AEA RPQ 500 Series Preamp and EQ
The 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, in a 500 series package. The RPQ500 has been enhanced with additional features, turning it into a workhorse tool for your API 500 compatible rack. The preamp delivers the bandwidth and quietness needed for high resolution recording. JFET circuit topology provides all the dynamics, subwoofer bass, and fast transients that your microphones can record. The input impedance of 10,000 Î© means the RPQ500 will not load down a mic and change its sound. Low Energy Storage™ circuit design instantly recovers from overloads for superior dynamic performance.
The CurveShaper™ offers a natural option for sculpting your sound right at the start of the signal path. Switchable and tunable low frequency (LF) and high frequency (HF) controls allow you to tame proximity problems and provide HF extension and slope control. The high-frequency CurveShaper™ excels at adding a touch of air or presence, and the low-frequency control can remove boxiness and boominess in a fast and unobtrusive way. The bottom line is a versatile channel strip that will deliver an unadulterated performance in any application. 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.
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 RPQ also complements their moving coil, tube and solid-state mics. By virtue of its sonic qualities and versatility, the AEA RPQ500 is the tool of choice for all microphones whenever a true and pristine signal path is needed
* 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 Ω resistive source
* Frequency response: -3dB < 1Hz and > 100 kHz
* THD: < 0.02% at 1 kHz
* Balanced Microphone Input Impedance: 10 kΩ
* Balanced Line Input Impedance: 33 kΩ
* Input Gain control: twelve-position switch provides from +7 dB to +56 dB of gain for the preamplifier circuit, as measured between the input and the before the output line driver.
* Output Gain control: continuously variable from -64 dB to + 19 dB of additional output gain, following the CurveShaper™ circuitry
* Switched LF Shelving filter: -3 dB break-frequency tunable from 18 Hz to 360 Hz; maximum reduction -20 dB
* Switched CurveShaper™ EQ: +3dB break-frequency tunable from 2.1 kHz to 26 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
* 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.