AEA AEA RPQ500 Owner'S Manual Download Page 1 | Manualshive

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AEA RPQ500

High Performance Preamp

Owner’s Manual

© December 2011

A

udio

E

ngineering

Associates

1029 N. Allen Ave. Pasadena CA 91104 www.ribbonmics.com Phone: (626) 798-9128 Fax: (626) 798-2378

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Summary of Contents for AEA RPQ500

Page 1: ...AEA RPQ500 High Performance Preamp Owner s Manual December 2011 Audio Engineering Associates 1029 N Allen Ave Pasadena CA 91104 www ribbonmics com Phone 626 798 9128 Fax 626 798 2378 ...

Page 2: ......

Page 3: ...dding 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 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...

Page 4: ...e slope of the Curve ShaperTM EQ varies interactively and directly with the boost frequency and gain settings 3 HF In switch OUT is bypass IN inserts the CurveShaperTM cir cuitry 4 HF Frequency control This continuously variable control adjusts the 3dB break frequency from 2 1 kHz to 26 kHz Figure 1 AEA RPQ500 Front Panel Diagram 2 1 8 3 5 7 4 6 9 10 11 ...

Page 5: ...7 dB to 56 dB of preamplifier gain as measured between the input and the unbalanced output 11 Output Gain control This continuously variable control provides up to 19 dB additional output gain in Mic Input Mode following the CurveShaper circuitry It acts as a fader and allows maximum attenua tion of the output signal in the full counter clockwise position Additonal 6 dB are applied by the balanced...

Page 6: ...m the XLR input connector straight to the optional CurveShaperTM circuitry and the Output Gain control ref 11 The Line Input Mode is indicated by the illuminated green LED above the Line Mic switch Microphone Input Mode With ribbon microphones moving coil dynamic microphones and any other microphones that do not use phantom power it is recommended that the Phantom Power switch ref 7 is set to the ...

Page 7: ...when unbalanced the maximum level is 22 dBu These are as measured into a 600Ω load the recommended load is 10kΩ 0 dBu 0 7746 V rms When unbalancing the XLR output pin 3 must be tied to ground at the receiving end i e the input of the following device Do not tie pin 3 to ground directly at the output of the RPQ500 1 2 3 Mic Input 1 2 3 Line Input 48 V Phantom On Off 7 10 13 17 21 26 31 36 41 45 51 ...

Page 8: ...ref 1 monitor the signal level at a point in the signal path just prior to the input of the balanced output driver The green LED comes on in the presence of low level signal the red LED turns on when you are approaching signal overload or clipping The yellow LED varies in brightness between the two to indicate the general signal level Start with the Output Gain control ref 11 fully clockwise and t...

Page 9: ...ive For ad ditional headroom the signal is attenuated by 6 dB prior to the EQ filter section and the Output Gain control The Output Gain control can either apply up to 19 dB of gain in the full clockwise position or can attenuate the signal as much as 64 dB just like a fader on a console The output line driver adds an additonal fixed gain of 6 dB following the Output Gain control The unity gain po...

Page 10: ...stance With some large transducer microphones such as the RCA 44 BX proximity effect begins at six feet and is extremely pronounced at a distance of one inch LF filters tame proximity effect and reduce other unwanted low frequen cy noise such as air conditioning rumble traffic noise P pops and breath noise noise However a fixed frequency constant slope low cut filter cannot handle all situations e...

Page 11: ...variable CurveShaperTM control ref 4 to tune the filter to the 3 dB break frequency at and above which you want to intro duce the boost Then dial in the amount of boost you desire with the HF Gain control ref 2 The two controls are interactive so as with the LF filter listen carefully to determine at what frequency and gain setting you achieve satisfactory results In Line Input Mode the CurveShape...

Page 12: ...dB break frequency tunable from 18 Hz to 360 Hz maximum reduction 20 dB Switched CurveShaperTM EQ 3dB break frequency tunable from 2 1 kHz to 26 kHz HF gain adjustable from 0 dB to 18 dB the slope of the HF filter varies interactively and directly with the CurveShaperTM frequency and gain settings XLR output maximum level into 600Ω load 28 dBu balanced 0 dBu 0 7746 V rms XLR connectors polarity pi...

Page 13: ...ied For warranty service either an existing registration must be already on file with AEA or an invoice from an AEA dealer showing the product se rial number must accompany the equipment when it is sent to AEA When returning equipment for service please download and complete a repair form from www ribbonmics com Please pack the equipment with at least three layers of large bubble wrap and ship to ...

Page 14: ...seum Quality Reproduction Our tribute to the classic RCA 44B using new old stock ribbon material AEA 44CX Microphone 6db more output for critical digital recordings AEA 44CE Microphone The R44CE and CXE contain the same motors as their mu seum quality counterparts but use a less expensive shell for those who are interested in having that 44 sound but would rather not pay for the museum quality tri...

Page 15: ...ent parts In North America AEA represents CB Electronics a leading world wide supplier of machine control equipment to the sound for picture industry Their products specialize in professional control of and translation between bi phase 9 pin serial and time code machines Their SR line provides low cost multiple machine remote controls for RS 422 Sony and Tascam DA88 protocol machines ...

Page 16: ...Audio Engineering Associates ...

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