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!
Dolby Laboratories have been leading the development of surround-sound systems for four decades, but over the last year or so they have been piloting an intriguing surround system in a famous UK night-club...
I have a Nord Electro 4HP keyboard, which I’d like to run seamlessly through guitar pedals in real time and in stereo. The signal distorts quite badly at higher keyboard and pedal volumes. Can you suggest a device that would remedy this?
Ribbon mics have long been associated with a subdued high-frequency response — but this classy example bucks the trend.
The Konnektor promises mastering engineers the drag-and-drop simplicity and recall of plug-in remote control.
Can I use the headphone output (Output 9-10) on an RME Fireface 800 audio interface to feed a click track to an IEM (In-ear Monitor) transmitter for a drummer?
Down at the bottom of the garden, among the birds and the bees, we went to Alex Hutchings’ studio, to eliminate some unpleasant frequencies.
I’m using Ableton Live and bounced my last few finished tracks in the 32-bit float format. I’d rather not have too many different versions of the same tracks floating around, so is there a preferred word length for when I bounce files out for mastering?
We built and then test-drove the world’s first commercially available fully modular console. Here’s what we thought...
A client recently sent me a mastered album for some additional EQ tweaks as he wasn’t completely happy with the balance when playing back via an iPhone on his car stereo...
Given the continually evolving and demanding pressures of the pro-audio industry, any product which remains available and largely unchanged for more than a decade must have arrived at a near-perfect combination of technical excellence, operational usability, reliability, and price.