AEA RPQ

AEA RPQ Description

LIMITED TIME: Bundle the RPQ with any pair of AEA ribbon mics and get the RPQ for only $1199!

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What You Need — When You Need It

The RPQ with Curve Shaping and P48 power puts all the controls for ribbon mics at your fingertips:

80 dB of clean quiet JFET gain, P48 phantom power for active studio ribbons such as AEA’s

A440, and LF trim and HF boost controls that are tuneable and defeatable so that you can tame

proximity problems or add a little more to the top.

The RPQ is has the speed, quietness, and headroom needed for high resolution recording, and

is designed for ribbons, condensers, and moving coil microphones. AEA’s DC-coupled JFET

topology delivers all the dynamics, subwoofer bass and fast transients that your ribbons or other

mics can capture. The discrete front end and integrated circuit architecture meld the quietness of

solid state with an openness reminiscent of tubes.

Live and location recording is another area where the RPQ shines. Its Low-Energy-Storage (LES™) circuitry recovers instantly from overloads, a big advantage with unpredicatable dynamics. In addition, its exceptional No Load™ input impedance of over 10,000 Ω makes it an ideal active mic splitter. Mic splits can load down changing a mic’s sound, but the RPQ is robust enough to handle the most demanding sonic challenges.

AEA RPQ Electronics Specifications

• 80 dB of gain at 1 kHz, balanced-in to balanced-out
• Noise figure A-weighted < 2 dB, EIN < 129 dBu Aweighted
• Frequency response -3 dB <1 Hz and >200 kHz
• <.02 % THD at 1 kHz, 22 Hz to 22 kHz bandwidth
• Balanced mic input impedance >10 kΩ
• DC-coupled inputs protected from external P48 DC
• AC-coupled inputs with switchable P48 phantom power
• Twelve position stepped gain control from 7 to 55 dB
• Trim gain continuously adjustable from 0 to +19 dB
• Switched LF trim: -3dB points tuneable from 18 to 350 Hz
• Switched HF boost peak +6 dB at 12 noon, +16 dB max
• HF max boost +3dB points tuneable from 2 to 18 kHz
• XLR out has 6 dB gain, balanced or unbalanced load
• XLR max output+28 balanced, +22 unbalanced, 600 Ω
• ¼” TRS max output unbalanced +22 dBu, 100 kΩ load
• Pin 2 high on XLRs, tip high on ¼” TRS jacks
• Green LED snaps on at ~ -5 dBu, Red at ~ +20 dBu
• Yellow LED brightens from ~ 0 to +20 dBu

AEA RPQ Physical Details

• P48 Phantom & Polarity-Reverse pushbutton switches
• Rotary potentionmeters (pots) detented at 12 o’clock
• Grayhill series 71 stepped gain switch and trim pot
• LF Cut pushbutton switch and one pot
• HF Boost pushbutton switch and two pots
• Pushbutton power switch, LED power indicator
• Internal torroidal transformer with linear regulators
• Male recessed IEC power plug
• Laser engraved front panel markings
• Metalic blue and steel gray powder coat finish
• Aluminum and steel chassis
• Clear coated polished aluminum end caps
• Detachable polished aluminum rack ears
• Chassis: 17.25” wide, 11” deep, by 1.7” high
• tric: 44 cm wide, 28 cm deep, by 4.3 high
• Weight: 6.75 pounds, Metric: 3.1 Kg
• Specifications as of Oct. 1, 2008, subject to change

AEA RPQ Review / See All ZenPro Audio Reviews Here: Review Page   Fans of ribbon mics know that generally while tracking there might be 2 adjustments to be made: low end CUT or top end BOOST. AEA recognized the need and coupled a fantastic pair of preamps with these features. However, the RPQ is a serious preamp for any microphone, and has phantom power available (in a separate input path, keeping the non-phantom mics away from capacitors!) for condenser mics as well. Designed by Fred Forsell, the master of the high gain / uber-detailed sound without being boring or overly hard, this is one serious pre that is not just a ribbon preamp.   With +80dB of available gain, this JFET design is ultra quiet and natural and fast with the transients, which gives a superb realistic image and no compromise sound reproduction. It’s not one of those “I only use on acoustic sources” type of preamps either, it delivers a 3D image on everything you record. With its very high input impedence it doesn’t load down the mic either, allowing any mic you use with the RPQ to shine. It’s one of the few preamps you would want around for location recording to pick up every last detail say in a classical orchestra in a hall…yet you would love to use it on rock guitars with any of your favorite ribbon (or non-ribbon!) mics too.   Conclusion: Fantastic piece of gear, a serious “gotta have” for those who want pleasing 3D sound in the studio, and do remote recording where detail, high gain and low noise matter. Don’t forget the perfect “curve shaping” EQ on board.