{"title":"AEA","description":"\u003cdiv class=\"brand-description\"\u003e\n  \u003ch2 class=\"brand-description__heading\"\u003eA Deeper Look At AEA's History\u003c\/h2\u003e\n  \u003csection class=\"brand-description__row\"\u003e\n    \u003cdiv class=\"brand-description__row-media\"\u003e\u003cimg src=\"https:\/\/cdn.shopify.com\/s\/files\/1\/0764\/8706\/5737\/files\/Video-3_2x_d7ad2b92-01ec-4197-9d61-dfee63d525f8.jpg?v=1784152843\" alt=\"AEA\" loading=\"lazy\"\u003e\u003c\/div\u003e\n    \u003cdiv class=\"brand-description__row-content\"\u003eIn 1976, microphone engineer Dick Knoppow and AEA’s founder Wes Dooley struck up a relationship with RCA’s chief engineer to learn their installation methods. for microphone ribbons. AEA thus inherited the technical knowledge required to restore RCA microphones, a masterful service they still carry out using machined replacement parts, careful attention, and a passion for the craft. AEA was known for much more than microphone design: preamps, mixers, outboard gear, and even forensic sound. Although AEA was exceptionally well-rounded in all these areas, Wes Dooley shifted towards the goal of recreating the RCA 44BX using methods and tools obtained from Jon Sank at RCA. The pursuit was fruitful; the AEA R44C was born.\u003c\/div\u003e\n  \u003c\/section\u003e\n  \u003csection class=\"brand-description__row brand-description__row--reverse\"\u003e\n    \u003cdiv class=\"brand-description__row-media\"\u003e\u003cimg src=\"https:\/\/cdn.shopify.com\/s\/files\/1\/0764\/8706\/5737\/files\/Video_2x_2eeca30e-8f3b-4df9-ae35-7c520b68db7b.jpg?v=1784152846\" alt=\"AEA\" loading=\"lazy\"\u003e\u003c\/div\u003e\n    \u003cdiv class=\"brand-description__row-content\"\u003eThe AEA R44 series replicates the iconic quality of the microphone that recorded many of the 20th century’s best recordings. , Using authentic new old stock RCA ribbon material, these reproductions generate unparalleled warmth. Musicians from intimate crooners to lively brass players love microphones from the R44 series for their ability to capture nuances of performance. Regardless of the model, all microphones in the R44 series are built with the same internals for consistent quality across the board. To ensure optimum performance of R44 series mics, AEA recommends pairing them with any member of its lineup of high-impedance, low-noise preamps specifically designed for ribbon microphones (the TRP2, RPQ2, or RPQ500).\u003c\/div\u003e\n  \u003c\/section\u003e\n  \u003csection class=\"brand-description__row\"\u003e\n    \u003cdiv class=\"brand-description__row-media\"\u003e\u003cimg src=\"https:\/\/cdn.shopify.com\/s\/files\/1\/0764\/8706\/5737\/files\/Video-1_2x_89d8ba6e-9254-41c9-9428-872af9f7d3d5.jpg?v=1784152850\" alt=\"AEA\" loading=\"lazy\"\u003e\u003c\/div\u003e\n    \u003cdiv class=\"brand-description__row-content\"\u003eAEA also makes modernized designs that challenge the way traditional ribbon mics perform. The AEA Nuvo N22 and Nuvo N8 are sleek, compact, lightweight examples that each thrive in their intended applications. The N22 is a rugged near-field ribbon mic with a balanced frequency response and resilience to proximity effects, ideal for close miking singular sources (amps, snares, acoustic guitars, etc). Alternatively, the N8 is a far-field mic that can capture the behavior of complex sources, along with the intricate detail of how transients sound in a room setting. Each mic has its uses, but AEA quality is unquestionably present in both models.\u003c\/div\u003e\n  \u003c\/section\u003e\n  \u003csection class=\"brand-description__row brand-description__row--reverse\"\u003e\n    \u003cdiv class=\"brand-description__row-media\"\u003e\u003cimg src=\"https:\/\/cdn.shopify.com\/s\/files\/1\/0764\/8706\/5737\/files\/Video-2_2x_4942ad00-9325-4f48-a0e2-9a0679091589.jpg?v=1784152853\" alt=\"AEA\" loading=\"lazy\"\u003e\u003c\/div\u003e\n    \u003cdiv class=\"brand-description__row-content\"\u003eFor open and honest tonality, there isn’t anything better than the AEA R88, a far-field stereo ribbon microphone featuring dual ribbons in a fixed Blumlein and mid-side configuration. Like the mono N8, it boasts the widest frequency range of any mic in the AEA lineup. The R88 retains the same sonic character of the R84 (an extended top-end and reduced proximity effect) but offers higher output and stable impedance. It’s sleek, balanced, and insanely versatile. Ask Blackbird Studios in Nashville, TN; they keep five on hand.\u003c\/div\u003e\n  \u003c\/section\u003e\n  \u003csection class=\"brand-description__row\"\u003e\n    \u003cdiv class=\"brand-description__row-media\"\u003e\u003cimg src=\"https:\/\/cdn.shopify.com\/s\/files\/1\/0764\/8706\/5737\/files\/Video-4_2x_7c2b3d54-65c3-4184-a85e-8d6f7a3c8d2f.jpg?v=1784152857\" alt=\"AEA\" loading=\"lazy\"\u003e\u003c\/div\u003e\n    \u003cdiv class=\"brand-description__row-content\"\u003eAEA microphones, like the super-cardioid KU4, are known as the most flexible ribbon microphones on the market. The KU4, in particular, rejects bleed and ambient room noise to capture the source while retaining its natural characteristics. It’s the brightest microphone in the AEA line, but it can record a number of different sources with exceptional balance. The KU4 doesn’t require precise placement like most figure-eight ribbon mics; it can be placed close without struggling with proximity effect. At 140+ dB SPL at 1 kHz, the KU4 can handle loud transients and still capture rich clarity with ease.\r\n\r\nAfter years of use, an AEA microphone becomes a true extension of musical artistry and an integral part of studio workflow. Whether it’s the R44, R84, KU5A, or N88, all AEA microphones are handcrafted with a dedication to serving musicians and engineers who value the subtleties of great sound.\u003c\/div\u003e\n  \u003c\/section\u003e\n\u003c\/div\u003e","products":[{"product_id":"aea-rpq500","title":"AEA RPQ500 - Classic Look","description":"Originally designed to deliver the truest and most natural gain for   impedance and noise sensitive ribbon microphones, the full-rack AEA RPQ   preamp has proven itself to be the perfect match for any microphone,   ribbon or not. The \u003cb\u003eAEA RPQ500\u003c\/b\u003e module is based on this successful   design and provides the same ultra-clean, high-gain signal path that  has  earned AEA preamps their great reputation, in a 500 series package.  The  RPQ500 has been enhanced with additional features, turning it into  a  workhorse tool for your API 500 compatible rack.\u003cbr\u003e \u003cbr\u003e The RPQ500  delivers the bandwidth and quietness needed for high  resolution  recording. JFET circuit topology delivers all the dynamics,  subwoofer  bass, and fast transients that your microphones can record. No  Load™  input impedance above 10,000 Ω means the RPQ500 will not load  down a  mic and change its sound. Low Energy Storage™ circuit design  instantly  recovers from overloads for superior dynamic performance.\u003cbr\u003e \u003cbr\u003e The  CurveShaper™ offers a natural option for sculpting your sound right  at  the start of the signal path. Switchable and tunable low frequency  (LF)  and high frequency (HF) contour controls allow you to tame  proximity  problems and provide HF extension and slope control. The  high-frequency  CurveShaper™ excels at adding a touch of air or presence,  and the  low-frequency control can remove boxiness and boominess in a  fast and  unobtrusive way. The bottom line is a versatile channel strip  that will  deliver an unadulterated performance in any application.\u003cbr\u003e \u003cbr\u003e 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.\u003cbr\u003e \u003cbr\u003e 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 RPQ  also complements their  moving coil, tube and solid-state mics. By  virtue of its sonic qualities  and versatility, the AEA RPQ500 is the  tool of choice for all  microphones whenever a true and pristine signal  path is needed. It will  allow the best performance of all your  microphones with a cleaner, more  open, and more responsive sound than  you’ve ever heard.\u003cbr\u003e \u003cbr\u003e \u003cp\u003e\u003c\/p\u003e","brand":"AEA","offers":[{"title":"Default Title","offer_id":46834434408585,"sku":"19631","price":649.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0764\/8706\/5737\/files\/aea_rpq500_front.jpg?v=1780350865"},{"product_id":"aea-rpq500-demo-deal","title":"AEA RPQ500 - Classic Look (Demo Deal)","description":"Originally designed to deliver the truest and most natural gain for   impedance and noise sensitive ribbon microphones, the full-rack AEA RPQ   preamp has proven itself to be the perfect match for any microphone,   ribbon or not. The \u003cb\u003eAEA RPQ500\u003c\/b\u003e module is based on this successful   design and provides the same ultra-clean, high-gain signal path that  has  earned AEA preamps their great reputation, in a 500 series package.  The  RPQ500 has been enhanced with additional features, turning it into  a  workhorse tool for your API 500 compatible rack.\u003cbr\u003e \u003cbr\u003e The RPQ500  delivers the bandwidth and quietness needed for high  resolution  recording. JFET circuit topology delivers all the dynamics,  subwoofer  bass, and fast transients that your microphones can record. No  Load™  input impedance above 10,000 Ω means the RPQ500 will not load  down a  mic and change its sound. Low Energy Storage™ circuit design  instantly  recovers from overloads for superior dynamic performance.\u003cbr\u003e \u003cbr\u003e The  CurveShaper™ offers a natural option for sculpting your sound right  at  the start of the signal path. Switchable and tunable low frequency  (LF)  and high frequency (HF) contour controls allow you to tame  proximity  problems and provide HF extension and slope control. The  high-frequency  CurveShaper™ excels at adding a touch of air or presence,  and the  low-frequency control can remove boxiness and boominess in a  fast and  unobtrusive way. The bottom line is a versatile channel strip  that will  deliver an unadulterated performance in any application.\u003cbr\u003e \u003cbr\u003e 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.\u003cbr\u003e \u003cbr\u003e 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 RPQ  also complements their  moving coil, tube and solid-state mics. By  virtue of its sonic qualities  and versatility, the AEA RPQ500 is the  tool of choice for all  microphones whenever a true and pristine signal  path is needed. It will  allow the best performance of all your  microphones with a cleaner, more  open, and more responsive sound than  you’ve ever heard.\u003cbr\u003e \u003cbr\u003e \u003cp\u003e\u003c\/p\u003e","brand":"AEA","offers":[{"title":"Default Title","offer_id":46834437521545,"sku":"22019","price":519.2,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0764\/8706\/5737\/files\/aea_rpq_500_1.jpg?v=1780350954"},{"product_id":"aea-rpq500-mic-pre-0336-used","title":"AEA RPQ500 Mic Pre #0336 (Used)","description":"Originally designed to deliver the truest and most natural gain for impedance and noise sensitive ribbon microphones, the full-rack AEA RPQ preamp has proven itself to be the perfect match for any microphone, ribbon or not. The \u003cstrong\u003eAEA RPQ500\u003c\/strong\u003e module is based on this successful design and provides the same ultra-clean, high-gain signal path that has earned AEA preamps their great reputation, in a 500 series package. The RPQ500 has been enhanced with additional features, turning it into a workhorse tool for your API 500 compatible rack.\u003cbr\u003e \u003cbr\u003e The RPQ500 delivers the bandwidth and quietness needed for high resolution recording. JFET circuit topology delivers all the dynamics, subwoofer bass, and fast transients that your microphones can record. No Load™ input impedance above 10,000 Ω means the RPQ500 will not load down a mic and change its sound. Low Energy Storage™ circuit design instantly recovers from overloads for superior dynamic performance.\u003cbr\u003e \u003cbr\u003e The CurveShaper™ offers a natural option for sculpting your sound right at the start of the signal path. Switchable and tunable low frequency (LF) and high frequency (HF) contour controls allow you to tame proximity problems and provide HF extension and slope control. The high-frequency CurveShaper™ excels at adding a touch of air or presence, and the low-frequency control can remove boxiness and boominess in a fast and unobtrusive way. The bottom line is a versatile channel strip that will deliver an unadulterated performance in any application.\u003cbr\u003e \u003cbr\u003e 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.\u003cbr\u003e \u003cbr\u003e 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 RPQ also complements their moving coil, tube and solid-state mics. By virtue of its sonic qualities and versatility, the AEA RPQ500 is the tool of choice for all microphones whenever a true and pristine signal path is needed. It will allow the best performance of all your microphones with a cleaner, more open, and more responsive sound than you’ve ever heard.\u003cbr\u003e \u003cbr\u003e \u003cp\u003e\u003cstrong\u003eFeatures:\u003c\/strong\u003e\u003cbr\u003e \u003c\/p\u003e \u003cul\u003e\n\u003cli\u003e80 dB of quiet JFET gain\u003c\/li\u003e\n\u003cli\u003eHigh-impedance No LoadTM inputs\u003c\/li\u003e\n\u003cli\u003eCurveShaper™ EQ for extended highs and articulate lows\u003c\/li\u003e\n\u003cli\u003eLine-level input mode for using the EQ during mixdown\u003c\/li\u003e\n\u003cli\u003eOutput level control\u003c\/li\u003e\n\u003cli\u003eVPR alliance application pending\u003c\/li\u003e\n\u003c\/ul\u003e\u003cbr\u003e\u003chr\u003e\u003cp\u003e\u003cstrong\u003ePackage contents:\u003c\/strong\u003e\u003c\/p\u003e\u003cul\u003e\u003cli\u003eCarrying case (original)\u003c\/li\u003e\u003c\/ul\u003e","brand":"AEA","offers":[{"title":"Default Title","offer_id":46834443845769,"sku":"40152","price":495.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0764\/8706\/5737\/files\/used_40152_1.jpg?v=1780351128"},{"product_id":"aea-rpq500-1","title":"AEA RPQ500 500 Series Microphone Preamp","description":"\u003cp\u003eThe \u003cstrong\u003eAEA RPQ500\u003c\/strong\u003e 500 Series module, 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.\u003c\/p\u003e\r\n\r\n\u003ch3 id=\"toc_0\"\u003eTWO PEAS IN A POD: MUSICAL PREAMP, SWEET EQ\u003c\/h3\u003e\r\n\r\n\u003cp\u003eThe 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.\u003c\/p\u003e\r\n\r\n\u003cp\u003eThe 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.\u003c\/p\u003e\r\n\r\n\u003ch3 id=\"toc_1\"\u003eYOUR SOUND AT YOUR FINGERTIPS\u003c\/h3\u003e\r\n\r\n\u003cp\u003eWith 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.\u003c\/p\u003e\r\n\r\n\r\n\r\n\u003ch3 id=\"toc_3\"\u003eTECHNICAL DETAILS:\u003c\/h3\u003e\r\n\r\n\u003cul\u003e\r\n\u003cli\u003eGain at 1 kHz: 81 dB of gain at 1kHz balanced-in to balanced-out in Microphone Input Mode\u003c\/li\u003e\r\n\u003cli\u003eNoise figure RMS A-weighted: \u0026lt;2 dB\u003c\/li\u003e\r\n\u003cli\u003eNoise figure RMS unweighted: \u0026lt;3 dB 20 kHz LPF bandwidth\u003c\/li\u003e\r\n\u003cli\u003eEIN: \u0026lt;-130 dBu A-weighted 150 Ohm resistive source\u003c\/li\u003e\r\n\u003cli\u003eFrequency response: -3 dB \u0026lt; 1 Hz and \u0026gt; 100 kHz\u003c\/li\u003e\r\n\u003cli\u003eTHD: \u0026lt;0.02% at 1 kHz\u003c\/li\u003e\r\n\u003cli\u003eInput impedance: 10 kOhms\u003c\/li\u003e\r\n\u003cli\u003eBalanced Line Input Impedance: 20 kOhms\u003c\/li\u003e\r\n\u003cli\u003eInput Gain control: Twelve-position switch provides from +13 dB to +62 dB of gain for the preamplifier circuit, as measured between the input and the before the output line driver\u003c\/li\u003e\r\n\u003cli\u003eSwitched LF Shelving filter: -3 dB break-frequency tunable from 18 Hz to 360 Hz; maximum reduction -20 dB\u003c\/li\u003e\r\n\u003cli\u003eSwitched CurveShape EQ: +3 dB 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\u003c\/li\u003e\r\n\u003cli\u003eColor LEDs: Green, Yellow, Red\u003c\/li\u003e\r\n\u003cli\u003eXLR output maximum level into 600Ω load: +28 dBu, balanced; 0 dBu = 0.7746 V RMS\u003c\/li\u003e\r\n\u003cli\u003eXLR connectors polarity: Pin-1 is ground, pin-2 is high, pin-3 is low\u003c\/li\u003e\r\n\u003cli\u003eLED signal level indicators: Green snaps on at -6 dBu, red snaps on at +23 dBu, and yellow varies in brightness with level from -3 dBu to +20 dBu\u003c\/li\u003e\r\n\u003c\/ul\u003e","brand":"AEA","offers":[{"title":"Default Title","offer_id":46834447745161,"sku":"62912","price":699.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0764\/8706\/5737\/files\/aea-rpq500_62912_1.jpg?v=1780351336"},{"product_id":"aea-rpq500-demo-deal-1","title":"AEA RPQ500 (Demo Deal)","description":"\u003cp\u003eThe \u003cstrong\u003eAEA RPQ500\u003c\/strong\u003e module, 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.\u003c\/p\u003e  \u003ch3\u003eTwo Peas in a Pod: Musical Preamp, Sweet EQ\u003c\/h3\u003e  \u003cp\u003eThe 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.\u003c\/p\u003e  \u003cp\u003eThe 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.\u003c\/p\u003e  \u003ch3\u003eYour Sound At Your Fingertips\u003c\/h3\u003e  \u003cp\u003eWith 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.\u003c\/p\u003e     \u003ch3\u003eSpecifications:\u003c\/h3\u003e  \u003cul\u003e \u003cli\u003eGain at 1 kHz:  81 dB of gain at 1kHz balanced-in to balanced-out in Microphone Input Mode\u003c\/li\u003e \u003cli\u003eNoise figure RMS A-weighted: \u0026lt;2 dB\u003c\/li\u003e \u003cli\u003eNoise figure RMS unweighted: \u0026lt;3 dB 20 kHz LPF bandwidth\u003c\/li\u003e \u003cli\u003eEIN: \u0026lt;-130 dBu A-weighted 150 Ohm resistive source\u003c\/li\u003e \u003cli\u003eFrequency response: -3 dB \u0026lt; 1 Hz and \u0026gt; 100 kHz\u003c\/li\u003e \u003cli\u003eTHD:  \u0026lt;0.02% at 1 kHz\u003c\/li\u003e \u003cli\u003eInput impedance:  10 kOhms\u003c\/li\u003e \u003cli\u003eBalanced Line Input Impedance:  20 kOhms\u003c\/li\u003e \u003cli\u003eInput Gain control: Twelve-position switch provides from +13 dB to +62 dB of gain for the preamplifier circuit, as measured between the input and the before the output line driver\u003c\/li\u003e \u003cli\u003eSwitched LF Shelving filter: -3 dB break-frequency tunable from 18 Hz to 360 Hz; maximum reduction -20 dB\u003c\/li\u003e \u003cli\u003eSwitched CurveShape EQ:  +3 dB 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\u003c\/li\u003e \u003cli\u003eColor LEDs: Green, Yellow, Red\u003c\/li\u003e \u003cli\u003eXLR output maximum level into 600Ω load: +28 dBu, balanced; 0 dBu = 0.7746 V RMS\u003c\/li\u003e \u003cli\u003eXLR connectors polarity: Pin-1 is ground, pin-2 is high, pin-3 is low\u003c\/li\u003e \u003cli\u003eLED signal level indicators: Green snaps on at -6 dBu, red snaps on at +23 dBu, and yellow varies in brightness with level from -3 dBu to +20 dBu\u003c\/li\u003e \u003c\/ul\u003e","brand":"AEA","offers":[{"title":"Default Title","offer_id":46834448990345,"sku":"74952","price":569.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0764\/8706\/5737\/files\/aea-rpq500_62912_1_1.jpg?v=1780351435"},{"product_id":"aea-rpq500-413-used","title":"AEA RPQ500 #413 (Used)","description":"\u003cp\u003eThe AEA RPQ500 module, 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.\u003c\/p\u003e\u003ch3 style=\"margin: 1em 0px; padding: 0px;\"\u003eTwo Peas in a Pod: Musical Preamp, Sweet EQ\u003c\/h3\u003e\u003cp\u003eThe 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.\u003c\/p\u003e\u003cp\u003eThe 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.\u003c\/p\u003e\u003ch3 style=\"margin: 1em 0px; padding: 0px;\"\u003eYour Sound At Your Fingertips\u003c\/h3\u003e\u003cp\u003eWith 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.\u003c\/p\u003e\u003ch3 style=\"margin: 1em 0px; padding: 0px;\"\u003eSpecifications:\u003c\/h3\u003e\u003cul style=\"margin: 1em 0px; padding: 0px 0px 0px 40px; list-style-position: initial; list-style-image: initial;\"\u003e\n\u003cli style=\"margin: 0px; padding: 0px;\"\u003eGain at 1 kHz: 81 dB of gain at 1kHz balanced-in to balanced-out in Microphone Input Mode\u003c\/li\u003e\n\u003cli style=\"margin: 0px; padding: 0px;\"\u003eNoise figure RMS A-weighted: \u0026lt;2 dB\u003c\/li\u003e\n\u003cli style=\"margin: 0px; padding: 0px;\"\u003eNoise figure RMS unweighted: \u0026lt;3 dB 20 kHz LPF bandwidth\u003c\/li\u003e\n\u003cli style=\"margin: 0px; padding: 0px;\"\u003eEIN: \u0026lt;-130 dBu A-weighted 150 Ohm resistive source\u003c\/li\u003e\n\u003cli style=\"margin: 0px; padding: 0px;\"\u003eFrequency response: -3 dB \u0026lt; 1 Hz and \u0026gt; 100 kHz\u003c\/li\u003e\n\u003cli style=\"margin: 0px; padding: 0px;\"\u003eTHD: \u0026lt;0.02% at 1 kHz\u003c\/li\u003e\n\u003cli style=\"margin: 0px; padding: 0px;\"\u003eInput impedance: 10 kOhms\u003c\/li\u003e\n\u003cli style=\"margin: 0px; padding: 0px;\"\u003eBalanced Line Input Impedance: 20 kOhms\u003c\/li\u003e\n\u003cli style=\"margin: 0px; padding: 0px;\"\u003eInput Gain control: Twelve-position switch provides from +13 dB to +62 dB of gain for the preamplifier circuit, as measured between the input and the before the output line driver\u003c\/li\u003e\n\u003cli style=\"margin: 0px; padding: 0px;\"\u003eSwitched LF Shelving filter: -3 dB break-frequency tunable from 18 Hz to 360 Hz; maximum reduction -20 dB\u003c\/li\u003e\n\u003cli style=\"margin: 0px; padding: 0px;\"\u003eSwitched CurveShape EQ: +3 dB 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\u003c\/li\u003e\n\u003cli style=\"margin: 0px; padding: 0px;\"\u003eColor LEDs: Green, Yellow, Red\u003c\/li\u003e\n\u003cli style=\"margin: 0px; padding: 0px;\"\u003eXLR output maximum level into 600Ω load: +28 dBu, balanced; 0 dBu = 0.7746 V RMS\u003c\/li\u003e\n\u003cli style=\"margin: 0px; padding: 0px;\"\u003eXLR connectors polarity: Pin-1 is ground, pin-2 is high, pin-3 is low\u003c\/li\u003e\n\u003cli style=\"margin: 0px; padding: 0px;\"\u003eLED signal level indicators: Green snaps on at -6 dBu, red snaps on at +23 dBu, and yellow varies in brightness with level from -3 dBu to +20 dBu\u003c\/li\u003e\n\u003c\/ul\u003e","brand":"AEA","offers":[{"title":"Default Title","offer_id":46834454036617,"sku":"105738","price":495.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0764\/8706\/5737\/files\/aea-rpq500-413-used_105738_1.jpg?v=1780351695"},{"product_id":"aea-rpq500-721-used","title":"AEA RPQ500 #721 (Used)","description":"\u003cp\u003eThe AEA RPQ500 module, 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.\u003c\/p\u003e\u003ch3 style=\"margin: 1em 0px; padding: 0px;\"\u003eTwo Peas in a Pod: Musical Preamp, Sweet EQ\u003c\/h3\u003e\u003cp\u003eThe 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.\u003c\/p\u003e\u003cp\u003eThe 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.\u003c\/p\u003e\u003ch3 style=\"margin: 1em 0px; padding: 0px;\"\u003eYour Sound At Your Fingertips\u003c\/h3\u003e\u003cp\u003eWith 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.\u003c\/p\u003e\u003ch3 style=\"margin: 1em 0px; padding: 0px;\"\u003eSpecifications:\u003c\/h3\u003e\u003cul style=\"margin: 1em 0px; padding: 0px 0px 0px 40px; list-style-position: initial; list-style-image: initial;\"\u003e\n\u003cli style=\"margin: 0px; padding: 0px;\"\u003eGain at 1 kHz: 81 dB of gain at 1kHz balanced-in to balanced-out in Microphone Input Mode\u003c\/li\u003e\n\u003cli style=\"margin: 0px; padding: 0px;\"\u003eNoise figure RMS A-weighted: \u0026lt;2 dB\u003c\/li\u003e\n\u003cli style=\"margin: 0px; padding: 0px;\"\u003eNoise figure RMS unweighted: \u0026lt;3 dB 20 kHz LPF bandwidth\u003c\/li\u003e\n\u003cli style=\"margin: 0px; padding: 0px;\"\u003eEIN: \u0026lt;-130 dBu A-weighted 150 Ohm resistive source\u003c\/li\u003e\n\u003cli style=\"margin: 0px; padding: 0px;\"\u003eFrequency response: -3 dB \u0026lt; 1 Hz and \u0026gt; 100 kHz\u003c\/li\u003e\n\u003cli style=\"margin: 0px; padding: 0px;\"\u003eTHD: \u0026lt;0.02% at 1 kHz\u003c\/li\u003e\n\u003cli style=\"margin: 0px; padding: 0px;\"\u003eInput impedance: 10 kOhms\u003c\/li\u003e\n\u003cli style=\"margin: 0px; padding: 0px;\"\u003eBalanced Line Input Impedance: 20 kOhms\u003c\/li\u003e\n\u003cli style=\"margin: 0px; padding: 0px;\"\u003eInput Gain control: Twelve-position switch provides from +13 dB to +62 dB of gain for the preamplifier circuit, as measured between the input and the before the output line driver\u003c\/li\u003e\n\u003cli style=\"margin: 0px; padding: 0px;\"\u003eSwitched LF Shelving filter: -3 dB break-frequency tunable from 18 Hz to 360 Hz; maximum reduction -20 dB\u003c\/li\u003e\n\u003cli style=\"margin: 0px; padding: 0px;\"\u003eSwitched CurveShape EQ: +3 dB 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\u003c\/li\u003e\n\u003cli style=\"margin: 0px; padding: 0px;\"\u003eColor LEDs: Green, Yellow, Red\u003c\/li\u003e\n\u003cli style=\"margin: 0px; padding: 0px;\"\u003eXLR output maximum level into 600Ω load: +28 dBu, balanced; 0 dBu = 0.7746 V RMS\u003c\/li\u003e\n\u003cli style=\"margin: 0px; padding: 0px;\"\u003eXLR connectors polarity: Pin-1 is ground, pin-2 is high, pin-3 is low\u003c\/li\u003e\n\u003cli style=\"margin: 0px; padding: 0px;\"\u003eLED signal level indicators: Green snaps on at -6 dBu, red snaps on at +23 dBu, and yellow varies in brightness with level from -3 dBu to +20 dBu\u003c\/li\u003e\n\u003c\/ul\u003e","brand":"AEA","offers":[{"title":"Default Title","offer_id":46834455183497,"sku":"105739","price":450.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0764\/8706\/5737\/files\/aea-rpq500-721-used_105739_1.jpg?v=1780351771"},{"product_id":"aea-rpq500-1618-used","title":"AEA RPQ500 #1618 (Used)","description":"\u003cp\u003eThe AEA RPQ500 module, 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.\u003c\/p\u003e\u003ch3 style=\"margin: 1em 0px; padding: 0px;\"\u003eTwo Peas in a Pod: Musical Preamp, Sweet EQ\u003c\/h3\u003e\u003cp\u003eThe 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.\u003c\/p\u003e\u003cp\u003eThe 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.\u003c\/p\u003e\u003ch3 style=\"margin: 1em 0px; padding: 0px;\"\u003eYour Sound At Your Fingertips\u003c\/h3\u003e\u003cp\u003eWith 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.\u003c\/p\u003e\u003ch3 style=\"margin: 1em 0px; padding: 0px;\"\u003eSpecifications:\u003c\/h3\u003e\u003cul style=\"margin: 1em 0px; padding: 0px 0px 0px 40px; list-style-position: initial; list-style-image: initial;\"\u003e\n\u003cli style=\"margin: 0px; padding: 0px;\"\u003eGain at 1 kHz: 81 dB of gain at 1kHz balanced-in to balanced-out in Microphone Input Mode\u003c\/li\u003e\n\u003cli style=\"margin: 0px; padding: 0px;\"\u003eNoise figure RMS A-weighted: \u0026lt;2 dB\u003c\/li\u003e\n\u003cli style=\"margin: 0px; padding: 0px;\"\u003eNoise figure RMS unweighted: \u0026lt;3 dB 20 kHz LPF bandwidth\u003c\/li\u003e\n\u003cli style=\"margin: 0px; padding: 0px;\"\u003eEIN: \u0026lt;-130 dBu A-weighted 150 Ohm resistive source\u003c\/li\u003e\n\u003cli style=\"margin: 0px; padding: 0px;\"\u003eFrequency response: -3 dB \u0026lt; 1 Hz and \u0026gt; 100 kHz\u003c\/li\u003e\n\u003cli style=\"margin: 0px; padding: 0px;\"\u003eTHD: \u0026lt;0.02% at 1 kHz\u003c\/li\u003e\n\u003cli style=\"margin: 0px; padding: 0px;\"\u003eInput impedance: 10 kOhms\u003c\/li\u003e\n\u003cli style=\"margin: 0px; padding: 0px;\"\u003eBalanced Line Input Impedance: 20 kOhms\u003c\/li\u003e\n\u003cli style=\"margin: 0px; padding: 0px;\"\u003eInput Gain control: Twelve-position switch provides from +13 dB to +62 dB of gain for the preamplifier circuit, as measured between the input and the before the output line driver\u003c\/li\u003e\n\u003cli style=\"margin: 0px; padding: 0px;\"\u003eSwitched LF Shelving filter: -3 dB break-frequency tunable from 18 Hz to 360 Hz; maximum reduction -20 dB\u003c\/li\u003e\n\u003cli style=\"margin: 0px; padding: 0px;\"\u003eSwitched CurveShape EQ: +3 dB 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\u003c\/li\u003e\n\u003cli style=\"margin: 0px; padding: 0px;\"\u003eColor LEDs: Green, Yellow, Red\u003c\/li\u003e\n\u003cli style=\"margin: 0px; padding: 0px;\"\u003eXLR output maximum level into 600Ω load: +28 dBu, balanced; 0 dBu = 0.7746 V RMS\u003c\/li\u003e\n\u003cli style=\"margin: 0px; padding: 0px;\"\u003eXLR connectors polarity: Pin-1 is ground, pin-2 is high, pin-3 is low\u003c\/li\u003e\n\u003cli style=\"margin: 0px; padding: 0px;\"\u003eLED signal level indicators: Green snaps on at -6 dBu, red snaps on at +23 dBu, and yellow varies in brightness with level from -3 dBu to +20 dBu\u003c\/li\u003e\n\u003c\/ul\u003e","brand":"AEA","offers":[{"title":"Default Title","offer_id":46834455347337,"sku":"116524","price":495.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0764\/8706\/5737\/files\/aea-rpq500-1618-used_116524_1.jpg?v=1780351781"},{"product_id":"aea-rpq500-619-used","title":"AEA RPQ500 #619 (Used)","description":"\u003cp\u003eThe AEA RPQ500 module, 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.\u003c\/p\u003e\u003ch3 style=\"margin: 1em 0px; padding: 0px;\"\u003eTwo Peas in a Pod: Musical Preamp, Sweet EQ\u003c\/h3\u003e\u003cp\u003eThe 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.\u003c\/p\u003e\u003cp\u003eThe 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.\u003c\/p\u003e\u003ch3 style=\"margin: 1em 0px; padding: 0px;\"\u003eYour Sound At Your Fingertips\u003c\/h3\u003e\u003cp\u003eWith 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.\u003c\/p\u003e\u003ch3 style=\"margin: 1em 0px; padding: 0px;\"\u003eSpecifications:\u003c\/h3\u003e\u003cul style=\"margin: 1em 0px; padding: 0px 0px 0px 40px; list-style-position: initial; list-style-image: initial;\"\u003e\n\u003cli style=\"margin: 0px; padding: 0px;\"\u003eGain at 1 kHz: 81 dB of gain at 1kHz balanced-in to balanced-out in Microphone Input Mode\u003c\/li\u003e\n\u003cli style=\"margin: 0px; padding: 0px;\"\u003eNoise figure RMS A-weighted: \u0026lt;2 dB\u003c\/li\u003e\n\u003cli style=\"margin: 0px; padding: 0px;\"\u003eNoise figure RMS unweighted: \u0026lt;3 dB 20 kHz LPF bandwidth\u003c\/li\u003e\n\u003cli style=\"margin: 0px; padding: 0px;\"\u003eEIN: \u0026lt;-130 dBu A-weighted 150 Ohm resistive source\u003c\/li\u003e\n\u003cli style=\"margin: 0px; padding: 0px;\"\u003eFrequency response: -3 dB \u0026lt; 1 Hz and \u0026gt; 100 kHz\u003c\/li\u003e\n\u003cli style=\"margin: 0px; padding: 0px;\"\u003eTHD: \u0026lt;0.02% at 1 kHz\u003c\/li\u003e\n\u003cli style=\"margin: 0px; padding: 0px;\"\u003eInput impedance: 10 kOhms\u003c\/li\u003e\n\u003cli style=\"margin: 0px; padding: 0px;\"\u003eBalanced Line Input Impedance: 20 kOhms\u003c\/li\u003e\n\u003cli style=\"margin: 0px; padding: 0px;\"\u003eInput Gain control: Twelve-position switch provides from +13 dB to +62 dB of gain for the preamplifier circuit, as measured between the input and the before the output line driver\u003c\/li\u003e\n\u003cli style=\"margin: 0px; padding: 0px;\"\u003eSwitched LF Shelving filter: -3 dB break-frequency tunable from 18 Hz to 360 Hz; maximum reduction -20 dB\u003c\/li\u003e\n\u003cli style=\"margin: 0px; padding: 0px;\"\u003eSwitched CurveShape EQ: +3 dB 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\u003c\/li\u003e\n\u003cli style=\"margin: 0px; padding: 0px;\"\u003eColor LEDs: Green, Yellow, Red\u003c\/li\u003e\n\u003cli style=\"margin: 0px; padding: 0px;\"\u003eXLR output maximum level into 600Ω load: +28 dBu, balanced; 0 dBu = 0.7746 V RMS\u003c\/li\u003e\n\u003cli style=\"margin: 0px; padding: 0px;\"\u003eXLR connectors polarity: Pin-1 is ground, pin-2 is high, pin-3 is low\u003c\/li\u003e\n\u003cli style=\"margin: 0px; padding: 0px;\"\u003eLED signal level indicators: Green snaps on at -6 dBu, red snaps on at +23 dBu, and yellow varies in brightness with level from -3 dBu to +20 dBu\u003c\/li\u003e\n\u003c\/ul\u003e","brand":"AEA","offers":[{"title":"Default Title","offer_id":46834455380105,"sku":"116523","price":495.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0764\/8706\/5737\/files\/aea-rpq500-619-used_116523_1.jpg?v=1780351783"},{"product_id":"aea-rpq500-1435-used","title":"AEA RPQ500 #1435 (Used)","description":"\u003cp\u003eThe AEA RPQ500 module, 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.\u003c\/p\u003e\u003ch3 style=\"margin: 1em 0px; padding: 0px;\"\u003eTwo Peas in a Pod: Musical Preamp, Sweet EQ\u003c\/h3\u003e\u003cp\u003eThe 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.\u003c\/p\u003e\u003cp\u003eThe 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.\u003c\/p\u003e\u003ch3 style=\"margin: 1em 0px; padding: 0px;\"\u003eYour Sound At Your Fingertips\u003c\/h3\u003e\u003cp\u003eWith 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.\u003c\/p\u003e\u003ch3 style=\"margin: 1em 0px; padding: 0px;\"\u003eSpecifications:\u003c\/h3\u003e\u003cul style=\"margin: 1em 0px; padding: 0px 0px 0px 40px; list-style-position: initial; list-style-image: initial;\"\u003e\n\u003cli style=\"margin: 0px; padding: 0px;\"\u003eGain at 1 kHz: 81 dB of gain at 1kHz balanced-in to balanced-out in Microphone Input Mode\u003c\/li\u003e\n\u003cli style=\"margin: 0px; padding: 0px;\"\u003eNoise figure RMS A-weighted: \u0026lt;2 dB\u003c\/li\u003e\n\u003cli style=\"margin: 0px; padding: 0px;\"\u003eNoise figure RMS unweighted: \u0026lt;3 dB 20 kHz LPF bandwidth\u003c\/li\u003e\n\u003cli style=\"margin: 0px; padding: 0px;\"\u003eEIN: \u0026lt;-130 dBu A-weighted 150 Ohm resistive source\u003c\/li\u003e\n\u003cli style=\"margin: 0px; padding: 0px;\"\u003eFrequency response: -3 dB \u0026lt; 1 Hz and \u0026gt; 100 kHz\u003c\/li\u003e\n\u003cli style=\"margin: 0px; padding: 0px;\"\u003eTHD: \u0026lt;0.02% at 1 kHz\u003c\/li\u003e\n\u003cli style=\"margin: 0px; padding: 0px;\"\u003eInput impedance: 10 kOhms\u003c\/li\u003e\n\u003cli style=\"margin: 0px; padding: 0px;\"\u003eBalanced Line Input Impedance: 20 kOhms\u003c\/li\u003e\n\u003cli style=\"margin: 0px; padding: 0px;\"\u003eInput Gain control: Twelve-position switch provides from +13 dB to +62 dB of gain for the preamplifier circuit, as measured between the input and the before the output line driver\u003c\/li\u003e\n\u003cli style=\"margin: 0px; padding: 0px;\"\u003eSwitched LF Shelving filter: -3 dB break-frequency tunable from 18 Hz to 360 Hz; maximum reduction -20 dB\u003c\/li\u003e\n\u003cli style=\"margin: 0px; padding: 0px;\"\u003eSwitched CurveShape EQ: +3 dB 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\u003c\/li\u003e\n\u003cli style=\"margin: 0px; padding: 0px;\"\u003eColor LEDs: Green, Yellow, Red\u003c\/li\u003e\n\u003cli style=\"margin: 0px; padding: 0px;\"\u003eXLR output maximum level into 600Ω load: +28 dBu, balanced; 0 dBu = 0.7746 V RMS\u003c\/li\u003e\n\u003cli style=\"margin: 0px; padding: 0px;\"\u003eXLR connectors polarity: Pin-1 is ground, pin-2 is high, pin-3 is low\u003c\/li\u003e\n\u003cli style=\"margin: 0px; padding: 0px;\"\u003eLED signal level indicators: Green snaps on at -6 dBu, red snaps on at +23 dBu, and yellow varies in brightness with level from -3 dBu to +20 dBu\u003c\/li\u003e\n\u003c\/ul\u003e","brand":"AEA","offers":[{"title":"Default Title","offer_id":46834456461449,"sku":"116522","price":495.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0764\/8706\/5737\/files\/aea-rpq500-1435-used_116522_1.jpg?v=1780351797"},{"product_id":"aea-rpq500-595-used","title":"AEA RPQ500 #595 (Used)","description":"\u003cp\u003eThe AEA RPQ500 module, 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.\u003c\/p\u003e\u003ch3 style=\"margin: 1em 0px; padding: 0px;\"\u003eTwo Peas in a Pod: Musical Preamp, Sweet EQ\u003c\/h3\u003e\u003cp\u003eThe 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.\u003c\/p\u003e\u003cp\u003eThe 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.\u003c\/p\u003e\u003ch3 style=\"margin: 1em 0px; padding: 0px;\"\u003eYour Sound At Your Fingertips\u003c\/h3\u003e\u003cp\u003eWith 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.\u003c\/p\u003e\u003ch3 style=\"margin: 1em 0px; padding: 0px;\"\u003eSpecifications:\u003c\/h3\u003e\u003cul style=\"margin: 1em 0px; padding: 0px 0px 0px 40px; list-style-position: initial; list-style-image: initial;\"\u003e\n\u003cli style=\"margin: 0px; padding: 0px;\"\u003eGain at 1 kHz: 81 dB of gain at 1kHz balanced-in to balanced-out in Microphone Input Mode\u003c\/li\u003e\n\u003cli style=\"margin: 0px; padding: 0px;\"\u003eNoise figure RMS A-weighted: \u0026lt;2 dB\u003c\/li\u003e\n\u003cli style=\"margin: 0px; padding: 0px;\"\u003eNoise figure RMS unweighted: \u0026lt;3 dB 20 kHz LPF bandwidth\u003c\/li\u003e\n\u003cli style=\"margin: 0px; padding: 0px;\"\u003eEIN: \u0026lt;-130 dBu A-weighted 150 Ohm resistive source\u003c\/li\u003e\n\u003cli style=\"margin: 0px; padding: 0px;\"\u003eFrequency response: -3 dB \u0026lt; 1 Hz and \u0026gt; 100 kHz\u003c\/li\u003e\n\u003cli style=\"margin: 0px; padding: 0px;\"\u003eTHD: \u0026lt;0.02% at 1 kHz\u003c\/li\u003e\n\u003cli style=\"margin: 0px; padding: 0px;\"\u003eInput impedance: 10 kOhms\u003c\/li\u003e\n\u003cli style=\"margin: 0px; padding: 0px;\"\u003eBalanced Line Input Impedance: 20 kOhms\u003c\/li\u003e\n\u003cli style=\"margin: 0px; padding: 0px;\"\u003eInput Gain control: Twelve-position switch provides from +13 dB to +62 dB of gain for the preamplifier circuit, as measured between the input and the before the output line driver\u003c\/li\u003e\n\u003cli style=\"margin: 0px; padding: 0px;\"\u003eSwitched LF Shelving filter: -3 dB break-frequency tunable from 18 Hz to 360 Hz; maximum reduction -20 dB\u003c\/li\u003e\n\u003cli style=\"margin: 0px; padding: 0px;\"\u003eSwitched CurveShape EQ: +3 dB 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\u003c\/li\u003e\n\u003cli style=\"margin: 0px; padding: 0px;\"\u003eColor LEDs: Green, Yellow, Red\u003c\/li\u003e\n\u003cli style=\"margin: 0px; padding: 0px;\"\u003eXLR output maximum level into 600Ω load: +28 dBu, balanced; 0 dBu = 0.7746 V RMS\u003c\/li\u003e\n\u003cli style=\"margin: 0px; padding: 0px;\"\u003eXLR connectors polarity: Pin-1 is ground, pin-2 is high, pin-3 is low\u003c\/li\u003e\n\u003cli style=\"margin: 0px; padding: 0px;\"\u003eLED signal level indicators: Green snaps on at -6 dBu, red snaps on at +23 dBu, and yellow varies in brightness with level from -3 dBu to +20 dBu\u003c\/li\u003e\n\u003c\/ul\u003e","brand":"AEA","offers":[{"title":"Default Title","offer_id":46834459508873,"sku":"146782","price":450.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0764\/8706\/5737\/files\/aea-rpq500-595-used_146782_1.jpg?v=1780351902"},{"product_id":"aea-rpq500-596-used","title":"AEA RPQ500 #596 (Used)","description":"\u003cp\u003eThe AEA RPQ500 module, 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.\u003c\/p\u003e\u003ch3 style=\"margin: 1em 0px; padding: 0px;\"\u003eTwo Peas in a Pod: Musical Preamp, Sweet EQ\u003c\/h3\u003e\u003cp\u003eThe 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.\u003c\/p\u003e\u003cp\u003eThe 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.\u003c\/p\u003e\u003ch3 style=\"margin: 1em 0px; padding: 0px;\"\u003eYour Sound At Your Fingertips\u003c\/h3\u003e\u003cp\u003eWith 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.\u003c\/p\u003e\u003ch3 style=\"margin: 1em 0px; padding: 0px;\"\u003eSpecifications:\u003c\/h3\u003e\u003cul style=\"margin: 1em 0px; padding: 0px 0px 0px 40px; list-style-position: initial; list-style-image: initial;\"\u003e\n\u003cli style=\"margin: 0px; padding: 0px;\"\u003eGain at 1 kHz: 81 dB of gain at 1kHz balanced-in to balanced-out in Microphone Input Mode\u003c\/li\u003e\n\u003cli style=\"margin: 0px; padding: 0px;\"\u003eNoise figure RMS A-weighted: \u0026lt;2 dB\u003c\/li\u003e\n\u003cli style=\"margin: 0px; padding: 0px;\"\u003eNoise figure RMS unweighted: \u0026lt;3 dB 20 kHz LPF bandwidth\u003c\/li\u003e\n\u003cli style=\"margin: 0px; padding: 0px;\"\u003eEIN: \u0026lt;-130 dBu A-weighted 150 Ohm resistive source\u003c\/li\u003e\n\u003cli style=\"margin: 0px; padding: 0px;\"\u003eFrequency response: -3 dB \u0026lt; 1 Hz and \u0026gt; 100 kHz\u003c\/li\u003e\n\u003cli style=\"margin: 0px; padding: 0px;\"\u003eTHD: \u0026lt;0.02% at 1 kHz\u003c\/li\u003e\n\u003cli style=\"margin: 0px; padding: 0px;\"\u003eInput impedance: 10 kOhms\u003c\/li\u003e\n\u003cli style=\"margin: 0px; padding: 0px;\"\u003eBalanced Line Input Impedance: 20 kOhms\u003c\/li\u003e\n\u003cli style=\"margin: 0px; padding: 0px;\"\u003eInput Gain control: Twelve-position switch provides from +13 dB to +62 dB of gain for the preamplifier circuit, as measured between the input and the before the output line driver\u003c\/li\u003e\n\u003cli style=\"margin: 0px; padding: 0px;\"\u003eSwitched LF Shelving filter: -3 dB break-frequency tunable from 18 Hz to 360 Hz; maximum reduction -20 dB\u003c\/li\u003e\n\u003cli style=\"margin: 0px; padding: 0px;\"\u003eSwitched CurveShape EQ: +3 dB 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\u003c\/li\u003e\n\u003cli style=\"margin: 0px; padding: 0px;\"\u003eColor LEDs: Green, Yellow, Red\u003c\/li\u003e\n\u003cli style=\"margin: 0px; padding: 0px;\"\u003eXLR output maximum level into 600Ω load: +28 dBu, balanced; 0 dBu = 0.7746 V RMS\u003c\/li\u003e\n\u003cli style=\"margin: 0px; padding: 0px;\"\u003eXLR connectors polarity: Pin-1 is ground, pin-2 is high, pin-3 is low\u003c\/li\u003e\n\u003cli style=\"margin: 0px; padding: 0px;\"\u003eLED signal level indicators: Green snaps on at -6 dBu, red snaps on at +23 dBu, and yellow varies in brightness with level from -3 dBu to +20 dBu\u003c\/li\u003e\n\u003c\/ul\u003e","brand":"AEA","offers":[{"title":"Default Title","offer_id":46834459541641,"sku":"146783","price":450.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0764\/8706\/5737\/files\/aea-rpq500-596-used_146783_1.jpg?v=1780351904"},{"product_id":"aea-rpq500-0875-used","title":"AEA RPQ500 #0875 (Used)","description":"\u003cp\u003eThe AEA RPQ500 module, 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.\u003c\/p\u003e\u003ch3 style=\"margin: 1em 0px; padding: 0px;\"\u003eTwo Peas in a Pod: Musical Preamp, Sweet EQ\u003c\/h3\u003e\u003cp\u003eThe 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.\u003c\/p\u003e\u003cp\u003eThe 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.\u003c\/p\u003e\u003ch3 style=\"margin: 1em 0px; padding: 0px;\"\u003eYour Sound At Your Fingertips\u003c\/h3\u003e\u003cp\u003eWith 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.\u003c\/p\u003e\u003ch3 style=\"margin: 1em 0px; padding: 0px;\"\u003eSpecifications:\u003c\/h3\u003e\u003cul style=\"margin: 1em 0px; padding: 0px 0px 0px 40px; list-style-position: initial; list-style-image: initial;\"\u003e\n\u003cli style=\"margin: 0px; padding: 0px;\"\u003eGain at 1 kHz: 81 dB of gain at 1kHz balanced-in to balanced-out in Microphone Input Mode\u003c\/li\u003e\n\u003cli style=\"margin: 0px; padding: 0px;\"\u003eNoise figure RMS A-weighted: \u0026lt;2 dB\u003c\/li\u003e\n\u003cli style=\"margin: 0px; padding: 0px;\"\u003eNoise figure RMS unweighted: \u0026lt;3 dB 20 kHz LPF bandwidth\u003c\/li\u003e\n\u003cli style=\"margin: 0px; padding: 0px;\"\u003eEIN: \u0026lt;-130 dBu A-weighted 150 Ohm resistive source\u003c\/li\u003e\n\u003cli style=\"margin: 0px; padding: 0px;\"\u003eFrequency response: -3 dB \u0026lt; 1 Hz and \u0026gt; 100 kHz\u003c\/li\u003e\n\u003cli style=\"margin: 0px; padding: 0px;\"\u003eTHD: \u0026lt;0.02% at 1 kHz\u003c\/li\u003e\n\u003cli style=\"margin: 0px; padding: 0px;\"\u003eInput impedance: 10 kOhms\u003c\/li\u003e\n\u003cli style=\"margin: 0px; padding: 0px;\"\u003eBalanced Line Input Impedance: 20 kOhms\u003c\/li\u003e\n\u003cli style=\"margin: 0px; padding: 0px;\"\u003eInput Gain control: Twelve-position switch provides from +13 dB to +62 dB of gain for the preamplifier circuit, as measured between the input and the before the output line driver\u003c\/li\u003e\n\u003cli style=\"margin: 0px; padding: 0px;\"\u003eSwitched LF Shelving filter: -3 dB break-frequency tunable from 18 Hz to 360 Hz; maximum reduction -20 dB\u003c\/li\u003e\n\u003cli style=\"margin: 0px; padding: 0px;\"\u003eSwitched CurveShape EQ: +3 dB 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\u003c\/li\u003e\n\u003cli style=\"margin: 0px; padding: 0px;\"\u003eColor LEDs: Green, Yellow, Red\u003c\/li\u003e\n\u003cli style=\"margin: 0px; padding: 0px;\"\u003eXLR output maximum level into 600Ω load: +28 dBu, balanced; 0 dBu = 0.7746 V RMS\u003c\/li\u003e\n\u003cli style=\"margin: 0px; padding: 0px;\"\u003eXLR connectors polarity: Pin-1 is ground, pin-2 is high, pin-3 is low\u003c\/li\u003e\n\u003cli style=\"margin: 0px; padding: 0px;\"\u003eLED signal level indicators: Green snaps on at -6 dBu, red snaps on at +23 dBu, and yellow varies in brightness with level from -3 dBu to +20 dBu\u003c\/li\u003e\n\u003c\/ul\u003e","brand":"AEA","offers":[{"title":"Default Title","offer_id":46834460197001,"sku":"151105","price":495.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0764\/8706\/5737\/files\/aea-rpq500-0875-used_151105_1.jpg?v=1780351933"},{"product_id":"aea-rpq500-2208-used","title":"AEA RPQ500 #2208 (Used)","description":"\u003cp\u003eThe AEA RPQ500 module, 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.\u003c\/p\u003e\u003ch3 style=\"margin: 1em 0px; padding: 0px;\"\u003eTwo Peas in a Pod: Musical Preamp, Sweet EQ\u003c\/h3\u003e\u003cp\u003eThe 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.\u003c\/p\u003e\u003cp\u003eThe 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.\u003c\/p\u003e\u003ch3 style=\"margin: 1em 0px; padding: 0px;\"\u003eYour Sound At Your Fingertips\u003c\/h3\u003e\u003cp\u003eWith 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.\u003c\/p\u003e\u003ch3 style=\"margin: 1em 0px; padding: 0px;\"\u003eSpecifications:\u003c\/h3\u003e\u003cul style=\"margin: 1em 0px; padding: 0px 0px 0px 40px; list-style-position: initial; list-style-image: initial;\"\u003e\n\u003cli style=\"margin: 0px; padding: 0px;\"\u003eGain at 1 kHz: 81 dB of gain at 1kHz balanced-in to balanced-out in Microphone Input Mode\u003c\/li\u003e\n\u003cli style=\"margin: 0px; padding: 0px;\"\u003eNoise figure RMS A-weighted: \u0026lt;2 dB\u003c\/li\u003e\n\u003cli style=\"margin: 0px; padding: 0px;\"\u003eNoise figure RMS unweighted: \u0026lt;3 dB 20 kHz LPF bandwidth\u003c\/li\u003e\n\u003cli style=\"margin: 0px; padding: 0px;\"\u003eEIN: \u0026lt;-130 dBu A-weighted 150 Ohm resistive source\u003c\/li\u003e\n\u003cli style=\"margin: 0px; padding: 0px;\"\u003eFrequency response: -3 dB \u0026lt; 1 Hz and \u0026gt; 100 kHz\u003c\/li\u003e\n\u003cli style=\"margin: 0px; padding: 0px;\"\u003eTHD: \u0026lt;0.02% at 1 kHz\u003c\/li\u003e\n\u003cli style=\"margin: 0px; padding: 0px;\"\u003eInput impedance: 10 kOhms\u003c\/li\u003e\n\u003cli style=\"margin: 0px; padding: 0px;\"\u003eBalanced Line Input Impedance: 20 kOhms\u003c\/li\u003e\n\u003cli style=\"margin: 0px; padding: 0px;\"\u003eInput Gain control: Twelve-position switch provides from +13 dB to +62 dB of gain for the preamplifier circuit, as measured between the input and the before the output line driver\u003c\/li\u003e\n\u003cli style=\"margin: 0px; padding: 0px;\"\u003eSwitched LF Shelving filter: -3 dB break-frequency tunable from 18 Hz to 360 Hz; maximum reduction -20 dB\u003c\/li\u003e\n\u003cli style=\"margin: 0px; padding: 0px;\"\u003eSwitched CurveShape EQ: +3 dB 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\u003c\/li\u003e\n\u003cli style=\"margin: 0px; padding: 0px;\"\u003eColor LEDs: Green, Yellow, Red\u003c\/li\u003e\n\u003cli style=\"margin: 0px; padding: 0px;\"\u003eXLR output maximum level into 600Ω load: +28 dBu, balanced; 0 dBu = 0.7746 V RMS\u003c\/li\u003e\n\u003cli style=\"margin: 0px; padding: 0px;\"\u003eXLR connectors polarity: Pin-1 is ground, pin-2 is high, pin-3 is low\u003c\/li\u003e\n\u003cli style=\"margin: 0px; padding: 0px;\"\u003eLED signal level indicators: Green snaps on at -6 dBu, red snaps on at +23 dBu, and yellow varies in brightness with level from -3 dBu to +20 dBu\u003c\/li\u003e\n\u003c\/ul\u003e","brand":"AEA","offers":[{"title":"Default Title","offer_id":46834460983433,"sku":"158968","price":550.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0764\/8706\/5737\/files\/aea-rpq500-2208-used_158968_1.jpg?v=1780351949"},{"product_id":"aea-trp500-preamp","title":"AEA TRP500 500 Series Microphone Preamp","description":"\u003cp\u003eBased on the circuit and topology of the company’s original AEA TRP preamp, the \u003cstrong\u003eAEA TRP500\u003c\/strong\u003e has the low noise, musical sonics, and ultra-high gain and impedance (100,000 Ohms) that AEA is renowned for. The TRP500 excels at drawing out the warmth and lush sound of ribbon mics as well as other top-level microphones. With up to 85 dB of quiet DC-coupled gain, minimal path architecture, and a gentle 115 Hz or 230 Hz high pass filter, this preamp puts as little as possible between you and your audience.\u003c\/p\u003e","brand":"AEA","offers":[{"title":"Default Title","offer_id":46834461474953,"sku":"175391","price":699.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0764\/8706\/5737\/files\/aea-trp500-mic-23_175391_1.jpg?v=1780351988"},{"product_id":"aea-rpq500-0804-used","title":"AEA RPQ500 #0804 (Used)","description":"\u003cp\u003eThe \u003cstrong\u003eAEA RPQ500 500 Series\u003c\/strong\u003e module, 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.\u003c\/p\u003e  \u003ch3 id=\"toc_0\"\u003eTWO PEAS IN A POD: MUSICAL PREAMP, SWEET EQ\u003c\/h3\u003e  \u003cp\u003eThe 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.\u003c\/p\u003e  \u003cp\u003eThe 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.\u003c\/p\u003e  \u003ch3 id=\"toc_1\"\u003eYOUR SOUND AT YOUR FINGERTIPS\u003c\/h3\u003e  \u003cp\u003eWith 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.\u003c\/p\u003e    \u003ch3 id=\"toc_3\"\u003eTECHNICAL DETAILS:\u003c\/h3\u003e  \u003cul\u003e \u003cli\u003eGain at 1 kHz: 81 dB of gain at 1kHz balanced-in to balanced-out in Microphone Input Mode\u003c\/li\u003e \u003cli\u003eNoise figure RMS A-weighted: \u0026lt;2 dB\u003c\/li\u003e \u003cli\u003eNoise figure RMS unweighted: \u0026lt;3 dB 20 kHz LPF bandwidth\u003c\/li\u003e \u003cli\u003eEIN: \u0026lt;-130 dBu A-weighted 150 Ohm resistive source\u003c\/li\u003e \u003cli\u003eFrequency response: -3 dB \u0026lt; 1 Hz and \u0026gt; 100 kHz\u003c\/li\u003e \u003cli\u003eTHD: \u0026lt;0.02% at 1 kHz\u003c\/li\u003e \u003cli\u003eInput impedance: 10k Ohms\u003c\/li\u003e \u003cli\u003eBalanced line input impedance: 20k Ohms\u003c\/li\u003e \u003cli\u003eInput gain control: Twelve-position switch provides from +13 dB to +62 dB of gain for the preamplifier circuit, as measured between the input and the before the output line driver\u003c\/li\u003e \u003cli\u003eSwitched LF shelving filter: -3 dB break-frequency tunable from 18 Hz to 360 Hz; maximum reduction -20 dB\u003c\/li\u003e \u003cli\u003eSwitched CurveShape EQ: +3 dB 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\u003c\/li\u003e \u003cli\u003eColor LEDs: Green, Yellow, Red\u003c\/li\u003e \u003cli\u003eXLR output maximum level into 600Ω load: +28 dBu, balanced; 0 dBu = 0.7746 V RMS\u003c\/li\u003e \u003cli\u003eXLR connectors polarity: Pin-1 is ground, pin-2 is high, pin-3 is low\u003c\/li\u003e \u003cli\u003eLED signal level indicators: Green snaps on at -6 dBu, red snaps on at +23 dBu, and yellow varies in brightness with level from -3 dBu to +20 dBu\u003c\/li\u003e \u003c\/ul\u003e","brand":"AEA","offers":[{"title":"Default Title","offer_id":46834462949513,"sku":"186369","price":395.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0764\/8706\/5737\/files\/aea-rpq500-0804-used_186369_1.jpg?v=1780352092"},{"product_id":"aea-rpq500-1-demo-deal-open-box","title":"AEA RPQ500 500 Series Microphone Preamp (Demo Deal)","description":"\u003cp\u003eThe \u003cstrong\u003eAEA RPQ500\u003c\/strong\u003e 500 Series module, 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.\u003c\/p\u003e\n\n\u003ch3 id=\"toc_0\"\u003eTWO PEAS IN A POD: MUSICAL PREAMP, SWEET EQ\u003c\/h3\u003e\n\n\u003cp\u003eThe 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.\u003c\/p\u003e\n\n\u003cp\u003eThe 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.\u003c\/p\u003e\n\n\u003ch3 id=\"toc_1\"\u003eYOUR SOUND AT YOUR FINGERTIPS\u003c\/h3\u003e\n\n\u003cp\u003eWith 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.\u003c\/p\u003e\n\n\n\n\u003ch3 id=\"toc_3\"\u003eTECHNICAL DETAILS:\u003c\/h3\u003e\n\n\u003cul\u003e\n\u003cli\u003eGain at 1 kHz: 81 dB of gain at 1kHz balanced-in to balanced-out in Microphone Input Mode\u003c\/li\u003e\n\u003cli\u003eNoise figure RMS A-weighted: \u0026lt;2 dB\u003c\/li\u003e\n\u003cli\u003eNoise figure RMS unweighted: \u0026lt;3 dB 20 kHz LPF bandwidth\u003c\/li\u003e\n\u003cli\u003eEIN: \u0026lt;-130 dBu A-weighted 150 Ohm resistive source\u003c\/li\u003e\n\u003cli\u003eFrequency response: -3 dB \u0026lt; 1 Hz and \u0026gt; 100 kHz\u003c\/li\u003e\n\u003cli\u003eTHD: \u0026lt;0.02% at 1 kHz\u003c\/li\u003e\n\u003cli\u003eInput impedance: 10 kOhms\u003c\/li\u003e\n\u003cli\u003eBalanced Line Input Impedance: 20 kOhms\u003c\/li\u003e\n\u003cli\u003eInput Gain control: Twelve-position switch provides from +13 dB to +62 dB of gain for the preamplifier circuit, as measured between the input and the before the output line driver\u003c\/li\u003e\n\u003cli\u003eSwitched LF Shelving filter: -3 dB break-frequency tunable from 18 Hz to 360 Hz; maximum reduction -20 dB\u003c\/li\u003e\n\u003cli\u003eSwitched CurveShape EQ: +3 dB 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\u003c\/li\u003e\n\u003cli\u003eColor LEDs: Green, Yellow, Red\u003c\/li\u003e\n\u003cli\u003eXLR output maximum level into 600Ω load: +28 dBu, balanced; 0 dBu = 0.7746 V RMS\u003c\/li\u003e\n\u003cli\u003eXLR connectors polarity: Pin-1 is ground, pin-2 is high, pin-3 is low\u003c\/li\u003e\n\u003cli\u003eLED signal level indicators: Green snaps on at -6 dBu, red snaps on at +23 dBu, and yellow varies in brightness with level from -3 dBu to +20 dBu\u003c\/li\u003e\n\u003c\/ul\u003e","brand":"AEA","offers":[{"title":"Default Title","offer_id":46834469339273,"sku":"458494","price":629.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0764\/8706\/5737\/files\/aea-rpq500_62912_1_cf545209-cca4-40b0-a7ec-a1c59afff8f0.jpg?v=1780352275"},{"product_id":"aea-trp500-preamp-demo-deal-open-box","title":"AEA TRP500 500 Series Microphone Preamp (Demo Deal)","description":"\u003cp\u003eBased on the circuit and topology of the company’s original AEA TRP preamp, the \u003cstrong\u003eAEA TRP500\u003c\/strong\u003e has the low noise, musical sonics, and ultra-high gain and impedance (100,000 Ohms) that AEA is renowned for. The TRP500 excels at drawing out the warmth and lush sound of ribbon mics as well as other top-level microphones. With up to 85 dB of quiet DC-coupled gain, minimal path architecture, and a gentle 115 Hz or 230 Hz high pass filter, this preamp puts as little as possible between you and your audience.\u003c\/p\u003e","brand":"AEA","offers":[{"title":"Default Title","offer_id":46834469404809,"sku":"458491","price":584.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0764\/8706\/5737\/files\/aea-trp500-mic-23_175391_1_4048921e-faa8-49d6-98d1-d59143982860.jpg?v=1780352276"},{"product_id":"aea-rpq500-500-series-microphone-preamp-01436-used","title":"AEA RPQ500 500 Series Microphone Preamp #01436 (Used)","description":"\u003cp\u003eThe \u003cstrong\u003eAEA RPQ500 500 Series\u003c\/strong\u003e module, 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.\u003c\/p\u003e  \u003ch3 id=\"toc_0\"\u003eTWO PEAS IN A POD: MUSICAL PREAMP, SWEET EQ\u003c\/h3\u003e  \u003cp\u003eThe 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.\u003c\/p\u003e  \u003cp\u003eThe 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.\u003c\/p\u003e  \u003ch3 id=\"toc_1\"\u003eYOUR SOUND AT YOUR FINGERTIPS\u003c\/h3\u003e  \u003cp\u003eWith 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.\u003c\/p\u003e    \u003ch3 id=\"toc_3\"\u003eTECHNICAL DETAILS:\u003c\/h3\u003e  \u003cul\u003e \u003cli\u003eGain at 1 kHz: 81 dB of gain at 1kHz balanced-in to balanced-out in Microphone Input Mode\u003c\/li\u003e \u003cli\u003eNoise figure RMS A-weighted: \u0026lt;2 dB\u003c\/li\u003e \u003cli\u003eNoise figure RMS unweighted: \u0026lt;3 dB 20 kHz LPF bandwidth\u003c\/li\u003e \u003cli\u003eEIN: \u0026lt;-130 dBu A-weighted 150 Ohm resistive source\u003c\/li\u003e \u003cli\u003eFrequency response: -3 dB \u0026lt; 1 Hz and \u0026gt; 100 kHz\u003c\/li\u003e \u003cli\u003eTHD: \u0026lt;0.02% at 1 kHz\u003c\/li\u003e \u003cli\u003eInput impedance: 10k Ohms\u003c\/li\u003e \u003cli\u003eBalanced line input impedance: 20k Ohms\u003c\/li\u003e \u003cli\u003eInput gain control: Twelve-position switch provides from +13 dB to +62 dB of gain for the preamplifier circuit, as measured between the input and the before the output line driver\u003c\/li\u003e \u003cli\u003eSwitched LF shelving filter: -3 dB break-frequency tunable from 18 Hz to 360 Hz; maximum reduction -20 dB\u003c\/li\u003e \u003cli\u003eSwitched CurveShape EQ: +3 dB 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\u003c\/li\u003e \u003cli\u003eColor LEDs: Green, Yellow, Red\u003c\/li\u003e \u003cli\u003eXLR output maximum level into 600Ω load: +28 dBu, balanced; 0 dBu = 0.7746 V RMS\u003c\/li\u003e \u003cli\u003eXLR connectors polarity: Pin-1 is ground, pin-2 is high, pin-3 is low\u003c\/li\u003e \u003cli\u003eLED signal level indicators: Green snaps on at -6 dBu, red snaps on at +23 dBu, and yellow varies in brightness with level from -3 dBu to +20 dBu\u003c\/li\u003e \u003c\/ul\u003e","brand":"AEA","offers":[{"title":"Default Title","offer_id":46834469732489,"sku":"457002","price":459.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0764\/8706\/5737\/files\/aea-rpq500-500-series-microphone-preamp-01436-used_457002_1.jpg?v=1780352296"},{"product_id":"aea-rpq500-500-series-microphone-preamp-01437-used","title":"AEA RPQ500 500 Series Microphone Preamp #01437 (Used)","description":"\u003cp\u003eThe \u003cstrong\u003eAEA RPQ500 500 Series\u003c\/strong\u003e module, 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.\u003c\/p\u003e  \u003ch3 id=\"toc_0\"\u003eTWO PEAS IN A POD: MUSICAL PREAMP, SWEET EQ\u003c\/h3\u003e  \u003cp\u003eThe 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.\u003c\/p\u003e  \u003cp\u003eThe 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.\u003c\/p\u003e  \u003ch3 id=\"toc_1\"\u003eYOUR SOUND AT YOUR FINGERTIPS\u003c\/h3\u003e  \u003cp\u003eWith 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.\u003c\/p\u003e    \u003ch3 id=\"toc_3\"\u003eTECHNICAL DETAILS:\u003c\/h3\u003e  \u003cul\u003e \u003cli\u003eGain at 1 kHz: 81 dB of gain at 1kHz balanced-in to balanced-out in Microphone Input Mode\u003c\/li\u003e \u003cli\u003eNoise figure RMS A-weighted: \u0026lt;2 dB\u003c\/li\u003e \u003cli\u003eNoise figure RMS unweighted: \u0026lt;3 dB 20 kHz LPF bandwidth\u003c\/li\u003e \u003cli\u003eEIN: \u0026lt;-130 dBu A-weighted 150 Ohm resistive source\u003c\/li\u003e \u003cli\u003eFrequency response: -3 dB \u0026lt; 1 Hz and \u0026gt; 100 kHz\u003c\/li\u003e \u003cli\u003eTHD: \u0026lt;0.02% at 1 kHz\u003c\/li\u003e \u003cli\u003eInput impedance: 10k Ohms\u003c\/li\u003e \u003cli\u003eBalanced line input impedance: 20k Ohms\u003c\/li\u003e \u003cli\u003eInput gain control: Twelve-position switch provides from +13 dB to +62 dB of gain for the preamplifier circuit, as measured between the input and the before the output line driver\u003c\/li\u003e \u003cli\u003eSwitched LF shelving filter: -3 dB break-frequency tunable from 18 Hz to 360 Hz; maximum reduction -20 dB\u003c\/li\u003e \u003cli\u003eSwitched CurveShape EQ: +3 dB 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\u003c\/li\u003e \u003cli\u003eColor LEDs: Green, Yellow, Red\u003c\/li\u003e \u003cli\u003eXLR output maximum level into 600Ω load: +28 dBu, balanced; 0 dBu = 0.7746 V RMS\u003c\/li\u003e \u003cli\u003eXLR connectors polarity: Pin-1 is ground, pin-2 is high, pin-3 is low\u003c\/li\u003e \u003cli\u003eLED signal level indicators: Green snaps on at -6 dBu, red snaps on at +23 dBu, and yellow varies in brightness with level from -3 dBu to +20 dBu\u003c\/li\u003e \u003c\/ul\u003e","brand":"AEA","offers":[{"title":"Default Title","offer_id":46834470551689,"sku":"457003","price":459.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0764\/8706\/5737\/files\/aea-rpq500-500-series-microphone-preamp-01437-used_457003_1.jpg?v=1780352298"},{"product_id":"aea-rpq500-500-series-microphone-preamp-01438-used","title":"AEA RPQ500 500 Series Microphone Preamp #01438 (Used)","description":"\u003cp\u003eThe \u003cstrong\u003eAEA RPQ500 500 Series\u003c\/strong\u003e module, 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.\u003c\/p\u003e  \u003ch3 id=\"toc_0\"\u003eTWO PEAS IN A POD: MUSICAL PREAMP, SWEET EQ\u003c\/h3\u003e  \u003cp\u003eThe 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.\u003c\/p\u003e  \u003cp\u003eThe 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.\u003c\/p\u003e  \u003ch3 id=\"toc_1\"\u003eYOUR SOUND AT YOUR FINGERTIPS\u003c\/h3\u003e  \u003cp\u003eWith 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.\u003c\/p\u003e    \u003ch3 id=\"toc_3\"\u003eTECHNICAL DETAILS:\u003c\/h3\u003e  \u003cul\u003e \u003cli\u003eGain at 1 kHz: 81 dB of gain at 1kHz balanced-in to balanced-out in Microphone Input Mode\u003c\/li\u003e \u003cli\u003eNoise figure RMS A-weighted: \u0026lt;2 dB\u003c\/li\u003e \u003cli\u003eNoise figure RMS unweighted: \u0026lt;3 dB 20 kHz LPF bandwidth\u003c\/li\u003e \u003cli\u003eEIN: \u0026lt;-130 dBu A-weighted 150 Ohm resistive source\u003c\/li\u003e \u003cli\u003eFrequency response: -3 dB \u0026lt; 1 Hz and \u0026gt; 100 kHz\u003c\/li\u003e \u003cli\u003eTHD: \u0026lt;0.02% at 1 kHz\u003c\/li\u003e \u003cli\u003eInput impedance: 10k Ohms\u003c\/li\u003e \u003cli\u003eBalanced line input impedance: 20k Ohms\u003c\/li\u003e \u003cli\u003eInput gain control: Twelve-position switch provides from +13 dB to +62 dB of gain for the preamplifier circuit, as measured between the input and the before the output line driver\u003c\/li\u003e \u003cli\u003eSwitched LF shelving filter: -3 dB break-frequency tunable from 18 Hz to 360 Hz; maximum reduction -20 dB\u003c\/li\u003e \u003cli\u003eSwitched CurveShape EQ: +3 dB 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\u003c\/li\u003e \u003cli\u003eColor LEDs: Green, Yellow, Red\u003c\/li\u003e \u003cli\u003eXLR output maximum level into 600Ω load: +28 dBu, balanced; 0 dBu = 0.7746 V RMS\u003c\/li\u003e \u003cli\u003eXLR connectors polarity: Pin-1 is ground, pin-2 is high, pin-3 is low\u003c\/li\u003e \u003cli\u003eLED signal level indicators: Green snaps on at -6 dBu, red snaps on at +23 dBu, and yellow varies in brightness with level from -3 dBu to +20 dBu\u003c\/li\u003e \u003c\/ul\u003e","brand":"AEA","offers":[{"title":"Default Title","offer_id":46834470617225,"sku":"457004","price":459.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0764\/8706\/5737\/files\/aea-rpq500-500-series-microphone-preamp-01438-used_457004_1.jpg?v=1780352300"},{"product_id":"aea-rpq500-500-series-microphone-preamp-01439-used","title":"AEA RPQ500 500 Series Microphone Preamp #01439 (Used)","description":"\u003cp\u003eThe \u003cstrong\u003eAEA RPQ500 500 Series\u003c\/strong\u003e module, 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.\u003c\/p\u003e  \u003ch3 id=\"toc_0\"\u003eTWO PEAS IN A POD: MUSICAL PREAMP, SWEET EQ\u003c\/h3\u003e  \u003cp\u003eThe 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.\u003c\/p\u003e  \u003cp\u003eThe 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.\u003c\/p\u003e  \u003ch3 id=\"toc_1\"\u003eYOUR SOUND AT YOUR FINGERTIPS\u003c\/h3\u003e  \u003cp\u003eWith 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.\u003c\/p\u003e    \u003ch3 id=\"toc_3\"\u003eTECHNICAL DETAILS:\u003c\/h3\u003e  \u003cul\u003e \u003cli\u003eGain at 1 kHz: 81 dB of gain at 1kHz balanced-in to balanced-out in Microphone Input Mode\u003c\/li\u003e \u003cli\u003eNoise figure RMS A-weighted: \u0026lt;2 dB\u003c\/li\u003e \u003cli\u003eNoise figure RMS unweighted: \u0026lt;3 dB 20 kHz LPF bandwidth\u003c\/li\u003e \u003cli\u003eEIN: \u0026lt;-130 dBu A-weighted 150 Ohm resistive source\u003c\/li\u003e \u003cli\u003eFrequency response: -3 dB \u0026lt; 1 Hz and \u0026gt; 100 kHz\u003c\/li\u003e \u003cli\u003eTHD: \u0026lt;0.02% at 1 kHz\u003c\/li\u003e \u003cli\u003eInput impedance: 10k Ohms\u003c\/li\u003e \u003cli\u003eBalanced line input impedance: 20k Ohms\u003c\/li\u003e \u003cli\u003eInput gain control: Twelve-position switch provides from +13 dB to +62 dB of gain for the preamplifier circuit, as measured between the input and the before the output line driver\u003c\/li\u003e \u003cli\u003eSwitched LF shelving filter: -3 dB break-frequency tunable from 18 Hz to 360 Hz; maximum reduction -20 dB\u003c\/li\u003e \u003cli\u003eSwitched CurveShape EQ: +3 dB 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\u003c\/li\u003e \u003cli\u003eColor LEDs: Green, Yellow, Red\u003c\/li\u003e \u003cli\u003eXLR output maximum level into 600Ω load: +28 dBu, balanced; 0 dBu = 0.7746 V RMS\u003c\/li\u003e \u003cli\u003eXLR connectors polarity: Pin-1 is ground, pin-2 is high, pin-3 is low\u003c\/li\u003e \u003cli\u003eLED signal level indicators: Green snaps on at -6 dBu, red snaps on at +23 dBu, and yellow varies in brightness with level from -3 dBu to +20 dBu\u003c\/li\u003e \u003c\/ul\u003e","brand":"AEA","offers":[{"title":"Default Title","offer_id":46834470649993,"sku":"457005","price":459.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0764\/8706\/5737\/files\/aea-rpq500-500-series-microphone-preamp-01439-used_457005_1.jpg?v=1780352301"},{"product_id":"aea-rpq500-500-series-microphone-preamp-01440-used","title":"AEA RPQ500 500 Series Microphone Preamp #01440 (Used)","description":"\u003cp\u003eThe \u003cstrong\u003eAEA RPQ500 500 Series\u003c\/strong\u003e module, 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.\u003c\/p\u003e  \u003ch3 id=\"toc_0\"\u003eTWO PEAS IN A POD: MUSICAL PREAMP, SWEET EQ\u003c\/h3\u003e  \u003cp\u003eThe 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.\u003c\/p\u003e  \u003cp\u003eThe 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.\u003c\/p\u003e  \u003ch3 id=\"toc_1\"\u003eYOUR SOUND AT YOUR FINGERTIPS\u003c\/h3\u003e  \u003cp\u003eWith 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.\u003c\/p\u003e    \u003ch3 id=\"toc_3\"\u003eTECHNICAL DETAILS:\u003c\/h3\u003e  \u003cul\u003e \u003cli\u003eGain at 1 kHz: 81 dB of gain at 1kHz balanced-in to balanced-out in Microphone Input Mode\u003c\/li\u003e \u003cli\u003eNoise figure RMS A-weighted: \u0026lt;2 dB\u003c\/li\u003e \u003cli\u003eNoise figure RMS unweighted: \u0026lt;3 dB 20 kHz LPF bandwidth\u003c\/li\u003e \u003cli\u003eEIN: \u0026lt;-130 dBu A-weighted 150 Ohm resistive source\u003c\/li\u003e \u003cli\u003eFrequency response: -3 dB \u0026lt; 1 Hz and \u0026gt; 100 kHz\u003c\/li\u003e \u003cli\u003eTHD: \u0026lt;0.02% at 1 kHz\u003c\/li\u003e \u003cli\u003eInput impedance: 10k Ohms\u003c\/li\u003e \u003cli\u003eBalanced line input impedance: 20k Ohms\u003c\/li\u003e \u003cli\u003eInput gain control: Twelve-position switch provides from +13 dB to +62 dB of gain for the preamplifier circuit, as measured between the input and the before the output line driver\u003c\/li\u003e \u003cli\u003eSwitched LF shelving filter: -3 dB break-frequency tunable from 18 Hz to 360 Hz; maximum reduction -20 dB\u003c\/li\u003e \u003cli\u003eSwitched CurveShape EQ: +3 dB 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\u003c\/li\u003e \u003cli\u003eColor LEDs: Green, Yellow, Red\u003c\/li\u003e \u003cli\u003eXLR output maximum level into 600Ω load: +28 dBu, balanced; 0 dBu = 0.7746 V RMS\u003c\/li\u003e \u003cli\u003eXLR connectors polarity: Pin-1 is ground, pin-2 is high, pin-3 is low\u003c\/li\u003e \u003cli\u003eLED signal level indicators: Green snaps on at -6 dBu, red snaps on at +23 dBu, and yellow varies in brightness with level from -3 dBu to +20 dBu\u003c\/li\u003e \u003c\/ul\u003e","brand":"AEA","offers":[{"title":"Default Title","offer_id":46834470682761,"sku":"457006","price":459.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0764\/8706\/5737\/files\/aea-rpq500-500-series-microphone-preamp-01440-used_457006_1.jpg?v=1780352303"},{"product_id":"aea-rpq500-500-series-microphone-preamp-01441-used","title":"AEA RPQ500 500 Series Microphone Preamp #01441 (Used)","description":"\u003cp\u003eThe \u003cstrong\u003eAEA RPQ500 500 Series\u003c\/strong\u003e module, 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.\u003c\/p\u003e  \u003ch3 id=\"toc_0\"\u003eTWO PEAS IN A POD: MUSICAL PREAMP, SWEET EQ\u003c\/h3\u003e  \u003cp\u003eThe 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.\u003c\/p\u003e  \u003cp\u003eThe 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.\u003c\/p\u003e  \u003ch3 id=\"toc_1\"\u003eYOUR SOUND AT YOUR FINGERTIPS\u003c\/h3\u003e  \u003cp\u003eWith 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.\u003c\/p\u003e    \u003ch3 id=\"toc_3\"\u003eTECHNICAL DETAILS:\u003c\/h3\u003e  \u003cul\u003e \u003cli\u003eGain at 1 kHz: 81 dB of gain at 1kHz balanced-in to balanced-out in Microphone Input Mode\u003c\/li\u003e \u003cli\u003eNoise figure RMS A-weighted: \u0026lt;2 dB\u003c\/li\u003e \u003cli\u003eNoise figure RMS unweighted: \u0026lt;3 dB 20 kHz LPF bandwidth\u003c\/li\u003e \u003cli\u003eEIN: \u0026lt;-130 dBu A-weighted 150 Ohm resistive source\u003c\/li\u003e \u003cli\u003eFrequency response: -3 dB \u0026lt; 1 Hz and \u0026gt; 100 kHz\u003c\/li\u003e \u003cli\u003eTHD: \u0026lt;0.02% at 1 kHz\u003c\/li\u003e \u003cli\u003eInput impedance: 10k Ohms\u003c\/li\u003e \u003cli\u003eBalanced line input impedance: 20k Ohms\u003c\/li\u003e \u003cli\u003eInput gain control: Twelve-position switch provides from +13 dB to +62 dB of gain for the preamplifier circuit, as measured between the input and the before the output line driver\u003c\/li\u003e \u003cli\u003eSwitched LF shelving filter: -3 dB break-frequency tunable from 18 Hz to 360 Hz; maximum reduction -20 dB\u003c\/li\u003e \u003cli\u003eSwitched CurveShape EQ: +3 dB 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\u003c\/li\u003e \u003cli\u003eColor LEDs: Green, Yellow, Red\u003c\/li\u003e \u003cli\u003eXLR output maximum level into 600Ω load: +28 dBu, balanced; 0 dBu = 0.7746 V RMS\u003c\/li\u003e \u003cli\u003eXLR connectors polarity: Pin-1 is ground, pin-2 is high, pin-3 is low\u003c\/li\u003e \u003cli\u003eLED signal level indicators: Green snaps on at -6 dBu, red snaps on at +23 dBu, and yellow varies in brightness with level from -3 dBu to +20 dBu\u003c\/li\u003e \u003c\/ul\u003e","brand":"AEA","offers":[{"title":"Default Title","offer_id":46834470715529,"sku":"457007","price":459.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0764\/8706\/5737\/files\/aea-rpq500-500-series-microphone-preamp-01441-used_457007_1.jpg?v=1780352305"},{"product_id":"aea-rpq500-500-series-microphone-preamp-0309-used","title":"AEA RPQ500 500 Series Microphone Preamp #0309 (Used)","description":"\u003cp\u003eThe \u003cstrong\u003eAEA RPQ500 500 Series\u003c\/strong\u003e module, 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.\u003c\/p\u003e  \u003ch3 id=\"toc_0\"\u003eTWO PEAS IN A POD: MUSICAL PREAMP, SWEET EQ\u003c\/h3\u003e  \u003cp\u003eThe 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.\u003c\/p\u003e  \u003cp\u003eThe 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.\u003c\/p\u003e  \u003ch3 id=\"toc_1\"\u003eYOUR SOUND AT YOUR FINGERTIPS\u003c\/h3\u003e  \u003cp\u003eWith 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.\u003c\/p\u003e    \u003ch3 id=\"toc_3\"\u003eTECHNICAL DETAILS:\u003c\/h3\u003e  \u003cul\u003e \u003cli\u003eGain at 1 kHz: 81 dB of gain at 1kHz balanced-in to balanced-out in Microphone Input Mode\u003c\/li\u003e \u003cli\u003eNoise figure RMS A-weighted: \u0026lt;2 dB\u003c\/li\u003e \u003cli\u003eNoise figure RMS unweighted: \u0026lt;3 dB 20 kHz LPF bandwidth\u003c\/li\u003e \u003cli\u003eEIN: \u0026lt;-130 dBu A-weighted 150 Ohm resistive source\u003c\/li\u003e \u003cli\u003eFrequency response: -3 dB \u0026lt; 1 Hz and \u0026gt; 100 kHz\u003c\/li\u003e \u003cli\u003eTHD: \u0026lt;0.02% at 1 kHz\u003c\/li\u003e \u003cli\u003eInput impedance: 10k Ohms\u003c\/li\u003e \u003cli\u003eBalanced line input impedance: 20k Ohms\u003c\/li\u003e \u003cli\u003eInput gain control: Twelve-position switch provides from +13 dB to +62 dB of gain for the preamplifier circuit, as measured between the input and the before the output line driver\u003c\/li\u003e \u003cli\u003eSwitched LF shelving filter: -3 dB break-frequency tunable from 18 Hz to 360 Hz; maximum reduction -20 dB\u003c\/li\u003e \u003cli\u003eSwitched CurveShape EQ: +3 dB 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\u003c\/li\u003e \u003cli\u003eColor LEDs: Green, Yellow, Red\u003c\/li\u003e \u003cli\u003eXLR output maximum level into 600Ω load: +28 dBu, balanced; 0 dBu = 0.7746 V RMS\u003c\/li\u003e \u003cli\u003eXLR connectors polarity: Pin-1 is ground, pin-2 is high, pin-3 is low\u003c\/li\u003e \u003cli\u003eLED signal level indicators: Green snaps on at -6 dBu, red snaps on at +23 dBu, and yellow varies in brightness with level from -3 dBu to +20 dBu\u003c\/li\u003e \u003c\/ul\u003e","brand":"AEA","offers":[{"title":"Default Title","offer_id":46834471567497,"sku":"480652","price":549.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0764\/8706\/5737\/files\/aea-rpq500-500-series-microphone-preamp-0309-used_480652_1.jpg?v=1780352353"},{"product_id":"aea-rpq500-500-series-microphone-preamp-0995-used","title":"AEA RPQ500 500 Series Microphone Preamp #0995 (Used)","description":"\u003cp\u003eThe \u003cstrong\u003eAEA RPQ500 500 Series\u003c\/strong\u003e module, 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.\u003c\/p\u003e  \u003ch3 id=\"toc_0\"\u003eTWO PEAS IN A POD: MUSICAL PREAMP, SWEET EQ\u003c\/h3\u003e  \u003cp\u003eThe 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.\u003c\/p\u003e  \u003cp\u003eThe 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.\u003c\/p\u003e  \u003ch3 id=\"toc_1\"\u003eYOUR SOUND AT YOUR FINGERTIPS\u003c\/h3\u003e  \u003cp\u003eWith 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.\u003c\/p\u003e    \u003ch3 id=\"toc_3\"\u003eTECHNICAL DETAILS:\u003c\/h3\u003e  \u003cul\u003e \u003cli\u003eGain at 1 kHz: 81 dB of gain at 1kHz balanced-in to balanced-out in Microphone Input Mode\u003c\/li\u003e \u003cli\u003eNoise figure RMS A-weighted: \u0026lt;2 dB\u003c\/li\u003e \u003cli\u003eNoise figure RMS unweighted: \u0026lt;3 dB 20 kHz LPF bandwidth\u003c\/li\u003e \u003cli\u003eEIN: \u0026lt;-130 dBu A-weighted 150 Ohm resistive source\u003c\/li\u003e \u003cli\u003eFrequency response: -3 dB \u0026lt; 1 Hz and \u0026gt; 100 kHz\u003c\/li\u003e \u003cli\u003eTHD: \u0026lt;0.02% at 1 kHz\u003c\/li\u003e \u003cli\u003eInput impedance: 10k Ohms\u003c\/li\u003e \u003cli\u003eBalanced line input impedance: 20k Ohms\u003c\/li\u003e \u003cli\u003eInput gain control: Twelve-position switch provides from +13 dB to +62 dB of gain for the preamplifier circuit, as measured between the input and the before the output line driver\u003c\/li\u003e \u003cli\u003eSwitched LF shelving filter: -3 dB break-frequency tunable from 18 Hz to 360 Hz; maximum reduction -20 dB\u003c\/li\u003e \u003cli\u003eSwitched CurveShape EQ: +3 dB 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\u003c\/li\u003e \u003cli\u003eColor LEDs: Green, Yellow, Red\u003c\/li\u003e \u003cli\u003eXLR output maximum level into 600Ω load: +28 dBu, balanced; 0 dBu = 0.7746 V RMS\u003c\/li\u003e \u003cli\u003eXLR connectors polarity: Pin-1 is ground, pin-2 is high, pin-3 is low\u003c\/li\u003e \u003cli\u003eLED signal level indicators: Green snaps on at -6 dBu, red snaps on at +23 dBu, and yellow varies in brightness with level from -3 dBu to +20 dBu\u003c\/li\u003e \u003c\/ul\u003e","brand":"AEA","offers":[{"title":"Default Title","offer_id":46834471600265,"sku":"480651","price":549.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0764\/8706\/5737\/files\/aea-rpq500-500-series-microphone-preamp-0995-used_480651_1.jpg?v=1780352355"},{"product_id":"aea-rpq503-500-series-preamp-with-eq","title":"AEA RPQ503 500 Series Preamp with EQ","description":"500-series mic preamp. **SPECIAL ORDER**","brand":"AEA","offers":[{"title":"Default Title","offer_id":46834472648841,"sku":"487314","price":749.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0764\/8706\/5737\/files\/aea-rpq503_487314_1.jpg?v=1780352426"},{"product_id":"aea-a840-active-ribbon-microphone","title":"AEA A840 Active Ribbon Microphone","description":"\u003cp\u003eThe \u003cspan style=\"font-weight: bold;\"\u003eAEA A840\u003c\/span\u003e is different from other microphones.  One listen and the AEA A840 stands out with its big, clean sound. It’s an ideal spot mic with its tight pattern, smooth extended top, and less proximity bass boost than the R44 and A440.  The A840 effortlessly handles a broad range of applications from accent to ensemble.\u003cbr\u003e\u003cbr\u003e\u003cspan style=\"font-weight: bold;\"\u003eFeatures:\u003c\/span\u003e\u003c\/p\u003e\r\n\u003cul\u003e\r\n\u003cli\u003eHigh output\u003c\/li\u003e\r\n\u003cli\u003eCompatibility with any preamp and input source\u003c\/li\u003e\r\n\u003cli\u003eLow self noise of 17.5 dB (A)\u003c\/li\u003e\r\n\u003cli\u003eFast, accurate transient reproduction\u003c\/li\u003e\r\n\u003cli\u003eHigh SPL capability of 141 dB\u003c\/li\u003e\r\n\u003cli\u003eSingle-diaphragm with well-controlled, native figure-8 polar pattern\u003c\/li\u003e\r\n\u003cli\u003eWide-band response from below 20 Hz to beyond 20 kHz\u003c\/li\u003e\r\n\u003c\/ul\u003e\r\n\u003cp\u003eThe AEA A840 and other AEA Big Ribbon mics are excellent digital recording tools.  Digital has different limitations than analog.  The digital recording process is capable of preserving razor sharp details for generations.  So it makes sense to use microphones that fit well into the final mix from the start. AEA Big Ribbon mics with their smooth, natural and easy-to-EQ sound have enjoyed a rebirth as digital recording has blossomed.\u003cbr\u003e\u003cbr\u003eOver 30 years of servicing ribbon mics taught AEA what users like, and they all like the big sound of the RCA 44.  Preserving and reintroducing that sound became an AEA mission.  The AEA R44 and A440s, robust, heavy, and expensive to manufacture, are now in daily use worldwide.  But that’s just the beginning of the story.\u003cbr\u003e\u003cbr\u003e\u003cspan style=\"font-weight: bold;\"\u003eHow can AEA preserve and update that Big Ribbon sound in a more affordable package using new technologies?\u003c\/span\u003e\u003cbr\u003eThe A840 uses the same big ribbon as the A440, is 5 pounds lighter, and less bulky.  Due to its active JFET impedance buffer circuitry the new A840 is insensitive to lower preamp input impedances.  The high output sensitivity reduces noise and allows long cable runs.  This allows you to use your favorite tube preamp without compromising your classic ribbon sound.  Designed for accent and solo work, its bass proximity effect is less pronounced and the upper 10 to 20 kHz octave is stronger than the A440.\u003cbr\u003e\u003cbr\u003e\u003cspan style=\"font-weight: bold;\"\u003eWhy do the AEA Big Ribbon mics sound so different when compared to other microphones?\u003c\/span\u003e\u003cbr\u003eClassic condenser diaphragms are radially stretched.  They typically have sharp, narrow resonances in the 8 to 12 kHz range, the sound quality we refer to as “tizz”. AEA  Big Ribbon mics use a long rectangular diaphragm clamped only at the ends and tensioned lightly with a fundamental resonance below 20 Hz.  Less than 80 millionths of an inch thick, AEA's ultra low mass transducer has extended bass, excellent transient response and few resonances.  It’s one of the most sensitive and accurate transducers possible. Many have commented that AEA mics record exactly what your ear hears.  Excellent headroom and low distortion allow close micing with an A840 without sounding brittle. Additionally the smooth, non-resonant high end provides engineers considerable EQ flexibility. \u003c\/p\u003e","brand":"AEA","offers":[{"title":"Default Title","offer_id":47247305670793,"sku":"13205","price":1553.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0764\/8706\/5737\/files\/aea_a840_zoom.jpg?v=1784052404"},{"product_id":"aea-r44cne","title":"AEA R44 CNE","description":"\u003cp\u003eThe \u003cstrong\u003eAEA R44CNE\u003c\/strong\u003e has the authentic sound, feel, and the look of a vintage RCA 44B and all parts interchange.  The ribbon element is only 1.8 microns thick, fabricated from NOS (New Old Stock) material originally manufactured for RCA. A black \/ bright chrome \"radio\" finish is standard.  The microphone package includes a cushion mount and AEA custom vertical storage and shipping case.  Each R44CNE is built to order and is individually numbered and signed.  The best part is that the sound will bring you right back to Bing Crosby singing \"White Christmas\" or breathe life into modern guitar parts, vocals and even drums!\u003c\/p\u003e","brand":"AEA","offers":[{"title":"Default Title","offer_id":47247305703561,"sku":"100","price":2790.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0764\/8706\/5737\/files\/aea_r44_cne.jpg?v=1784052403"},{"product_id":"aea-a440-ribbon-microphone","title":"AEA A440 Active Ribbon Microphone","description":"\u003cp\u003eThe \u003cstrong\u003eAEA A440\u003c\/strong\u003e is a preamp-flexible, Phantom-powered version of the R44 with 18 dB of extra output. It is custom-painted with the RCA classic umber-colored transformer case. It is complete with a custom Lehle transformer, RPQ JFET preamp electronics and the \"X\" motor hotrod and is the quietest ribbon microphone ever manufactured. It retains the same sonic character of the passive R44C, but with an additional 18 dB of output and greater flexibility with different preamps. Many engineers favor their A440s over their vintage RCA 44s due to the advantages in noise performance.\u003c\/p\u003e\r\n\r\n\u003cp\u003eAt the low frequency end the A440 delivers bass with effortless authority. It has a flat frequency response and holds an accurate figure-eight polar pattern down to 20 Hz. The A440 has a smooth and articulate midrange, and at the high end, transients are quick and detailed without hard edges.\u003c\/p\u003e\r\n\r\n\u003ch3 id=\"toc_0\"\u003eTHE LEGENDARY BIG RIBBON SOUND\u003c\/h3\u003e\r\n\r\n\u003cp\u003eThe AEA A440 maintains an iconic legacy of great ribbon mics by delivering a rich sound full of character and color. Effective on a broad range of instruments and rooms, it bolsters mids and lows while smoothing harsh high frequencies to produce a multi-dimensional sound unlike that of any microphone the world over. Used on everything from crooning vocalists to full orchestras, the A440 is the ideal choice to capture the tone of any voice or instrument while imparting its legendary ribbon character.\u003c\/p\u003e","brand":"AEA","offers":[{"title":"Default Title","offer_id":47247305769097,"sku":"9621","price":6999.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0764\/8706\/5737\/files\/aea-a440-mic-23_9621_1_1_0d265e61-436e-4b2f-afe1-731a1e4da752.jpg?v=1784052404"},{"product_id":"aea-r44c","title":"AEA R44C Bi-Directional Ribbon Microphone","description":"\u003cp\u003eThe R44 is one of those rare mics that has remained relatively unchanged from its inception, and still sounds great some 75 years later. Wes Dooley, a specialist in ribbon mics of all kinds, has now restored the 44 type microphone to its rightful position in the studio. After tracking down the engineers who designed and built the original RCA 44, AEA acquired ribbon material, made the tooling and custom machined all the parts necessary to build the original RCA 44 B\/BX design to its original specifications, just as it was in the 1930s.\u003c\/p\u003e\r\n\u003cp\u003eThe \u003cstrong\u003eAEA R44C\u003c\/strong\u003e is an exact replica of the RCA 44 born from years of experience are built to RCA specifications and The R44C is an exact replica of the RCA 44 born from years of experience with RCA repairs. All components are built to RCA specifications and the sonic quality is entirely true to the original. To record with an AEA R44C is to participate in the legacy of the most iconic ribbon mic in music history. the original. To record with an AEA R44C is to participate in the legacy of the most iconic ribbon\u003c\/p\u003e\r\n\u003ch3 id=\"toc_0\"\u003eVINTAGE STYLE AND SOUND\u003c\/h3\u003e\r\n\u003cp\u003eRCA 44 ribbon microphones have remained an essential part of studio life well after RCA stopped manufacturing them in 1955. The sound and response of the 44 B\/BX were unlike anything else available, and was cherished for its smoothness, forgiving nature and unique tonal balance. As collectors began to buy up the supply of RCA 44's through the 90's, the availability of this wonderful ribbon mic to the studio was greatly endangered.\u003c\/p\u003e\r\n\u003ch3 id=\"toc_1\"\u003eBUILT FROM ORIGINAL RCA-STOCK RIBBON\u003c\/h3\u003e\r\n\u003cp\u003eThe 44 was RCA's best microphone from the 1930s into the '50s. Is AEA's R44 that good? Both listeners and measurements say that the R44 is better and AEA has been listening to both users and ex-RCA engineers for over 25 years. They start by using only ribbon material originally manufactured for RCA. This is the best way to ensure that AEA's R44 ribbon mics are as close as humanly possible to vintage RCA 44s.\u003c\/p\u003e\r\n\u003ch3 id=\"toc_2\"\u003eIMPLEMENTS THE BEST OF VINTAGE DESIGN WITH MODERN TOUCHES\u003c\/h3\u003e\r\n\u003cp\u003eNext, they use modern magnet technology which is much more robust than period magnets. AEA also combined the original American undamped ribbon design with the British RCA 44 innovations that lower the weight and hum sensitivity. The R44 design runs contrary to all current ribbon microphone manufacturing. It is large and heavy when other microphones are smaller and lighter. The internal ribbon element is by far the longest and its resonance tuning the lowest of today's ribbon microphones. It is a pure undamped ribbon design, an approach that has been out of production for over 50 years while remaining in continuous studio use. It is different, and its sound is unique.\u003c\/p\u003e\r\n\u003ch3 id=\"toc_3\"\u003eGREAT FOR A VARIETY OF USES\u003c\/h3\u003e\r\n\u003cp\u003eThe R44 sounds good on everything. Leave it out and use it whenever you need to do a quick take. Bruce Swedien particularly likes them on vocals, Joe Chicarelli on sax, Allen Sides on electric guitar. Everyone has a favorite use and everyone finds they sound good anywhere: brass, woodwinds, percussion, strings or voice work.\u003c\/p\u003e","brand":"AEA","offers":[{"title":"Default Title","offer_id":47247305736329,"sku":"99","price":4699.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0764\/8706\/5737\/files\/aea_r44c_zoom_d1547de3-4ff5-45bd-89d9-877d31cf7734.jpg?v=1784052403"},{"product_id":"aea-r84-matched-pair","title":"AEA R84 Ribbon Microphone - Matched Pair","description":"\u003cp\u003eBased on the character of the legendary R44, the \u003cstrong\u003eAEA R84 Ribbon Microphone\u003c\/strong\u003e provides classic tonality with extended top-end and reduced proximity effect for medium and close range recording.\u003c\/p\u003e\r\n\r\n\u003cp\u003eIn 2000, AEA sought to design a more compact, lighter and less expensive version of the hefty, eight-pound RCA 44BX. The result was the R84, which includes the best of the 44 series in a lower cost, three-pound package.\u003c\/p\u003e\r\n\r\n\u003cp\u003eThe R84 and original RCA 44 (now the R44C) share the same Big Ribbon element, transformer and other elements in the design. By using modern design techniques and stronger — but smaller — magnets in the R84, the classic RCA ribbon sound is retained.\u003c\/p\u003e\r\n\r\n\u003cp\u003eHowever, the R84 has improvements — including less proximity effect, better top end, vibration isolation and greater placement flexibility on tight stages and in studios. The mic’s U-shaped yoke acts as a shock mount and also enables the user to position the R84 at numerous angles even with a straight stand.\u003c\/p\u003e\r\n\r\n\u003ch3\u003eA WORKHORSE RIBBON\u003c\/h3\u003e\r\n\r\n\u003cp\u003eThe R84 series quickly endears itself to engineers and musicians due to its remarkably expansive frequency range complete with sweeping highs and booming lows.\u003c\/p\u003e\r\n\r\n\u003cp\u003eThe R84’s balanced and manageable proximity effect just feet away from the source bolsters the low end of vocals, drums, and brass. With a ribbon mic as multi-purpose, lightweight, and maneuverable as the R84, it is well-suited for both close-up and ambient mic applications.\u003c\/p\u003e\r\n\r\n\u003cp\u003eThe R84A retains the same sonic character of the R84 but offers an additional 12 dB of output and a stable impedance giving it even more flexibility when used with quiet sources and any preamp.\u003c\/p\u003e\r\n\r\n\u003ch3\u003eA MODERN CLASSIC\u003c\/h3\u003e\r\n\r\n\u003cp\u003eThe R84 is a staple in numerous recording studios because of its unique tonality and classic sound. Its smooth, high-frequency roll-off and reduced sibilance make it the go-to choice for engineers tracking vocals and other instruments that often sound harsh when recorded with condenser mics.\u003c\/p\u003e\r\n\r\n\u003cp\u003eThe R84’s gorgeous mid-range captures the unique qualities of many instruments with detailed elegance. Its large low end is perfect for beefing up the sound of drum kits or thickening up the bass in thin vocals. It’s a mic that works well on practically any voice or musical instrument, making it useful tool in both recording and broadcast studios.\u003c\/p\u003e","brand":"AEA","offers":[{"title":"Default Title","offer_id":47247305801865,"sku":"1664","price":2698.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0764\/8706\/5737\/files\/aea_r84_pair_zoom.jpg?v=1784052404"},{"product_id":"aea-r84-ribbon-single","title":"AEA R84 Ribbon Microphone","description":"\u003cp\u003eBased on the character of the legendary R44, the \u003cstrong\u003eAEA R84 Ribbon Microphone\u003c\/strong\u003e provides classic tonality with extended top-end and reduced proximity effect for medium and close range recording.\u003c\/p\u003e\r\n\r\n\u003cp\u003eIn 2000, AEA sought to design a more compact, lighter and less expensive version of the hefty, eight-pound RCA 44BX. The result was the R84, which includes the best of the 44 series in a lower cost, three-pound package.\u003c\/p\u003e\r\n\r\n\u003cp\u003eThe R84 and original RCA 44 (now the R44C) share the same Big Ribbon element, transformer and other elements in the design. By using modern design techniques and stronger — but smaller — magnets in the R84, the classic RCA ribbon sound is retained.\u003c\/p\u003e\r\n\r\n\u003cp\u003eHowever, the R84 has improvements — including less proximity effect, better top end, vibration isolation and greater placement flexibility on tight stages and in studios. The mic’s U-shaped yoke acts as a shock mount and also enables the user to position the R84 at numerous angles even with a straight stand.\u003c\/p\u003e\r\n\r\n\u003ch3\u003eA WORKHORSE RIBBON\u003c\/h3\u003e\r\n\r\n\u003cp\u003eThe R84 series quickly endears itself to engineers and musicians due to its remarkably expansive frequency range complete with sweeping highs and booming lows.\u003c\/p\u003e\r\n\r\n\u003cp\u003eThe R84’s balanced and manageable proximity effect just feet away from the source bolsters the low end of vocals, drums, and brass. With a ribbon mic as multi-purpose, lightweight, and maneuverable as the R84, it is well-suited for both close-up and ambient mic applications.\u003c\/p\u003e\r\n\r\n\u003cp\u003eThe R84A retains the same sonic character of the R84 but offers an additional 12 dB of output and a stable impedance giving it even more flexibility when used with quiet sources and any preamp.\u003c\/p\u003e\r\n\r\n\u003ch3\u003eA MODERN CLASSIC\u003c\/h3\u003e\r\n\r\n\u003cp\u003eThe R84 is a staple in numerous recording studios because of its unique tonality and classic sound. Its smooth, high-frequency roll-off and reduced sibilance make it the go-to choice for engineers tracking vocals and other instruments that often sound harsh when recorded with condenser mics.\u003c\/p\u003e\r\n\r\n\u003cp\u003eThe R84’s gorgeous mid-range captures the unique qualities of many instruments with detailed elegance. Its large low end is perfect for beefing up the sound of drum kits or thickening up the bass in thin vocals. It’s a mic that works well on practically any voice or musical instrument, making it useful tool in both recording and broadcast studios.\u003c\/p\u003e","brand":"AEA","offers":[{"title":"Default Title","offer_id":47247305834633,"sku":"112","price":1299.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0764\/8706\/5737\/files\/aea-r84_112_1_f4e86c05-ee0c-4020-91d8-8ee0ad772e86.jpg?v=1784052404"},{"product_id":"aea-r84-silver-limited-edition-sle","title":"AEA R84 Silver Limited Edition","description":"\u003cp\u003eTo commemorate 25 years of selling ribbon microphones, Audio Engineering Associates has created the \u003cspan style=\"font-weight: bold;\"\u003eAEA R84 Silver Limited Edition (SLE)\u003c\/span\u003e.  Two years ago AEA made a chrome R84 to display at trade shows.  Due to popular demand, they've decided to create a limited edition run in honor of twenty-five years of serving the ribbon microphone market.  The R84 SLE is limited to a run of only 125 units. \u003cbr\u003e \u003cbr\u003e The versatile \u003cspan style=\"font-weight: bold;\"\u003eAEA R84 Silver Limited Edition (SLE)\u003c\/span\u003e large ribbon microphone is suitable for a wide range of instruments, including brass, strings, percussion, electric guitar and bass.  At just 0.00007 of an inch the ultra-thin, low-tension ribbon element of the R84 ensures a quick response, whatever the application.  Capable of handling better than 165 dB SPL at higher frequencies, when used on vocals or instruments the R84 offers a performance that is intimate, warm and detailed, yet not ever harsh. \u003cbr\u003e\u003cbr\u003eThe AEA R84 is supplied in a complete system that includes a shock mount, 6' mic cable and sturdy foam-lined carrying case.  Weighing-in at under 2 lbs (0.9 Kg) and measuring 8\" (30 cm) tall and 2.7\" (7 cm) in diameter.\u003c\/p\u003e","brand":"AEA","offers":[{"title":"Default Title","offer_id":47247305867401,"sku":"15278","price":1103.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0764\/8706\/5737\/files\/aea_r84_sle_chrome_zoom.jpg?v=1784052403"},{"product_id":"aea-r88-microphone","title":"AEA R88 mk2 Stereo Ribbon Microphone","description":"\u003cp\u003eThe \u003cstrong\u003eAEA R88 mk2 Stereo Ribbon Microphone\u003c\/strong\u003e is optimized for recording instruments and ensembles in stereo.  The R88 uses the large ribbon configuration of the classic RCA 44 series mics, which gives the mic solid 20Hz bass response and a smooth high end which is flattering to complex tones.\u003c\/p\u003e\r\n\u003cp\u003eThere is no easier way to track in stereo than with a stereo microphone with two configured transducers in a single sleek package.  A stereo microphone is highly useful in recording situations in which it is more convenient or aesthetically pleasing to have a single housing for both capsules, such as for drum overheads or live concert recordings.\u003c\/p\u003e\r\n\u003cp\u003eThe R88 has a natural sound because it is the pure sound of two undamped long ribbons.  If the basic characteristics of a transducer element are in accordance with a few primary physical laws, it will sound good without requiring any extra acrobatics. The simpler the physics, the less adulterated the sound of a transducer will be because it will introduce fewer artifacts into the electrical signal that were\u003c\/p\u003e\r\n\u003ch3 id=\"toc_0\"\u003eR88 SERIES\u003c\/h3\u003e\r\n\u003cp\u003eR88 Series ribbon mics capture sound as your ears hear it, with an honest and open tonality. The R88 effortlessly record complex sources like drums, strings, piano, and other instruments that produce intricate transients, harsher highs, and bellowing lows.\u003c\/p\u003e\r\n\u003cp\u003eThe stereo R88 captures a space as it sounds live and in person, with all the present subtlety and nuance. Its expansive frequency response and balanced low end make it superbly effective when capturing the full breadth of sound from the back of a room or above a drum set.\u003c\/p\u003e\r\n\u003cp\u003eAlongside the mono AEA N8, it boasts the widest frequency range of any mic in the AEA lineup and effortlessly manages more complex source audio like drums, strings, piano, and other instruments that produce intricate transients, harsher highs, and bellowing lows. The Blumlein configuration of the ribbons allows for a sweeping range of perspective, so an entire ensemble and room can be captured by the R88 alone.\u003c\/p\u003e\r\n\u003ch3 id=\"toc_1\"\u003eTHE ENGINEER’S SECRET WEAPON\u003c\/h3\u003e\r\n\u003cp\u003eR88 Series mics are an engineer’s secret weapon, offering a level of detail and balance in recording like no other microphone available. Packaged in a sleek, five-pound black shell designed for quick setup, it’s an excellent choice for remote recording.\u003c\/p\u003e\r\n\u003cp\u003eParticularly well suited for the rock, roots, classical, Americana and jazz genres, R88 Series microphones have such versatility that engineers like John Cuniberti use it as their one mic to capture an entire band performing live in the same room. There is a reason that legendary Blackbird Studios in Nashville owns five R88s.\u003c\/p\u003e\r\n\u003ch3 id=\"toc_2\"\u003eA RICH HISTORY\u003c\/h3\u003e\r\n\u003cp\u003eThe design of the R88 Series borrows from serious stereo recording tradition. In 1931, EMI engineer Alan Blumlein invented stereo recording by demonstrating the natural reproduction of the soundstage in one of the Abbey Road studios in London.\u003c\/p\u003e\r\n\u003cp\u003eToday, Blumlein’s XY coincident recording technique lives on in the AEA R88 Series, which uses two figure-of-8 ribbons for producing an authentic representation of a performance. The pair of elements are angled in perfect phase at 90 degrees and mounted in close proximity to each other along the vertical axis of the microphone.\u003c\/p\u003e\r\n\u003cp\u003eAs an alternative to Blumlein’s technique, the microphone can also be used for mid-side (MS) stereo, providing excellent mono compatibility and full control over the width of the stereo image.\u003c\/p\u003e\r\n\u003cp\u003eEither way, the R88 Series is so easy to use that any recording novice can do it. Simply choose where to place the mic and hit record. It’s that easy.\u003c\/p\u003e","brand":"AEA","offers":[{"title":"Default Title","offer_id":47247305900169,"sku":"3003","price":2399.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0764\/8706\/5737\/files\/aea-r88-mk2-mic-23_3003_2_1_1.jpg?v=1784052404"},{"product_id":"aea-r92-ribbon-microphone","title":"AEA R92 Ribbon Microphone","description":"\u003cp\u003eOffering a classic ribbon character in the form of a near-field, the dual-tone \u003cstrong\u003eAEA R92\u003c\/strong\u003e functions as a versatile creative tool with innumerable possibilities. Similar in sound to the R84, but with a more pronounced midrange and minimized proximity effect, the R92 performs brilliantly when up close to brass, guitar amps, kick drum, and percussion. One side of the R92 yields a tonality distinct from the other, essentially providing two mics in one giving options on different sources. When supplemented with a brighter mic signal, the R92 serves to balance the scales in a mix with its low-end clarity and warm midrange.\u003c\/p\u003e\r\n\u003ch3 id=\"toc_0\"\u003eTWO SIDES — A CHOICE OF SONIC TONES\u003c\/h3\u003e\r\n\u003cp\u003eWith its dual sonic character, the R92 offers limitless creative options for capturing a signature sound. The front side offers a crisp sonic signature — tailored to have a bright sound. The back side is darker and smoother. It is ideal for taming harsh sounds such as trumpets and strings in a refined and flattering way. The bass reproduction of the mic extends to the lowest audible bass frequencies.\u003c\/p\u003e\r\n\u003ch3 id=\"toc_1\"\u003eNear-field mic with Character\u003c\/h3\u003e\r\n\u003cp\u003eThe R92 was designed to be positioned between 1 and 18 inches from the sound source. It retains a balanced frequency response across the spectrum with limited proximity effect. The R92 naturally reduces proximity effect while also avoiding the room tone that can cause problems in smaller spaces or iso booths.\u003c\/p\u003e\r\n\u003cp\u003eNaturally rolling off the low-end before it hits the ribbon creates a much different sound than using electronic equalization to roll off the low-end in post. In a traditional ribbon mic, the proximity effect can be so strong that it obscures the mid-range, which can be extremely difficult to correct.\u003c\/p\u003e\r\n\u003cp\u003eUnlike traditional ribbon mics, think of the R92s placement in terms of inches instead of feet. Of course, near-field mics can be positioned at a distance, but they have a more balanced sound close to the sound source.\u003c\/p\u003e\r\n\u003cp\u003eThe R92 not only handles the SPL levels of a high-gain amplifier and loud trombone with ease, but it also translates all the gritty details of an instrument that musicians seek.\u003c\/p\u003e\r\n\u003ch3 id=\"toc_2\"\u003eDESIGNED FOR EASY PLACEMENT\u003c\/h3\u003e\r\n\u003cp\u003eThe R92’s U-shaped yoke acts as a shock mount and also enables the user to position the mic at various angles even with a straight stand. This shock mount is attached to an integrated 360-degree swivel mount that enables easy setup and positioning in tight spaces. Weighing only two pounds, the R92 can easily be accommodated on cramped stages.\u003c\/p\u003e","brand":"AEA","offers":[{"title":"Default Title","offer_id":47247305932937,"sku":"4947","price":1199.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0764\/8706\/5737\/files\/aea-r92_4947_1_2.jpg?v=1784052404"},{"product_id":"aea-rpq-2-channel-ribbon-mic-preamp","title":"AEA RPQ 2 Channel Ribbon Mic Preamp","description":"\u003cp\u003eThe \u003cstrong\u003eAEA RPQ \u003c\/strong\u003ewith 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 contols that are tuneable and defeatable so that you can tame proximity problems and\/or add a little more to the top. \u003cbr\u003e\u003cbr\u003e The RPQ has the speed, quietness, and headroom needed for high resolution ribbon recordings, and it sounds good with condenser and moving coil mics.  AEA’s DC-coupled JFET topology delivers all the dynamics, subwoofer bass and fast transients that your ribbon and other mics are capable of.  Its discrete front end and integrated circuit architecture meld the quietness of solid state with an openness reminiscent of tubes. \u003cbr\u003e\u003cbr\u003e 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, and its exceptional No Load™ input impedance of over 10,000 Ω makes it an ideal active mic splitter. Mic splits usually load down, changing a mic’s sound, but not the RPQ.\u003cbr\u003e\u003cbr\u003e\u003cspan style=\"font-weight: bold;\"\u003eSpecifications:\u003c\/span\u003e\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003e80 dB of gain at 1 kHz, balanced-in to balanced-out\u003c\/li\u003e\n\u003cli\u003eNoise figure A-weighted \u0026lt; 2 dB, EIN \u0026lt; 129 dBu A-weighted\u003c\/li\u003e\n\u003cli\u003eFrequency response -3 dB \u0026lt;1 Hz and \u0026gt;200 kHz\u003c\/li\u003e\n\u003cli\u003e\u0026lt;.02 % THD at 1 kHz, 22 Hz to 22 kHz bandwidth\u003c\/li\u003e\n\u003cli\u003eBalanced mic input impedance \u0026gt;10 kΩ\u003c\/li\u003e\n\u003cli\u003eDC-coupled inputs protected from external P48 DC\u003c\/li\u003e\n\u003cli\u003eAC-coupled inputs with switchable P48 phantom power\u003c\/li\u003e\n\u003cli\u003eTwelve position stepped gain control from 7 to 55 dB\u003c\/li\u003e\n\u003cli\u003eTrim gain continuously adjustable from 0 to +19 dB\u003c\/li\u003e\n\u003cli\u003eSwitched 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