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!
Among audio professionals, the electronic AES-EBU format is widely used for digital audio transfer. The SEK'D Prodif 88 soundcard equips Windows PCs with eight channels of AES in and out at up to 24-bit/96kHz.
With high-resolution digital mixers, processors and recorders now standard fare, our recordings can sometimes seem too clean and sterile. As a result, there is quite a demand for devices and plug-ins which add a little distortion or warmth to a recording. This unusual product aims to give you every tube distortion sound you could ever want!
A new nearfield satellite and subwoofer system for stereo or surround applications, using infinite-baffle designs for a smooth frequency response and increased phase linearity.
Last month we showed you how to go about recording a complete (jazz) band to stereo on location. Now let's examine the ways in which you can compile and process the different takes to make up a coherent whole.
Synthesized, sampled, or modelled, the Hammond B3 tonewheel organ has inspired many imitations over the years. Now, for 15 thousand pounds, you can own Hammond's attempt at recreating the original. How close have they come?
We follow a location recording project from start to finish, showing you how to plan for and conduct the session, as well as how to avoid common pitfalls.
This compact unit from Apogee offers high-end preamplification and conversion, along with a clutch of useful processing, monitoring and output facilities.