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Grids and APE

DPA d:dicate Close-miking Grid, Trapezoid, Silver
DD0254
DPA DD0254 Close-miking grid
DD0254 is a grid for close-miking applications, which gives a soft reproduction of the high frequencies.
The response is linear up to 15 kHz after which it has a soft roll-off - a bit earlier than the standard mounted DD0251 near-field grid.
This close-miking grid offers optimum clarity and balance in close mic situations with a neutral frequency response from 10 Hz to 15 kHz (±2 dB).
Furthermore, mount this grid in other recording situations, if you generally want a smoother treble reproduction.
 You can tell the difference between the DD0254 close-miking grid and the standard mounted near-field grid by its sharpened shape.
DPA d:dicate Diffuse-field Grid, Svart
DD0297
DPA DD0297 Diffuse-field Grid
The DD0297 is a microphone protection grid ideally suited for making all types of far-field recordings.
It is supplied as standard with the Standard Microphone Types 4003 and 4006, the A-B Stereo Kits 3503 and 3506 and the Compact Microphone Types 4051, 4052 and 4053, but can also be ordered separately.
With this grid fitted, your microphone will achieve a linear diffuse-field response up to 15 kHz.
In the near-field, the on-axis response has a 6 dB boost at 15 kHz.
At intermediate distances, you can orient your microphone at a "grazing angle" of incidence to the sound source to give a normal response to direct sound while brightening up reflective sound.
DPA d:dicate Free-field Grid, Silver
DD0251
The DD0251 is a Free-field Grid ideally suited for making all types of near-field recordings.
 
It is supplied as standard with the Standard Microphone DPA 4003 and 4006, the A-B Stereo Kits 3503 and 3506 and the Compact Microphone DPA 4051, 4052 and 4053, but can also be ordered separately.
 
With this grid fitted, your microphones will achieve optimum recording accuracy on-axis and exhibit neutral frequency responses across the audio range from 10 Hz to 20 kHz (±2 dB) close to the sound source.
DPA d:dicate Nose Cone
UA0777
DPA UA0777 Nose Cone
The Nose Cone UA0777 is specially designed for use with the Standard Microphone Type 4003 and 4006, the A-B Stereo Kits 3503 and 3506 and the Compact Microphones Types 4051, 4052 and 4053.
It will give your microphone a perfect omnidirectional response across the whole audio frequency range.
It counteracts the directional characteristics that omnidirectional microphones exhibit at higher frequencies, and guarantees an even tonal balance of sound arriving at all angles of incidence, but with a high-frequency boost on-axis.
This nose cone is especially suitable for increasing the ambiance to your recordings, or for miking a variety of sound sources that are positioned around the microphone.
DPA 4006A, Acoustic Pressure Equalizer ball, 30mm
APE30RS
DPA APE30RS Acoustic Pressure Equalizer, 30mm Ball
The APE30RS, a Ø30 mm sphere, gives a mild modification of your microphone's on-axis and off-axis frequency responses and a slight change in the direction-to-reverberation ratio. This will give your recordings greater presence, nearness and clarity on-axis (especially around 4 kHz).
An on-axis boost, between 2 kHz and 8 kHz, and high-frequency roll-off off-axis, will sometimes help you capture the subtle audible details of both musical instruments and voices.
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.

 

DPA 4006A, Acoustic Pressure Equalizer boll, 40mm
APE40RS
DPA APE40RS Acoustic Pressure Equalizer, 40mm Ball
The APE40RS, a Ø40 mm sphere, offers a more noticeable on-axis boost between 2 kHz and 8 kHz. It also offers stronger off-axis attenuation than the Ø30 mm version. This gives a marked increase in the directivity of your recordings (at 4 kHz, the front-to-back sensitivity ratio is 8 dB). It also decreases the effects of reverberation and off-axis sources.
When using Acoustic Pressure Equalizer, 40 mm Ball, you can modify the spectral characteristic of a source by simply altering the angle of incidence to give a frequency boost, a flat response or attenuation.
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.

DPA 4006A, Acoustic Pressure Equalizer boll, 50mm
APE50RS

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.