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 don’t use my [Electro-Voice] RE20 mic all that much, but when I do I find it needs the preamps turned up an awful lot to capture usable audio, and consequently there’s often a hum in the recording...
A ribbon mic would be a very welcome addition to my collection, but would its figure-of-eight pattern mean I pick up more of the room tone compared with a cardioid condenser?
I have a slight level mismatch that I don’t know how best to resolve. I want to patch the Dangerous Music Compressor through the inserts on two of an Allen & Heath GL2400 mixer’s input channels. The problem is that the send signal from the mixer is a tad weak for hitting the compressor where it works best...
All loudspeakers, whether active monitors or guitar/bass amps, tend to exhibit cabinet vibrations. We test this new stand-alone isolating ‘puck’, designed to minimise unwanted colorations from structure-borne vibrations.