In this video, SOS Editor In Chief Sam Inglis counts down his unsung heroes, the Top 10 items that won't make your heart beat faster — but will prove vital in the heat of a session.
Plug‑in models of classic hardware can sound great if you feed them the right level. But what level is right?
I've got a Zoom MS-70CDR [multi-effects] pedal, and a few people are saying not to use it via an aux send and return, owing to a comb-filtering issue. Have you noticed this issue with digital pedals on aux returns?
I've always advised my students to set their high-pass filter slope at a steep setting of 48dB per octave to reduce boominess. Is this the best advice to give my students, who are very much at the beginner stage?
Welcome to Sound On Sound's regularly updated, indispensible explanations of technical terms from the fields of Recording, Audio Production, Music Technology, MIDI, Music Software, Audio Plug-ins, Mac and PC Computing, Live Sound, Acoustics, Electronics and more...
In a digital S/PDIF cable, what exactly is the 75Ω specification a resistance measurement of?
If one of your ears is more sensitive than the other, setting a stereo image by ear will result in all your recordings having a skewed stereo soundscape. Is that correct?
I have a Bryston 5B, and I’d like to be able to switch between two sets of passive speakers, both driven by the Bryston, rather than buy another power amp for the second set...
Mixing can be a mentally taxing pursuit, but these simple strategies will help you maintain your focus and get the best results.
My monitors sounded inconsistent to me, so I've been adjusting their frequency response by ear using a 31-band EQ on my PC. I've done a lot of tweaks, and they now sound phenomenal, but I want to be sure I'm doing the tweaks correctly.
I've seen some pictures where the mic is hanging upside down. Is there a good reason for this? Or is it better to put it the 'right' way up?
The designers behind some of today's most innovative studio microphones tell us what we can expect from the mics of tomorrow.
I use a Focusrite ISA Two preamp with a Clarett 4 Thunderbolt interface, but I'm having trouble getting the two meters to match...
I double-tracked lead vocals by combining two different vocal takes from the same singer, each recorded on a different mic (a Shure SM7b and an Audio-Technica AT4033a)...
I picked up a couple of (large-diaphragm) AKG C214s, and they sound much more natural. Though that solved my problem, I'm still curious: is there such a thing as a 'soft'-sounding small-diaphragm condenser?
How do I set up my synth collection and computer? I already have everything going through the mixer so I can record audio, but want to have everything working through MIDI...
We all love vintage mixer EQs and preamps, but it takes a lot of work to rack them up for use in today's studios. Is it worth your time and expense?
Do you advise panning stereo guitar solos close to the centre to enhance definition, or would you ever pan them wider apart?
We cut through the hype to show you what really matters in speaker specifications.
What are your thoughts on recording stereo ambience on location (such as in a forest, supermarket, office, or restaurant) for use in movies, podcasts and so on?
