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AEA RPQ 500

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AEA RPQ 500
zzgl. Steuern: 575,63 € Inkl. Steuern: 685,00 €
zzgl. Versandkosten

Verfügbarkeit: Lieferbar

500 Equalizer mit eingebautem Vorverstärker
Beschreibung

Details

The RPQ500 preamp and EQ, designed after the successful RPQ preamp, provides the same ultra-clean, high-gain signal path that has earned AEA preamps their great reputation, but in a 500 series package. JFET circuit topology provides all the dynamics, subwoofer bass, and fast transients that your microphones can record. The NoLoad™ input impedance above 10K Ohms means the RPQ won’t load down a mic and change its sound. Low Energy Storage™ circuit design instantly recovers from overloads for superior dynamic perThe RPQ500 preamp and EQ, designed after the successful RPQ preamp, provides the same ultra-clean, high-gain signal path that has earned AEA preamps their great reputation, but in a 500 series package. JFET circuit topology provides all the dynamics, subwoofer bass, and fast transients that your microphones can record. The NoLoad™ input impedance above 10K Ohms means the RPQ won’t load down a mic and change its sound. Low Energy Storage™ circuit design instantly recovers from overloads for superior dynamic performance. 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 RPQ500 also complements their moving coil, condenser mics. By virtue of its sonic qualities and versatility, the VPR Alliance approved AEA RPQ500 is the tool of choice for all microphones whenever a true and pristine signal path is desired.

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 similarly 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 compensate 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 mics 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 mics 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 ribbon mics 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”. The RPQ500 is a workhorse tool for your API 500 compatible rack. 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 circuit functions similarly to a conventional parametric shelving boost but with a significant difference: the slope and bandwidth varies as both the Curve Frequency and Curve Gain controls are adjusted.

From a technical standpoint, it is evident the EQ shape of the CurveShaper™ is a bell. At its lowest setting, the peak frequency of the CurveShaper™ is 30 kHz while at its highest setting, the peak frequency is 120 kHz. In many instances, a bell with a peak at 120 kHz is not very practical since it is above the human frequency threshold of hearing. But the CurveShaper™ has a very wide bandwidth that allows the left side of the bell to essentially act as a high-frequency shelf.

The Curve Frequency knob, at its lowest setting, will yield a gentler slope and wider bandwidth. As the frequency is raised, the slope becomes steeper while the bandwidth narrows.

To activate the CurveShaper™ EQ section, depress the HF IN switch. Start by adjusting the continuously variable Curve Frequency control. The frequency markings on the Curve Frequency dial indicate the +3dB break-frequency when the Curve Gain is at max. Select the desired frequency with the Curve Frequency knob, and then dial in the amount of boost you desire with the Curve Gain knob. The two controls are interactive. Use your ears to determine what frequency and gain setting sounds best.


Specifications and Curves
Gain at 1kHz:
81dB of gain at 1kHz, balanced-in to balanced-out in Microphone Input Mode
Noise figure, rms A-weighted:
< 2dB
Noise figure, rms unweighted:
< 3dB, 20 kHz LPF bandwidth
EIN:
< -130 dBu A-weighted, 150 Ohm resistive source
Frequency response:
-3dB < 1Hz and > 100 kHz
THD:
< 0.02% at 1 kHz
Input impedance:
10K Ohms
Balanced Line Input Impedance:
20K Ohms
Input Gain control:
Twelve-position switch provides from +13dB to +62dB of gain for the preamplifier circuit, as measured between the input and the before the output line driver.
Switched LF Shelving filter:
-3dB break-frequency tunable from 18 Hz to 360 Hz; maximum reduction -20dB.
Switched CurveShape EQ:
+3dB break-frequency tunable from 2.5 kHz to 30 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
Color LEDs:
Green, Yellow, Red
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:
The green LED snaps on at -20 dBu to indicate the presence of signal; the yellow LED snaps on at 0 dBu; the red LED snaps on at +24 dBu to warn of approaching signal overload
External Features:
Laser engraved front panel markings
Grayhill series 71 stepped gain switch
Internal Operating Voltage: Bipolar 17V

Dimensions:
Size:
1.5” w, 6.8” d, 4.5” h (3.8cm x 17.27cm x 11.43cm)
Weight:
11.7oz (~0.33 kg)formance. 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 RPQ500 also complements their moving coil, condenser mics. By virtue of its sonic qualities and versatility, the VPR Alliance approved AEA RPQ500 is the tool of choice for all microphones whenever a true and pristine signal path is desired. 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 similarly 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 compensate 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 mics 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 mics 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 ribbon mics 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”. The RPQ500 is a workhorse tool for your API 500 compatible rack. 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 circuit functions similarly to a conventional parametric shelving boost but with a significant difference: the slope and bandwidth varies as both the Curve Frequency and Curve Gain controls are adjusted. From a technical standpoint, it is evident the EQ shape of the CurveShaper™ is a bell. At its lowest setting, the peak frequency of the CurveShaper™ is 30 kHz while at its highest setting, the peak frequency is 120 kHz. In many instances, a bell with a peak at 120 kHz is not very practical since it is above the human frequency threshold of hearing. But the CurveShaper™ has a very wide bandwidth that allows the left side of the bell to essentially act as a high-frequency shelf. The Curve Frequency knob, at its lowest setting, will yield a gentler slope and wider bandwidth. As the frequency is raised, the slope becomes steeper while the bandwidth narrows. To activate the CurveShaper™ EQ section, depress the HF IN switch. Start by adjusting the continuously variable Curve Frequency control. The frequency markings on the Curve Frequency dial indicate the +3dB break-frequency when the Curve Gain is at max. Select the desired frequency with the Curve Frequency knob, and then dial in the amount of boost you desire with the Curve Gain knob. The two controls are interactive. Use your ears to determine what frequency and gain setting sounds best. Specifications and Curves Gain at 1kHz: 81dB of gain at 1kHz, balanced-in to balanced-out in Microphone Input Mode Noise figure, rms A-weighted: < 2dB Noise figure, rms unweighted: < 3dB, 20 kHz LPF bandwidth EIN: < -130 dBu A-weighted, 150 Ohm resistive source Frequency response: -3dB < 1Hz and > 100 kHz THD: < 0.02% at 1 kHz Input impedance: 10K Ohms Balanced Line Input Impedance: 20K Ohms Input Gain control: Twelve-position switch provides from +13dB to +62dB of gain for the preamplifier circuit, as measured between the input and the before the output line driver. Switched LF Shelving filter: -3dB break-frequency tunable from 18 Hz to 360 Hz; maximum reduction -20dB. Switched CurveShape EQ: +3dB break-frequency tunable from 2.5 kHz to 30 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 Color LEDs: Green, Yellow, Red 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: The green LED snaps on at -20 dBu to indicate the presence of signal; the yellow LED snaps on at 0 dBu; the red LED snaps on at +24 dBu to warn of approaching signal overload External Features: Laser engraved front panel markings Grayhill series 71 stepped gain switch Internal Operating Voltage: Bipolar 17V Dimensions: Size: 1.5” w, 6.8” d, 4.5” h (3.8cm x 17.27cm x 11.43cm) Weight: 11.7oz (~0.33 kg)

Zusatzinformation

Zusatzinformation

UPC / EAN 141096754771
Shipping Dimensions Nein
Herstellungsland
Lieferzeit Nein
Farbe Nein
Hersteller AEA Ribbonmics and PreAmps
Zustand Neu

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