AEA RPQ 500

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Descripción

COMPACT BUILD, BIG UTILITY

•  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.
•  Same clean, high-gain signal path as the RPQ2.
•  100% handcrafted in Pasadena, CA.

HOW IS THE RPQ500 DIFFERENT FROM OTHER PREAMPS?

The RPQ500 module, designed after the successful RPQ preamp, provides the same high-gain, high-impedance signal path that has earned AEA preamps their great reputation, but in a 500 series package. The RPQ500 leans on the side of neutral but is unlike other clean preamps because of its rich and musical tonality. With a massive 81dB of sweet JFET gain, few preamps rival its output combined with its signal to noise ratio.
The high input impedance at 10K means the RPQ500 won’t load down a mic and change its sound. With the final touch of the unique LF and HF CurveShaper™ EQ, the RPQ500 gives you the tools to shape your tone right at the start of the signal path.

THE SOUND AT YOUR FINGERTIPS

The RPQ500 is more than just a preamp – it is a bonefide workhorse tool for your API 500 compatible rack. Many mixing and mastering engineers love using the RP500 purely for its post-processing functionality. The Mic/Line switch allows you to use the RPQ2’s balanced inserts as well as patching into the CurveShaper™ EQ while tracking, mixing, and mastering. 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.

ABOUT THE AEA PREAMPS

Choosing the right preamp to pair with a mic is as critical as choosing which mic to use. We at AEA take sonic integrity seriously and have created preamps that have been specially designed to meet the particular challenges of ribbon mics and bring out their full potential. Building on the obstacles identified when designing preamps in the 50’s, we now use tools like quiet JFETS and transformer-less designs to construct high gain, high impedance preamps. Engineers have discovered that the our preamps also complement their moving coil and condenser mic
rophones. Like our Big Ribbons™, we designed our preamps to have a natural and musical tonality.