SOUND ON SOUND
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!
Can you tell me if it's common practice to use measurement microphones for recording? I have access to a good selection of...
A dodgy snare recording was just one of the problems facing Rob O'Neil at the mixdown stage, so the SOS dynamic duo (Paul and Hugh) visited his home studio to help him sort things out.
ADAM's new passive nearfields combine proprietary ribbon tweeters with doped-paper woofers to provide high-precision monitoring on a budget.
Can you explain once and for all why the speed at which you burn a CD should make a difference to the quality of the audio?
I'm looking to buy a moving-fader control surface for my DAW and I'm wondering if it's worth paying a bit extra for one with touch-sensitive faders. How important a feature is this?
I'm wanting to record a band all at the same time in the same room, and my main problem is that the drummer is much too loud...
Can you tell me how I should go about painting my acoustic foam panels? They are currently white and rather ugly!
Tony Global's background is in the dance music/DJ scene. The SOS team help him to polish his vocal sounds and improve his mixes.
Despite its small size, this new system leads the field when it comes to nearfield monitoring accuracy.
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