Depending on the size of the Acoustic Pressure Equalizer Ball your microphone will impact your recording differently. The Acoustic Pressure Equalizer Ball comes in three sizes; 30mm, 40mm and 50mm.
The APE50RS, a Ø50 mm sphere, offers a stronger on-axis boost and off-axis attenuation than the smaller APEs (Ø40 mm and Ø30 mm). Its larger dimensions accentuate the on-axis boost at lower frequencies and allow off-axis sources to be strongly attenuated above 1 kHz. This will give your recordings a more intense sensation of source clarity and presence and a marked increase in brightness. It will also extend the effective reach of your microphones.
You will also find that the APE50RS is particular useful for making recordings under reverberant conditions.
This accessory substitutes the former L50B, suitable for d:dicate™ 4003, d:dicate™ 4006A and their stereo kits. The L50B cannot be used with the modular d:dicate™ Series but the APE50RS is backwards compatible.
More on acoustic modification
The Acoustic Pressure Equalizers – APEs – are passive acoustic processors functioning as both spatial and spectral modifiers. They use surface diffractions to modify the sound field near the microphone diaphragm. This technique is only possible on omnidirectional pressure microphones.
Two primary changes occur when using APEs:
1. An upper-midrange/high frequency boost (without changing the low end). This is due to the pressure build-up at certain frequencies depending on the element’s size.
2. More directionality at higher frequencies (focus).
A presence (upper-midrange) lift is often desirable in rhythmical genres, to make a voice or an instrument cut through a mix or simply to make it more intelligible or well defined. For symphonic music, the frequency response of certain legendary vintage types of microphones can be obtained using an APE. However, you will achieve a much higher degree of naturalness and detail when using a precision-handcrafted d:dicate™ 4006A Omnidirectional Microphone.