The AEA RPQ2 preamp and EQ provide two channels of high-output, high-impedance, and low-noise gain with a rich and natural sound that brings out the full potential of your microphones.

Where To Buy

RPQ2 Preamp Overview

  • Two channels with 81dB of sweet and quiet JFET gain
  • High-frequency CurveShaper™ EQ and low frequency proximity control
  • 63k ohm high-impedance circuitry providing better overall transients, frequency response, and higher output sensitivity
  • High-resolution, high-impedance front-panel 1/4" DIs
  • Mic/Line mode with Post-Mic and Pre-EQ Inserts for convenient routing options
  • Switchable phantom-power and polarity reverse
  • Made in the U.S.A.

Enhance your ribbons

The AEA RPQ2 Ribbon Preamp and EQ provide two channels of high-output, high-impedance, and low-noise gain with a rich and natural sound that brings out the full potential of your microphones.

Specifically designed for ribbon microphones, the RPQ2 excels at drawing out the warmth and lush sound that ribbons are uniquely known for.

A Gain Powerhouse

The RPQ2 is a powerhouse that provides unparalleled high gain with low-noise. With 81db of JFET output, the RPQ2 gives you enough juice to record soft sources without ever having to worry about noise.

The RPQ2 is the tool of choice for all microphones whenever a true and pristine signal path is desired.

Less noise than outer space

With the RPQ2, you will never consider a source too quiet to record with a ribbon mic ever again. Passive ribbons with low output levels require preamps that supply a high level of output. If the preamp you use doesn’t have enough clean gain, the mic signal may seem too soft or noisy which may be apparent when recording quiet acoustic guitars or strings, especially at a distance or with long cable runs. The RPQ2 eliminates this concern.

CurveShaper™ EQ

The RPQ2’s CurveShaper™ EQ is a powerful tool that gives you the ability to control your ribbons right at the start of the signal path. Adjustable low and high-frequency controls allow you to tame proximity problems and provide high-frequency extension with slope control.
The high-frequency filter boost enables you to add presence and air to your source  –perfect for sources like ribbons and 2-busses that often benefit from some extra top-end. The low-frequency control easily removes bass build-up in a fast and unobtrusive way.

Learn about the RPQ2

The AEA RPQ2 Ribbon Preamp provides two channels of high-quality, high-gain, low-noise preamplification that complements the natural tonality of your microphone.

See More RPQ2 Videos

High Impedance Makes a Huge Difference

The sound and tonality of dynamic microphones like ribbons and moving-coils are directly affected by the impedance of a preamp. The higher the impedance, the better the sound. The RPQ2 boasts an extra high input impedance of 63K Ohms.
Preamps with an impedance of under 10k ohms will limit the lows, highs, and transients of your passive microphones. The RPQ2’s high impedance will reveal your microphone’s true nature– a thick low-end, open top-end, and articulate transient response that you will need to hear to believe. Both condensers and active microphones will also benefit from the RPQ2’s impedance.

Your Sound At Your Fingertips

Many mixing and mastering engineers turn to the RPQ2 purely for its post-processing EQ and routing functionality.
Plug your instrument directly into the RPQ2’s high impedance circuit with its front-panel direct inputs. The RPQ2 also includes a Mic/Line switch for balanced line inputs and outputs, as well as inserts for patching compressors or other effects between the preamp and CurveShaper™ EQ section.

The RPQ2 provides a secondary line level balanced output for sending an additional line signal to a separate recording device or mixer. In Line Mode, the preamp and EQ section become two independent units with separate inputs and outputs. This allows you to insert compressors or other effects between the preamp and CurveShaper™ EQ section.

Exceptional Preamps

Passive microphones, coupled with AEA’s range of ribbon-specific preamps, are the key choice for discerning recordists who want total control over their signal path.
AEA offers the RPQ2, RPQ500 and TRP2 microphone preamps, all of which provide unmatched clean levels of gain and high impedance. All AEA Ribbon Preamps all share the same topology and sound. The differences between each unit come down to extra features and form factor.


Chris Taylor / Grizzly Bear

“The R44 through the RPQ2 is one of my favorite chains lately. It sounds absolutely incredible…”

Gus Borner / Pixar, Marvel

“I really like the high end [on the N8], almost like a condenser, didn’t have to reach the EQ on the RPQ immediately.”

Ben Tolliday / Lord Huron, NPR Marketplace

“The N8 has wonderful natural sonic characteristics… a very focused tone that captures acoustic instruments like no other mic I own.”

AEA's RPQ2 gives me the high gain, high impedance tool that I need to open up the sound of my favorite ribbon mic's with the added bonus of low noise and easy tonal control. Whether recording large string sections for television or intimate vocals for a record, my ribbon mic's have never sounded better!

James Saéz (Social Distortion,Jerry Lee Lewis, Marcus Miller, Better Call Saul)

Recording Mag

“The new RPQ2 seems to have a few dB of extra headroom, which is a great difference to have. All in all, this is a very impressive “straight wire with gain” preamp, with a unique and useful EQ section great for mics of all types. Naturally, it’s amazing on passive ribbons and dynamic mics, and the more you make use of those, the more you need the RPQ2.”

– Paul Vnuk Jr. read the full review

Sound on Sound

“With the RPQ2, AEA has improved on what was already an excellent ribbon-mic preamp... I still remember being surprised by how much better my passive ribbon mics sounded when I first started using the TRP instead of conventional preamps, and that holds just as true for the RPQ2.”

– Hugh Robjohns read the full review

Resolution Magazine

“Two things strike you immediately: the level of transient detail that comes through, and the sense that both microphones never seem to struggle to deliver good, healthy signals.”

– Jon Thornton read the full review
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