I've recently bought a Klark Teknik KT-2A compressor to use with my Warm Audio TB12 preamp and noticed the TB12 has insert input and output sockets. What is the best practice when using outboard compressors with preamps when tracking?
In this month's video interview we meet a living legend of the audio industry, Mr Rupert Neve himself. Over 25 minutes, we talk transformers, software modelling, and get the story of how he created the world's first high-Q equaliser.
I have happily been using Pro Tools for the past decade and am currently using Pro Tools LE with an Mbox 2 interface. I want to buy a mic preamp, perhaps a Behringer Tube Ultragain or similar, but will this be a waste of money when using Digidesign's LE Interfaces?
Guitar preamps that use digital modelling technology have found their way into vast numbers of studios. But do they have a useful place on stage, and what do you need to know if you want to use one live?
I've been looking up information on some external preamps, and I found that most of them have two controls — Gain and Level. Most console preamps have just a Gain control, so what is the Level control for?
I often see reviews for mic preamps and channel strips in SOS and I'm wondering if I need one. I currently plug a condenser mic into a small mixer, which provides phantom power, which then feeds into my M-Audio Delta soundcard. Is there a good reason to pay money for a box that seems to do something I am already able to do?
Reading the specifications of various mic preamps, I notice that the amount of gain that different models provide seems to vary quite a lot. How much gain do I realistically need for using run-of-the-mill dynamic and condenser mics?
What advantages are there to variable input impedance? • How can I extract loops from audio sample CDs? • Can I use the True Tape option in Cubase to prevent clipping? • Should I use S/PDIF or AES for long cable runs? • Can you have too much low-frequency absorption? • What's the best way to use the multiple filters on my soft synth?