Equalizer Apo

Designed for casual, non-acoustic playback, your best bet with this Apo is to be relatively on-time with your entry of both instruments. As with all similar Apos, it uses similar faders:

The Bottomline is that although the Apo is relatively heavy and capable, its design, low profile and its control of the EQ doesn’t work perfectly well for an acoustic instrument. Further, you might find yourself needing to set up multiple output channels. On the other hand the Apo’s controller is simple enough to use and the built-in pitch-independent EQ filter is effective. While it sounds good it might not always be worth the extra overkill - it is also a bit more expensive than an Apo Zero or FSR - and an Apo Z fits the bill comfortably.

Equalizer APO Z/FSC-2

(Photo: David M.)

While not a perfect replacement for your entry, an APO might be a good solution for a beginner and also a rather sound-based and comfortable alternative to an Apo Zero - or even a double Apo - as well. While they are priced exactly the same, being less expensive, APO’s features are also more sophisticated than those of the two Apos.

What is the difference between these two equalizers?

Ampo - our latest APO is a beginner’s equalizer and is more sophisticated and sound-based than an Apo - and is the new name for an APO 3.0.

This instrument was quite a learning process for us, as we’d like to emphasize how easy to use it was to learn. Our use case for the instrument was primarily playback by ear on the piano. We also tried the instrument on a table or any other musical instrument that we’re familiar with - so its accuracy and control of the EQ didn’t fall off on the piano, but we wouldn’t hesitate to use it with any instrument for sound control and training purposes.

The Bottomline is that even though the APO is seemingly more effective for guitar or woodwinds, its fit, accuracy and control of the EQ may not be as easy to use for acoustic instruments that we know best.