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AEA's RPQ2 gives me the high
gain, high impedance tool that I need to open up the sound of my favorite
ribbon mics..." James Sáez (Better Call
Saul, Jerry Lee Lewis) |
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The Versatile Mic Pre2 The AEA RPQ2 Ribbon Preamp
and EQ 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. 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”. It’s
no wonder why many mixing and mastering engineers turn to the RPQ2 purely for
its post-processing EQ and routing functionality. The RPQ2 provides a secondary
line level balanced output for sending an additional line signal to
a separate recording device or mixer. In Line Mode, the preamp
and EQ section become two independent units with separate inputs and outputs.
This allows you to insert compressors or other effects between the preamp and
CurveShaper™ EQ section. The Impedance Matching Myth Passive microphones like
ribbons and moving-coil transducers interact with the input impedance of the
preamp. If the impedance of the preamp is too low, the microphone will have
to work harder to send a signal down the line. Additionally, the bandwidth (particularly
in the low end) will be limited. 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
Ohms, leading to the assumption that a preamp impedance of 1.0 to 1.5K Ohms
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 Ohms at resonance, resulting in a 6dB loss at this frequency
with a low impedance preamp. A preamp impedance of significantly more than
the commonly seen 1.0 to 1.5K Ohms is beneficial for all passive ribbons and
moving-coil microphones. |