidth
EIN: <-130 dBu A-weighted 150 Ohm resistive source
Frequency response: -3 dB < 1 Hz and > 100 kHz
THD: <0.02% at 1 kHz
Input impedance: 10 kOhms
Balanced Line Input Impedance: 20 kOhms
Input Gain control: Twelve-position switch provides from +13 dB to +62 dB of gain for the preamplifier circuit, as measured between the input and the before the output line driver
Switched LF Shelving filter: -3 dB break-frequency tunable from 18 Hz to 360 Hz; maximum reduction -20 dB
Switched CurveShape EQ: +3 dB break-frequency tunable from 2.5 kHz to 30 kHz; HF gain adjustable from +0 dB to +18 dB; the slope of the HF filter varies interactively and directly with the CurveShaper™ frequency and gain settings
Color LEDs: Green, Yellow, Red
XLR output maximum level into 600Ω load: +28 dBu, balanced; 0 dBu = 0.7746 V RMS
XLR connectors polarity: Pin-1 is ground, pin-2 is high, pin-3 is low
LED signal level indicators: Green snaps on at -6 dBu, red snaps on at +23 dBu, and yellow varies in brightness with level from -3 dBu to +20 dBu
About Us
Since 1993, we have been committed to equipping our customers with the very best gear, advice, and personal service anywhere. We believe that great sound can be achieved at any budget. We also believe that the ambitions of our customers should always come first. For us, it's about building long-lasting relationships, not just selling gear. And over the years, those beliefs have turned customers into friends and family. Whether you're just starting out, or a seasoned pro, we're here for you, no matter where your audio travels may take you.
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Used Item Warranties
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Analog Outboard Gear – 1 Year
Microphones – 1 Year (excluding capsules, tubes, and ribbon elements)
Speakers – 1 Year (excluding drivers)
Digital Outboard Gear – 30 Days
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Note:
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In addition to the manufacturer's warranty, Demo Deal and B-Stock items also come with an additional 1-year of warranty coverage from Vintage King, free of charge, so rest assured that not only are you saving big by purchasing a Demo Deal/B-Stock item, but you will also receive the same level of world-class support from Vintage King as with the purchase of a factory-sealed unit.
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