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aea rpq500 review

0000787501 00000 n Both preamps were designed primarily to get the best from passive ribbon mics, and thus offer a more than generous amount of clean gain (83dB in the TRP, and 80dB in the RPQ), but of course they're more than capable when used with pretty much any other professional mic. �ݢ�?����Q[@0���\\�cm�L�R�� �ɮ�L-��ȇ�bĶ0�>8����t��P������ The RPQ500 is a powerhouse that provides unparalleled high gain with low-noise. 0000008069 00000 n The reason I've been writing about the RPQ is that the circuitry in the RPQ500 is, to all intents and purposes, the same — there's the same mic preamp path, the same mic/line switching, and both the high-pass and curve EQs are also present. j��JZп0ʎ��YU�%E�"Ƒ]^��lh ��O�6K�5�4�5����@�9@܁e����@�%��ř���SMDy�9�LW߫ _����4 =�8�`����@i]��Mr�ߑ�0-��x��Uc,���p�\J�^���cV��-qS��Hգ�M3�Zwe��������_����]Ҙ endstream endobj 209 0 obj 497 endobj 105 0 obj << /ArtBox [ 0 0 694.48801 841.89 ] /BleedBox [ 0 0 694.48801 841.89 ] /Contents [ 141 0 R 143 0 R 145 0 R 147 0 R 149 0 R 154 0 R 157 0 R 181 0 R ] /CropBox [ 0 0 694.48801 841.89 ] /MediaBox [ 0 0 694.48801 841.89 ] /Parent 98 0 R /Resources << /ColorSpace << /CS18 111 0 R /CS19 110 0 R /CS20 109 0 R /CS21 130 0 R /CS9 111 0 R /CS10 110 0 R /CS11 127 0 R /CS12 133 0 R /CS13 132 0 R /CS14 126 0 R /CS15 122 0 R /CS16 109 0 R /CS17 130 0 R /CS0 111 0 R /CS1 110 0 R /CS2 127 0 R /CS3 133 0 R /CS4 132 0 R /CS5 126 0 R /CS6 122 0 R /CS7 109 0 R /CS8 130 0 R >> /ExtGState << /GS49 166 0 R /GS50 182 0 R /GS51 183 0 R /GS52 184 0 R /GS53 185 0 R /GS54 186 0 R /GS55 187 0 R /GS56 188 0 R /GS57 189 0 R /GS58 190 0 R /GS59 191 0 R /GS60 192 0 R /GS61 164 0 R /GS62 193 0 R /GS63 194 0 R /GS64 195 0 R /GS65 196 0 R /GS66 197 0 R /GS67 198 0 R /GS68 199 0 R /GS69 200 0 R /GS70 201 0 R /GS71 202 0 R /GS72 203 0 R /GS73 204 0 R >> /Font << /T1_16 125 0 R /T1_17 128 0 R /T1_18 108 0 R /T1_19 112 0 R /T1_20 118 0 R /T1_21 114 0 R /T1_22 138 0 R /T1_23 140 0 R /C2_8 152 0 R >> /XObject << /Fm2 156 0 R /Im16 205 0 R >> /Properties << /MC4 206 0 R /MC5 207 0 R >> /ProcSet [ /PDF /Text /ImageC /ImageI ] >> /Rotate 0 /Thumb 94 0 R /TrimBox [ 0 0 694.48801 841.89 ] /Type /Page >> endobj 106 0 obj << /Ascent 932 /CapHeight 708 /CharSet (���*!L"K�T2�#�ւ�TK�tq�wGP��|\)-���A:�*�1�]�q�%[���y+�ǣ���\ Z�$� �*c��lWL4�\r������!��Lj/��OJd�0+bX2_\n*�;\\D�) /Descent -250 /Flags 32 /FontBBox [ -167 -250 1000 932 ] /FontFamily (� ��&= t�74�2) /FontFile3 170 0 R /FontName /PSVNKG+Avenir-Light /FontStretch /Normal /FontWeight 300 /ItalicAngle 0 /StemV 60 /Type /FontDescriptor /XHeight 462 >> endobj 107 0 obj << /Filter /FlateDecode /Length 448 >> stream 0000789391 00000 n 0000029657 00000 n The AEA RPQ500 is a 1-channel preamp module for ribbon condenser microphones. 0000785832 00000 n As you might expect, the combination is a good one. 0000013533 00000 n Plug it into AEA's RPQ500 microphone preamp module and get the most out of it! 0000824955 00000 n Furthermore, like the Cartec Pre-Q5 (probably the closest product in terms of functionality, but rather different in terms of the sonic options) reviewed elsewhere in this issue, this effectively offers two devices in a single module-space, which makes it very convenient. The frequency response of a passive ribbon mic tends to drop off rather earlier than that of, say, a condenser, but there's still information there if you have the tools to bring it out. The views expressed are those of the contributors and not necessarily those of the publishers. 0000010095 00000 n All rights reserved. 0000026460 00000 n Re: A DAW that allows you to use Melodyn plugin for mac... Re: Advice on ceiling-suspended microphone arrays. Q. Web site designed & maintained by PB Associates & SOS. 0000824981 00000 n 0000789663 00000 n 0000035414 00000 n 0000429347 00000 n 0000005851 00000 n 0000013625 00000 n 0000016016 00000 n PreSonus StudioLive 32SC Series III Mixing Console, Roger Mayer 500 Series: 68MP, 58LM, 456HD. 0000789121 00000 n 0000006679 00000 n Win! 0000002944 00000 n trailer << /Size 210 /Info 99 0 R /Encrypt 103 0 R /Root 102 0 R /Prev 1561667 /ID[<87e406ce16b1bb2d557600ec4ecc5fa5><1d2466a9fcbf53a4b137ae41be7c0643>] >> startxref 0 %%EOF 102 0 obj << /Type /Catalog /Pages 98 0 R /Metadata 100 0 R /AcroForm 104 0 R >> endobj 103 0 obj << /Filter /Standard /R 2 /O (a5,�Mn/�M�I3���y&�#nGT���Qeͩ) /U (3�n\r�E���Y�Y�����n��3�!4�d) /P -64 /V 1 /Length 40 >> endobj 104 0 obj << /Fields [ ] /DR << /Font << /ZaDb 91 0 R /Helv 92 0 R >> /Encoding << /PDFDocEncoding 93 0 R >> >> /DA (��"��z���n@Z) >> endobj 208 0 obj << /S 247 /T 617 /V 661 /Filter /FlateDecode /Length 209 0 R >> stream When Hugh Robjohns reviewed the original RPQ, he concluded that "this design just seems to extract the very best from ribbon mics of all kinds, and other dynamic mics too, but it also provides a sublime precision and neutrality for all microphone sources.” His only caveat, albeit slight, was the price — to obtain this quality of preamp, you had to buy the two-channel RPQ. 0000428964 00000 n Specifically designed for ribbon microphones, the RPQ500 excels at drawing out the warmth and lush sound that ribbons are uniquely known for. w�m�H���6^��|V���d� %PDF-1.4 %���� 0000014451 00000 n 0000016635 00000 n 0000022226 00000 n You may login with either your assigned username or your e-mail address. 0000026613 00000 n 0000007344 00000 n Mastering Essentials Part 4 - Mastering EQ: Balance, Don’t Match. 0000015213 00000 n 0000437952 00000 n 0000434537 00000 n 0000437787 00000 n The curve-shaper is a high-frequency parametric bell filter, which was created to enable you to draw the top end of a signal up. 0000789797 00000 n AEA knows ribbon mics, so I did some research and went with the RPQ500. 0000028351 00000 n 0000008914 00000 n 0000002796 00000 n 0000022249 00000 n The RPQ500 changes that. 0000009684 00000 n The RPQ, though, is much more than a mic preamp, as it offers true switchable mic/line inputs (not simply a padded signal running through the same circuitry) and, most intriguingly, some very handy EQ facilities, with both a high-pass filter and a high-frequency 'curve-shaper'. Mastering Essentials Part 3 - How loud should I master? With 81db of JFET output, the RPQ500 gives you enough juice to record soft sources without ever having to worry about noise. The contents of this article are subject to worldwide copyright protection and reproduction in whole or part, whether mechanical or electronic, is expressly forbidden without the prior written consent of the Publishers. 0000787365 00000 n ��L��&)�n:̫S� eZ�\.������ 0000023468 00000 n Great care has been taken to ensure accuracy in the preparation of this article but neither Sound On Sound Limited nor the publishers can be held responsible for its contents. 0000006739 00000 n Advice on ceiling-suspended microphone arrays. What do you mean by 'subsonic components'? All contents copyright © SOS Publications Group and/or its licensors, 1985-2020. 0000018001 00000 n 0000018424 00000 n Thus, with only these two EQ controls, the RPQ design gives you significant creative control over the sound you capture from any ribbon mic. 0000788175 00000 n It provides the oomph I needed. If you don't have a collection of ribbon mics, it's still a worthy purchase as a great mic-line preamp and a quality high-boost EQ in its own right.

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