Hugh Robjohns has been Sound On Sound's Technical Editor since 1997. Prior to that he worked in a variety of (mostly) sound-related roles in BBC Television, ending up as a Sound Operations Lecturer at the BBC's technical training centre.
He continues to provide audio consultancy and bespoke broadcast audio training services all over the world, lectures at professional and public conventions, and occasionally records and masters acoustic and classical music too!
This high-quality passive monitor controller can cater for five stereo input sources and three pairs of speakers, with built-in cue monitoring and talkback functions.
I am recording using a spaced-pair miking setup and I want to apply light compression to the signal. Where in the signal chain should I insert the compressor (pre- or post-fade), and will I have to buy a dedicated stereo compressor to do the job properly?
I am looking at buying a matched pair of SE Electronics SE1 mics for drum miking. Would the SE1s be suitable for 'over and under' miking of the snare? If not, could you offer any alternatives for this kind of configuration?
This is a reissue of Groove Tubes' first large-diaphragm condenser, but with solid-state electronics replacing the valve to offer a more affordable package.
Is it best to use table-top stands, floor stands or wall brackets to mount my speakers? I have Mackie HR624s, which are not ported, so does it matter if they're positioned close to the wall? SOS Forum Post
I bought a Boss guitar effects processor the other day and noticed that the guitar sounds a lot better through it than it does just straight into my mixer. Also, could the sound from my mic be similarly improved by getting a stand-alone voice channel for it, rather than just putting it through the mixer?
I am familiar with white noise, but I\'ve also seen mention of pink, red and even blue noise in your pages. What are these other kinds of noise, how are they produced and what are they used for?Derek Amesbury