TEST: AEA RPQ3

 The AEA RPQ3 is a microphone amplifier which, in addition to its function as a regular preamp, can show its strengths particularly when used with ribbon microphones.

The special nature of ribbon microphones

There is rarely a product group in the studio where opinions are so divided as with ribbon microphones. What for some represents the ultimate naturalness in terms of sound is out of the question for others due to the special frequency characteristics when it comes to the practical recording of instruments.

Here is a rough list of the special features of ribbon microphones, without claiming to be complete:

Advantages:

Without a doubt, the sound itself is one of the great advantages of this type of microphone, especially with high-quality ribbon microphones. The directional characteristic, which is set to a fixed figure of 8, inevitably brings a very large spatial aspect to the recording, which ensures a great naturalness in the reproduction.

For example, it is also possible to create a good-sounding combination of close-up and room recording by positioning the microphone very close to the dome when recording a guitar, for example, and thus capturing a high proportion of the direct sound, while at the same time also getting the same proportion of the room from the back of the microphone on the recording. This ensures a very natural sound and, especially in rooms that sound good, a very pleasant listening experience.

In addition, a ribbon microphone is usually very fine in its resolution and manages to capture even the last fine breaths and smacks in the signal path when recording vocals, for example. Last but not least, you can also record two instruments at once with a ribbon microphone. For example, I have often seen a ribbon microphone positioned between the two hanging toms on a drum kit, for example to save a microphone channel.

Disadvantages:

In the minus range, however, the ribbon microphone also has a few points that make working with this type of microphone more difficult. Firstly, there is the consistently high sensitivity of these types of microphone, which is why you see these microphones comparatively rarely in live situations. Dropping a microphone, which is practically no problem with a dynamic microphone, for example, can destroy a ribbon microphone, assuming it is not specifically built for live use.

The microphone is also very sensitive to accidentally applied phantom power. There are also ribbon microphones that are specifically built for phantom operation, but this represents a very small minority. The majority are destroyed within seconds by the phantom power applied.

The two biggest disadvantages, however, one of which is specifically addressed by the AEA RPQ3 microphone amplifier presented here for testing, is the enormous bass-heavy nature of the ribbon microphone and the associated extremely low output power. In fact, most microphone preamplifiers, which on average provide up to 60 dB of gain, are working at the absolute limit of adequately amplifying a ribbon microphone that has to transmit a quiet signal.

The concept of the AEA RPQ3

This is where the concept of the AEA RPQ3 amplifier comes in, which is not designed and manufactured by the company AEA in Pasadena / USA for nothing. The company AEA has an extensive portfolio of in-house ribbon microphones and has built up a very good reputation in this area in recent years.

It is obvious that such a company is familiar with the problems of a ribbon microphone, which is why this microphone preamplifier actually provides up to 85 dB gain. This is a value that I personally have never seen in a 19-inch microphone preamplifier. The gain value on the 2-channel amplifier is set using an extremely stiff rotary control, which works in 5 or 6 dB steps from 7 to 85 dB. Using the output control, the level can be looped through at 0 dB, or amplified by up to 20 dB. A three-digit LED chain informs the user how much level is present on the device. Green means minus 20 dBu, yellow 0 dBu, red means plus 20 dBu. What may seem a bit spartan at first glance with regard to the LEDs turns out to be relatively easy to handle in practice.

Both channels have two bandpass filters each, the operating point of which can be continuously adjusted between 40 Hz and 675 Hz, or 2 kHz and 28 kHz, using pleasantly stiff controls. Both filters can be activated or deactivated independently of one another using switches, or placed in the signal path using a master switch.

The rear connections of the AEA RPQ3 are traditional but effective. In addition to the loop-in path, which will be mentioned later, we have lockable inputs and outputs in XLR format, which are of high quality. There is also a voltage selector switch that allows you to choose between North American and European voltages, a IEC socket and a corresponding fine-wire fuse.

The preamp also has the usual standard equipment, such as phantom power per channel (red switch) and a phase reversal, which can be activated if required. However, the product also has several special features in its repertoire, which we will go into in more detail shortly.

The special features of the AEA RPQ3

As the company AEA has a wealth of experience with ribbon mics and their special sound characteristics due to its history, you can see from the fact that each channel has a gain switch, which allows ±10 dB in the treble EQ and ±20 dB in the bass EQ. With this extensive sound control, you can tackle the bass-heavy nature of the ribbon microphones very well.

Another special feature is the use of an effects loop, which is attached to the back of the housing. The TRS inputs and outputs allow the signal to be branched off before the equalizer and the output controller or the signal to be fed back after the same components. This means that various signal processors such as additional EQs or compressors can be integrated into the signal path of the preamplifier.

Another special feature is that the output of the insert always carries the signal, regardless of whether the insert on the front of the housing is activated or deactivated using the switch. This makes it possible to forward the signal routed in the daisy chain process to additional input sources during recording.

The AEA RPQ3 in practice

To say it right away, yes, the AEA RPQ3 is indeed suitable for any type of microphone, but the microphone amplifier can only really show its full strengths with a ribbon microphone. The possibility of pre-amplification with up to 85 dB actually gives the device a unique selling point that is rarely found these days. Of course, it is not necessary to have this type of pre-amplification available all the time, but it is incredibly reassuring to know that you can actually manage any type of signal flow from any type of microphone in your studio.

It is also noticeable that the two equalizers per channel tackle the signal relatively discreetly. Even with heavy processing, the signal takes on more of a coloration than it is actually distorted in terms of frequency in the sense of an equalizer. It is therefore in the manufacturer's interest that the original sound of the microphone is preserved and that the basic sound of the microphone is only slightly interfered with if necessary. Really bending the frequency curve is not possible with these equalizers, but it is not necessary either.

It is also very pleasant to note that the AER RPQ3 remains completely free of background noise even at high gain levels due to the high-quality components used. Once you have got used to the unusual handling of the gain control, the product is an absolute no-brainer with which you can do little wrong and a lot right.

I also really like the concept of the loop path, as with just a few simple steps and the use of external components such as compressors, equalizers or de-essers, you can quickly blow up the microphone preamp to a complete channel strip, which turns out to be very useful in practice.

Conclusion

With the AEA RPQ3, the American manufacturer has a preamp in its portfolio that is specifically designed for ribbon microphones. The extremely high preamplification of up to 85 dB allows optimal adaptation to the design of the ribbon mics and enables good signal routing even with quiet signals.

Highly recommended, especially since the microphone amplifier also cuts a fine figure with regular microphones.

——————

Additional Informations:

AEA Audio, short for Audio Engineering Associates, is a renowned name in the world of professional audio, known primarily for its expertise in ribbon microphones. Founded by Wes Dooley, AEA has made significant contributions to the field of audio engineering, offering high-quality recording equipment that has become a staple in studios worldwide. This article delves into the history, products, and impact of AEA Audio, highlighting its commitment to innovation and excellence.

## History and Founding

AEA Audio was established in 1964 by Wes Dooley, a passionate audio engineer with a deep appreciation for the rich, natural sound produced by ribbon microphones. Dooley's fascination with audio began in his youth, and he spent years honing his skills and knowledge in the field. His dedication to capturing authentic sound led him to found AEA, with the aim of preserving and enhancing the classic ribbon microphone technology.

In the early years, AEA focused on repairing and maintaining vintage ribbon microphones, particularly those produced by RCA. Dooley's expertise and meticulous attention to detail earned him a reputation as a master craftsman. This experience laid the groundwork for AEA's later innovations in ribbon microphone design and manufacturing.

## Ribbon Microphones: The Heart of AEA

Ribbon microphones are known for their natural, smooth sound, making them ideal for recording vocals, strings, brass, and other acoustic instruments. Unlike condenser microphones, which use a diaphragm to capture sound, ribbon microphones use a thin, corrugated metal ribbon suspended within a magnetic field. This design allows for a more accurate and detailed capture of sound waves, resulting in a warm and balanced audio output.

### AEA R44 Series

One of AEA's most iconic products is the R44 series, a faithful reproduction of the legendary RCA 44 ribbon microphone. The original RCA 44, introduced in the 1930s, set a high standard for broadcast and recording quality. AEA's R44 series maintains the classic design and sound characteristics of the original, while incorporating modern materials and manufacturing techniques to ensure durability and consistency.

The R44 series is renowned for its ability to capture the full frequency spectrum with remarkable clarity and depth. It features a bidirectional polar pattern, which captures sound from the front and rear while rejecting noise from the sides. This makes it an excellent choice for capturing the ambiance of a room or recording in stereo.

### AEA R84

Another standout product in AEA's lineup is the R84 ribbon microphone. Designed as a more versatile and affordable alternative to the R44, the R84 has become a favorite among recording engineers and musicians. It offers a smooth, extended frequency response and a natural, open sound that is well-suited for a wide range of applications, from vocals to percussion.

The R84's compact size and lightweight design make it easy to position in any recording setup, while its robust build ensures reliable performance in various environments. It also features AEA's proprietary Big Ribbon™ technology, which uses a larger ribbon element to capture more low-end detail and provide a fuller sound.

### AEA KU4

The AEA KU4 is a modern interpretation of the rare RCA KU3A, also known as the “Skunk Mic” due to its unique appearance. The KU4 is a unidirectional ribbon microphone, offering the rich, smooth sound of a ribbon mic with the directionality of a cardioid pattern. This makes it an excellent choice for isolating sound sources in challenging acoustic environments.

The KU4's design reduces proximity effect, allowing it to capture close-up vocals and instruments without excessive bass buildup. Its tailored frequency response provides a natural and detailed sound, making it a valuable tool for both studio and live recording.

## Innovations and Contributions

AEA Audio is not only known for its high-quality products but also for its contributions to the field of audio engineering. The company's commitment to innovation and excellence has led to several advancements in ribbon microphone technology.

### Big Ribbon™ Technology

One of AEA's notable innovations is the Big Ribbon™ technology, which uses a larger ribbon element to capture more low-end detail and provide a fuller, more natural sound. This technology is featured in several AEA microphones, including the R84 and the KU4. The larger ribbon element allows for a more accurate capture of low-frequency sounds, making these microphones ideal for recording bass-heavy instruments and vocals.

### Active Ribbon Microphones

AEA has also developed a line of active ribbon microphones, which incorporate onboard electronics to provide higher output levels and improved signal-to-noise ratio. These microphones, such as the A440 and the N22, offer the smooth, natural sound of a ribbon mic with the added convenience and flexibility of active electronics. This makes them well-suited for use with a wide range of preamps and recording setups.

### TRP Ribbon Preamp

Understanding that ribbon microphones require preamps with high gain and low noise, AEA developed the TRP (The Ribbon Pre) specifically to meet these needs. The TRP is a high-gain, low-noise preamp designed to complement the unique characteristics of ribbon microphones. It provides the clean, transparent amplification needed to capture the full detail and nuance of ribbon mic recordings.

## AEA in the Studio

AEA's ribbon microphones have found their place in some of the world's most prestigious recording studios, used by top engineers and artists to capture everything from orchestral performances to rock vocals. The natural, detailed sound of AEA microphones has made them a go-to choice for recording professionals seeking to achieve the highest quality audio.

### Notable Users and Recordings

Many renowned artists and engineers have relied on AEA microphones to capture their recordings. For instance, Grammy-winning engineer Al Schmitt used the R44 on recordings with artists such as Frank Sinatra and Diana Krall. The R84 has been used by producers like Ross Hogarth for its versatility and natural sound, making it a staple in studios across genres.

### Educational Outreach

AEA is also committed to educating the next generation of audio engineers. The company frequently participates in workshops, seminars, and industry events to share its knowledge and expertise. By providing resources and training, AEA helps aspiring engineers understand the unique qualities of ribbon microphones and how to use them effectively in various recording scenarios.

## Conclusion

AEA Audio has established itself as a leader in the field of audio engineering, with a legacy built on the excellence of its ribbon microphones. From the faithful reproduction of classic designs to the development of innovative new technologies, AEA continues to push the boundaries of what is possible in audio recording. Through its commitment to quality and education, AEA ensures that the rich, natural sound of ribbon microphones will continue to inspire and captivate listeners for generations to come.