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!
Unlike many of its competitors, the ErgoLab Stealth series of chairs is designed specifically for use in the studio.
Is it common to combine an omni mic for LF extension with one or more directional mics for higher up?
I’m a long‑running technical electronics repair and design engineer working in music for film...
This BS.1770‑compliant loudness meter offers some interesting and original features.
iZotope’s popular audio restoration tool has been treated to some significant improvements.
I’m about to be given an old mixer to play with in my studio and am planning to check each input and output, check the EQ does...
If I open a 16‑bit, 96kHz audio file, resample it to 48kHz, and then export it again, still at 16 bits, do I need to apply dither?
Necessity may be the mother of invention, but a switch to Cirrus Logic converters has also significantly improved Focusrite's Clarett+ audio interfaces...
3D‑printing has made it practical for designers to manufacture all manner of specialised microphone mounting brackets at relatively low cost.
Paul White and Hugh Robjohns discuss the evolution of recording from the perspective of their own experiences, starting with analogue tape and ending with computer-based digital systems.