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!
I recently came across an Eric Valentine video, in which he mentions how he keeps his preamps in the live room. My question is this: is there really a valid reason for doing this on runs which I imagine to be less than 100 feet?
When I sit at my listening position, at the apex of an equilateral triangle with my monitors, everything sounds OK. When I shift my head things that were panned centrally move immediately to the side, and seem to come just out of that one speaker. Is this the way it’s supposed to be?
AEA continue their quest to modernise the ribbon mic, with this worthy addition to their new Nuvo range.
I get the impression that manufacturing tolerances for mid-range and cheaper microphones are not always as tight as one would desire. If I found a mic I liked, and were then to go out and buy that model of mic, might the one I tested and the one I bought sound significantly different?
The SOS team travel to a Stourbridge community centre to solve some low-end problems and build some speaker stands.
The author Michael Williams began his audio career as a BBC technician in the early 1960s, but he is better known today for his teaching and the many papers he has presented to the AES on the science of stereo and multi-channel mic arrays.
I often wonder exactly what gets matched when microphones with interchangeable capsules are bought as a stereo pair. Is it the bodies, the capsules, or both?
Mackie’s mixers have earned a reputation for offering excellent value for money. We check out their most affordable range to date.
I’m seeking some guidance on why I’m unable to record from my guitar amp straight to my audio interface.
The ADR F760X-R Compex compressor/expander was a favourite dynamics processor during the 70s and 80s.