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!
This neat little unit can serve either as a four-into-one passive stereo line mixer, or as a one-into-four stereo line splitter, just by using the appropriate input and output connectors. However, it goes rather further than that...
Why does everyone, pros and all, say that the snare bottom mic is ‘out of phase’, and that its polarity must be reversed? Isn’t it the top mic that should be reversed?
I’m soon going to be doing my first recording of live drums and it occurred to me that I don’t know the answer to this question...
Speaker design has come a long way since the ‘70s. Is there still room on the market (and in your studio!) for an old-school main monitor?
What matters in today’s music business is not how loud your mixes are, but how dynamic. This clever new plug-in helps you get them into the zone.
I’d like to get a mic for sound-design work. Specifically, I wish to record quiet sounds, amplify them and mangle them...
As well as tackling monitoring issues, this month’s Studio SOS visit sees the team making extensive modifications to a leaky vocal booth.
The latest product to bear the Electrodyne name combines classic ‘70s console summing with modern connectivity for use with DAWs.
Why is it that reverb is so much more audible on good headphones than good speakers? Is it to do with the ambient noise or reflections in the room?
Drum recording can be challenging, even if you’re working in a professional tracking studio. Record drums at home or in a...