{"id":7695,"date":"2012-10-29T17:15:01","date_gmt":"2012-10-30T00:15:01","guid":{"rendered":"https:\/\/mmusicmag.com\/m\/?p=7695"},"modified":"2012-10-29T17:15:01","modified_gmt":"2012-10-30T00:15:01","slug":"aea-rpq500-mic-preamp-with-eq","status":"publish","type":"post","link":"https:\/\/mmusicmag.com\/m\/2012\/10\/aea-rpq500-mic-preamp-with-eq\/","title":{"rendered":"AEA RPQ500 MIC PREAMP WITH EQ"},"content":{"rendered":"<h1><strong><img loading=\"lazy\" class=\"alignleft size-full wp-image-7696\" title=\"AEA-RPQ500-MIC-PREAMP-WITH-EQ--Gear-Review-SeptOct-2012\" src=\"https:\/\/mmusicmag.com\/m\/wp-content\/uploads\/2012\/10\/AEA-RPQ500-MIC-PREAMP-WITH-EQ-Gear-Review-SeptOct-2012.jpg\" alt=\"\" width=\"660\" height=\"440\" srcset=\"https:\/\/mmusicmag.com\/m\/wp-content\/uploads\/2012\/10\/AEA-RPQ500-MIC-PREAMP-WITH-EQ-Gear-Review-SeptOct-2012.jpg 660w, https:\/\/mmusicmag.com\/m\/wp-content\/uploads\/2012\/10\/AEA-RPQ500-MIC-PREAMP-WITH-EQ-Gear-Review-SeptOct-2012-300x200.jpg 300w\" sizes=\"(max-width: 660px) 100vw, 660px\" \/>AEA RPQ500 MIC PREAMP WITH EQ<\/strong><\/h1>\n<p><strong>Preamp tailor-made for ribbon mics<\/strong><\/p>\n<p>The RPQ500 packs the mojo of AEA\u2019s original RPQ ribbon preamp into an API 500 Series compatible module. A specially tailored EQ section addresses the proximity issues most commonly associated with ribbon mics, taming excessive buildup in the bottom end. Bypassable high- and low-frequency controls make it easy to clear up muddiness or add space and air. This was particularly useful when we used the RPQ500 to capture a vintage Fender Pro Reverb, allowing us to mellow out the less flattering bass frequencies while bringing out the nuances of its silky reverb tails.<\/p>\n<p>\u2013Doug Doppler<\/p>\n<div><\/div>\n","protected":false},"excerpt":{"rendered":"<p>AEA RPQ500 MIC PREAMP WITH EQ Preamp tailor-made for ribbon mics The RPQ500 packs the mojo of AEA\u2019s original RPQ ribbon preamp into an API 500 Series compatible module. A specially tailored EQ section addresses the proximity issues most commonly associated with ribbon mics, taming excessive buildup in the bottom end. Bypassable high- and low-frequency [&hellip;]<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":[],"categories":[9],"tags":[1844,5111,10158,38,5110,5077],"_links":{"self":[{"href":"https:\/\/mmusicmag.com\/m\/wp-json\/wp\/v2\/posts\/7695"}],"collection":[{"href":"https:\/\/mmusicmag.com\/m\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/mmusicmag.com\/m\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/mmusicmag.com\/m\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/mmusicmag.com\/m\/wp-json\/wp\/v2\/comments?post=7695"}],"version-history":[{"count":1,"href":"https:\/\/mmusicmag.com\/m\/wp-json\/wp\/v2\/posts\/7695\/revisions"}],"predecessor-version":[{"id":7697,"href":"https:\/\/mmusicmag.com\/m\/wp-json\/wp\/v2\/posts\/7695\/revisions\/7697"}],"wp:attachment":[{"href":"https:\/\/mmusicmag.com\/m\/wp-json\/wp\/v2\/media?parent=7695"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/mmusicmag.com\/m\/wp-json\/wp\/v2\/categories?post=7695"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/mmusicmag.com\/m\/wp-json\/wp\/v2\/tags?post=7695"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}