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!
I bought a Rode NT1A a few months ago and I'm now considering buying a second one. How can I tell whether the two mics are closely matched enough for use as a stereo pair?
I had four tracks transferred to vinyl and told the pressing plant to do any necessary EQ'ing required. I got the test pressings back and found them to be very harsh in the upper frequencies when compared to my CD master. Should I get my tracks professionally mastered for vinyl next time?
Few audio companies have the reputation of Solid State Logic, but their premium equipment has remained beyond the reach of all but the wealthiest project studio owners — until now! SSL's new all-in-one recording channel boasts preamplification, EQ and dynamics from the awesome XL9000K mixing console, but at a price to which mere mortals can realistically aspire.
Could you clarify the difference between floating- and fixed-point 32-bit operation in the digital domain. I know that floating-point systems allow for data to be handled at word lengths above 24-bit, which are then dithered back down. Does it also result in a greater dynamic range?