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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...
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...
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 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?
In a previous article you mentioned the importance of correct phase between satellites and subwoofer. Can you tell me what’s going on when you cannot hear any difference between 0 and 180 degrees?