Choosing the right preamp to pair with a mic is as critical as choosing which mic to use. People spend years adding to their microphone collection but don't always consider how their preamps influence the personality of their mics.
The AEA RPQ2 and RPQ500 preamps were designed to allow your microphones to do what they do best – record the sound of your instrument in its full glory.
After years of user feedback, we have improved the design of the RPQ and added additional features to our new RPQ2. The RPQ500 has been rebranded to match the look of the RPQ2, but electronically it remains the same.
Like our mics, we designed our preamps to have a natural and musical tonality. With their low noise and high-resolution, the RPQ2 and RPQ500's sweet and open sound are the key to unlocking the clarity in your microphones.
The RPQ2 and RPQ500’s high input impedance unleashes the full bandwidth, transient response, and clarity from your microphones. With a massive 81dB of sweet JFET gain, few preamps rival their output combined with their signal to noise ratio.
The RPQ2 and RPQ500’s CurveShaper EQ enables you to extend the high end by adding additional presence or “air” – a perfect match for ribbon mics. The low-frequency control’s shelving curve helps reduce proximity effect, opening up new possibilities for close-up microphone applications.
Many mixing and mastering engineers love using the RPQ2 and RPQ500 purely for their post-processing functionality. The Mic/Line switch allows you to patch into the CurveShaper EQ while tracking, mixing, and mastering. On the RPQ2, you can add effects between the preamp and EQ stage using its balanced inserts. With your instrument, it is easy to plug directly into the RPQ2’s high-Z front-panel DIs.
A passive ribbon mic is only as good as the preamp you match it with.
While the RPQ2 and RPQ500 excel with ribbon microphones, they shine on condensers and moving-coil dynamics as well. From top to bottom, the RPQ2 and RPQ500 were engineered to enhance the sound of all microphones.