SOUND ON SOUND
Hugh Robjohns has been Sound On Sound's Technical Editor since 1997. Prior to that he worked in a variety of (mostly) sound-related roles in BBC Television, ending up as a Sound Operations Lecturer at the BBC's technical training centre.
He continues to provide audio consultancy and bespoke broadcast audio training services all over the world, lectures at professional and public conventions, and occasionally records and masters acoustic and classical music too!
Concluding our series on advanced stereo mic techniques, we explore binaural recording, disc‑shaped baffles and dummy heads, as well as a clever process called ‘Stereo Shuffling’.
I’ve been using a Zoom F6 [multitrack digital recorder] to record our band sessions, and with good results, but we’re finding its six tracks to be limiting, and want to add more.
I’ve introduced a Line 6 HX Stomp into my pedalboard (it’s really good!). Trouble is, the USB connection is introducing a noticeable ground hum when connected.
We dive deeper into the theory and practice of hybrid arrays, and consider the benefits of using more than one array.
Everything going to the Mackie over USB (on channels 3+4) is coming back on the computer input channels 1+2, whether it’s the metronome or playback of other tracks. Can you help?
With an understanding of spaced and coincident stereo arrays, we can exploit the characteristics of both — using either established arrays, or by creating our own!
Grace Design have brought their considerable expertise to the audio interface arena.
Paul White and Hugh Robjohns pick their hardware and software highlights from the gear they've reviewed in the last 12...
Mark J.T. Griffin’s unofficial biography stems from a long‑held interest in and passion for Vangelis’ work.
Building on the concepts explored in previous parts of this series, it’s time to weigh up some of the pros and cons of coincident and spaced arrays.