SOUND ON SOUND
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Compact stereo recorders are a great way of capturing audio away from the mouse and keyboard. Here’s our selection of current models, with links to the SOS review where available.
This sleek four-channel interface and monitor controller embodies all the quality and style we’ve come to expect from Apogee.
Paul White's looking at a gadget to improve impedance mismatch.
Since experimenting with drum-kit miking (thanks for the useful articles in SOS), I have been aware of the limitations of...
Sennheiser have taken advantage of new technology to produce a smaller, lower-cost modular version of their modern classic MKH range of microphones.
Coaxial monitors are usually expensive, so how do these budget offerings from French company Prodipe perform?
MOTU have brought their expertise to bear on a new desktop audio interface, the Track 16.
This stylish eight-channel preamp and converter offers front-panel instrument inputs and M&S stereo decoding.
You can get a lot of audio interface for your money these days. The latest from ESI offers 18 ins and eight outs for a very reasonable price, and could be ideal if you need to record lots of sources simultaneously.
Nearly 30 years after production of the original U47 FET ceased, Neumann have revived this iconic large-diaphragm capacitor mic.
Presonus combine their respected analogue and digital technology in this affordable ADAT-equipped preamp.
This monitor controller sets new standards for operational flexibility and sonic fidelity.
Schoeps's unusual new vocal mic could give some of the long-established studio stalwarts a serious run for their money.
Gefell’s reissue of a historic Neumann mic, made in the same factory as the original, exudes class — and has a price to match...
JoeMeek combine the old and the new in their opto-electronic analogue compressor with 24-bit digital I/O and M&S signal path. Paul White tries it out.
The NY2A is a stereo rackmount valve compressor, based around optical attenuators and six Electro-Harmonix vacuum tubes.
For this ambitious project, John Crossley had a full live band play through a 16-speaker system, to create an immersive performance.
Can you really use a £25 mic for serious recording?