I finally have a spare bedroom into which I can put some studio gear. Assuming I’ve treated my room acoustically and sound leakage is not a concern, what size of monitors would it be worthwhile me considering?
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A ribbon mic would be a very welcome addition to my collection, but would its figure-of-eight pattern mean I pick up more of the room tone compared with a cardioid condenser?
There must always be a certain amount of masking going on in any mix, but I just don’t know how much there should be. Can you offer any tips?
I have a slight level mismatch that I don’t know how best to resolve. I want to patch the Dangerous Music Compressor through the inserts on two of an Allen & Heath GL2400 mixer’s input channels. The problem is that the send signal from the mixer is a tad weak for hitting the compressor where it works best...
I have a set of three-year old PreSonus Eris monitors, one of which has just died. I sent it back to PreSonus to be repaired...
My cheap audio interface has ADAT ports to allow me to add more inputs and outputs. If I were to use these to hook up a more expensive interface with better mic preamps, will I see an increase in sound quality?
I need to do some recording of spoken word, using a cheap and cheerful lavalier mic, but it’s noisy — there’s a steady ‘hiss’. Is there some plug-in that can reduce said noise, perhaps by taking a sample of it and then adding it out of phase?
I have a set of Yamaha HS8 monitors and I set them up on my new desk the other day and noticed that the left speaker was way...
I have a very high quality D-A converter that boasts particularly low clock-jitter figures, so I thought it would be an ideal candidate to serve as a master clock — yet it doesn’t have a word-clock output socket!
Will the audio quality from an Allen & Heath XB-10 paired with a JK Audio Innkeeper telephone hybrid be better than the Allen & Heath ZED-10, also paired with an Innkeeper?