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12

SETTING THE GAIN

The RPQ3’s minimalist JFET circuit design delivers up to 85 dB of 

clean, quiet gain. With extended bandwidth from below 10 Hz to 

beyond 200 kHz, it delivers effortless dynamic range and transient 

response that complements all microphones. 

As with any piece of audio equipment, setting and maintaining 

proper signal levels is critical to obtaining optimum performance. If 

the level is set too low, noise performance is sacrificed; if the level is 

too high, there’s a risk of overload distortion. 

Setting the AEA RPQ3 gain begins by setting the first stage GAIN 

and second stage OUTPUT knobs fully counterclockwise. The first 

stage GAIN control has 12 precision steps from +7 dB to +65 dB. 

The second stage OUTPUT potentiometer knob when all the way 

down (counterclockwise) adds no gain, and all the way up adds +20

 

dB. The three LEDs: green, yellow and red (ref.

 

#14) snap on at -20, 

0, and +20 dBu to indicate signal activity.

First Stage GAIN Control Adjustment

Connect the microphone and then, if needed, turn on phantom 

power. Have the performer(s) play a louder section and click up the 

GAIN (ref.

 

#2) until the yellow LED usually lights and the red LED 

rarely lights. 

Second Stage OUTPUT Gain Trim

The OUTPUT Control (ref. #4) potentiometer adjusts gain from 0 dB 

(unity gain) at the bottom to +20 dB gain when fully turned up. Like 

the 12-step GAIN control, the 0 dB and +20 dB OUTPUT positions 

are accurate and repeatable. Approximate OUTPUT gain at 9, 12, 

and 3 o’clock are +3 dB, +7 dB, and +17 dB. The red LED lights 

7

 dB 

before clipping with a balanced load, so listen carefully to see how it 

sounds when the red LED lights up more often.

We actively encourage users to visit 

AEAribbonmics.com

 to 

access our comprehensive collection of in-depth articles and 

tutorials featuring AEA pr

oducts

, along with a library of 

audio and video demonstrations of the pr

oducts

 in action.

Summary of Contents for RPQ3

Page 1: ...2 CHANNEL RIBBON PREAMP WITH EQ AEA RPQ3 OWNER S MANUAL But it s great on every mic ...

Page 2: ...neutral but is unlike other clean preamps because of its rich and musical tonality It offers up to 85 dB of effortless gain for any microphone as well as an expanded EQ section that allows you to finely tune your signal Your RPQ3 is 100 percent handcrafted in Pasadena California AEA is a family owned company with a small crew of skilled technicians many of whom are musicians themselves Proudly ind...

Page 3: ...CONTENTS 2 4 4 4 5 12 15 3 ...

Page 4: ...pen transparent and musical the RPQ3 is a versatile tool for the front end of any signal path As with all AEA electronics the circuit in the RPQ3 was designed by Fred Forssell SUPPORT If you should encounter any problems with your preamp or have questions regarding using the RPQ3 in specific applications please contact our customer support team at support ribbonmics com for the quickest response T...

Page 5: ...s are very particular about how they interact with preamps and their respective impedances play an important part in this Since passive ribbon microphones and some dynamic microphones generally have a very high impedance they are sensitive to what is referred to as loading The lower impedance a mic must drive the harder the mic has to work If the input impedance of a preamp is too close to the imp...

Page 6: ... applies full spec P48 phantom power to the input The red LED below the switch will indicate when P48 phantom power is engaged 4 Polarity Invert switch OUT is normal IN is inverted 5 Output Level control This continuously variable control provides up to 20 dB additional output gain following the optional CurveShaper EQ circuitry Fully counter clockwise 0 dB indicates unity 6 EQ IN switch OUT bypas...

Page 7: ... the LF Gain of the filter from 40 Hz to 675 Hz maximum LF reduction is 20 dB 11 High Frequency HF In switch OUT is bypass IN inserts the HF EQ circuitry The green LED below switch will indicate when HF EQ is engaged 12 High Frequency Curve Gain control This continuously variable control adjusts the HF gain from 20 dB to 20 dB the slope of the CurveShaper EQ varies as Curve Frequency and Curve Gai...

Page 8: ......

Page 9: ......

Page 10: ... for an optional dry signal recording as well D Balanced Input XLR Mic Input mode connector Male three pin XLR pin 1 is ground pin 2 is high and pin 3 is low Note Balanced 1 4 TRS is tip high ring low sleeve ground INSERT LINE INPUT MODE Line Input mode bypasses the mic preamp stage to accommodate line level signals Depressing the Insert switch bypasses the first gain stage and routes the signal f...

Page 11: ...t ref C simultaneously as an auxiliary output of the preamp gain stage Signals running through the XLR input ref D in Insert mode will pass through the preamp gain ref 2 stage and 1 4 Line Out In Insert mode sources plugged into the line connector will bypass the preamp gain stage and route through the optional CurveShaper EQ and Output Level control to the XLR Output The output of the RPQ3 emulat...

Page 12: ...he three LEDs green yellow and red ref 14 snap on at 20 0 and 20 dBu to indicate signal activity First Stage GAIN Control Adjustment Connect the microphone and then if needed turn on phantom power Have the performer s play a louder section and click up the GAIN ref 2 until the yellow LED usually lights and the red LED rarely lights Second Stage OUTPUT Gain Trim The OUTPUT Control ref 4 potentiomet...

Page 13: ...13 ...

Page 14: ...14 RPQ3 Single Line Drawing ...

Page 15: ...nd 160 kHz 0 0018 1 kHz 22 Hz 22 kHz 30 dB Gain 4 dBu output 27 dBu into 600 Ω load 68 kΩ 11 3 kΩ 50 Ω 20 dBu minimum gain 12 position switch from 7 dB to 65 dB Continuously variable from 0 dB to 20 dB First order shelving response 20 dB max boost cut high range 10 dB max boost cut low range Low frequency sweep continuously variable 40 Hz to 675 Hz High frequency sweep continuously variable 2 kHz ...

Page 16: ...AEARIBBONMICS COM RIBBONMICS INFO RIBBONMICS COM 626 798 9127 ...

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