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Lewitt have made some fine impressions in the studio world with their innovative mic designs. Can they do the same for the stage?

Credits can be a vital resource to the media composer, but they can also be a ball and chain.

Historic studios might hold emotional value for us, but they are, after all, still only buildings.

This month we review releases from Dreamlake, Jimmy Brewer and Phillip Sandifer.  

I work in a facility where AES3 110Ω cables have been used to connect some splitter outputs to mic preamps. What kind of influence, if any, can this ‘impedance mismatching’ have on the signal quality?

If a song is in A, you’ll have lots of 440Hz, 220Hz, 110Hz, 880Hz, and so on — but so what? What are you supposed to do with that information? And what about all the harmonics? And all the other notes in the key of A, and all their harmonics? 

The System 1 is a fully fledged synthesizer in its own right, but it can also assume the identity of Roland classics using its built–in ‘plug–out’ technology.

Ukuleles galore!

We overcome unfriendly acoustics and troublesome spill to capture a memorable gig.