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Produkte > Studio Equipment > AEA > Ribbon Preamps
Features Technische Daten Modelle / Preise Zubehör Hersteller
RPQ2
High Gain Stereo Microphone Preamplifier
mit Curve Shaper EQ

- Stereo Mikrofon Vorverstärker mit 81dB Gain
- Cleaner und weicher JFET Sound
- High Frequency Curve Shaper EQ
- Low Frequency Proximity Control
- No Load™ 63kOhm High-Impdanz Design
- High Resolution & High Impedanz DI Inputs
- Mic/Line Mode mit Post-Mic und Pre-EQ Inserts

The Versatile Mic Pre2
The AEA RPQ2 Ribbon Preamp provides two channels of  high-quality, high-gain, low-noise preamplification with a rich and  musical sound that complements the natural tonality of your microphone.  Specifically designed for ribbon microphones, the RPQ2 excels at drawing  out the warmth and lush sound that ribbons are uniquely known for. With  81dB of gain, JFET circuitry, and an input impedance of 63K Ohms, the  RPQ2 delivers the precision, quietness, and headroom needed for today's  high-resolution recordings.

The RPQ2 is AEA’s second  iteration of the high-performance RPQ preamp with the addition of some  new and useful features. It is now possible to plug your instrument  directly into the RPQ2’s high impedance circuit with its front-panel  direct inputs. The RPQ2 also includes a Mic/Line switch for balanced  line inputs and outputs, as well as inserts for patching compressors or  other effects between the preamp and CurveShaper™ EQ section. The RPQ2's  CurveShaper™ EQ gives you the tools to control your ribbons 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 high-frequency extension and slope control.

Engineers  have discovered that the RPQ2 is a perfect fit with condensers and  moving coil microphones. By virtue of its sonic qualities and  versatility, the AEA RPQ2 is the tool of choice for all microphones  whenever a true and pristine signal path is desired. Detailed and  accurate, the AEA RPQ2 is a high-quality, high-gain choice for all  microphones.

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 in a  similar manner 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 compensating 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  microphones 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 microphones 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 ribbons  in close-up applications.For best voltage transfer, the impedance of the preamp  should be at least five times the microphone’s output impedance. Many  microphones have a nominal impedance of about 200 Ω, leading to the  assumption that a preamp impedance of 1.0 to 1.5K Ω should be fine.  However, passive microphones, and ribbons in particular have an output  impedance that rises towards low frequencies and can easily get as high  as 1000 Ω at resonance, resulting in a 6 dB loss at this frequency with a  low impedance preamp. A preamp impedance of significantly more than the  commonly seen 1.0 to 1.5K Ω is beneficial for all passive ribbons and  moving-coil microphones.

All AEA preamps have input impedances of  at least 10K Ω for these reasons. Microphone loading because of low impedance preamps can lead to interesting creative results, but AEA’s  NoLoadTM inputs will guarantee highest sensitivity and bandwidth in all situations.
 
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