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!
After seven years, one of the most successful digital consoles has been completely overhauled, improving the sound quality and ergonomics, and catering for new high-resolution and surround-sound formats.
The Phantom is the first valveless mic from a company known for their top-quality valve designs. Will their solid-state debut make as good a name for itself?
What if you could access the sound and controllability of a range of the best-known classic analogue compressors and EQs, from a single rackmount box, in the digital domain? Two advanced processors from Sintefex aim to offer just this ability.
**** 4/5 Stars. A copyright-free collection of conventional, innovative and sometimes downright unusual Hammond licks, fills, riffs, grooves, progressions, slides, growls and funky bass lines all designed to spice up any track.
At a price point of around £300, there are already very good contenders for your money on the quality condenser mic market. Does the 4040 SM have what it takes to become a front-runner?
Dynaudio Acoustics use cutting-edge digital signal processing, developed with TC Electronic, to increase the fidelity of their existing driver technology.
Digital audio is now very much a part of everyday studio life, but do you ever wonder how well your system is really working?
The Voice One offers the second generation of TC-Helicon's pioneering modelling technology, along with powerful tools for manipulating and correcting pitch.
Multi-band compression is one of the most powerful processing techniques available to the recording engineer. However, if you don't know how to apply it effectively it can just as easily ruin the sound of your entire production.