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 modest-looking box is among the best-performing two-way converters available, and boasts a huge array of thoughtful features.
I thought I had a handle on this, but seem to have a hard time understanding the difference between a compressor’s ‘Hold’ and its ‘Release’. Can you help explain?
Please help me to understand the terms ‘aux’ and ‘bus’ in the context of a mixer. Is there any difference between them? Do they perform the same function?
With a whopping 32 analogue inputs and outputs, there’s more to this stand-alone converter than meets the eye.
My own setup is an Audient ASP880 preamp connected via ADAT to an Avid HD Omni working with Pro Tools 12.4 HD Native. Is it better to set the Audient as master for recording (and the Omni as slave)?
Designed to get the best from passive ribbon and moving-coil mics, this preamp offers 80dB of gain and switchable input impedance.
This low-cost and slightly simplified sibling of the TM3-Primus has been optimised for music, voice and multimedia producers.
I’ve been reading about iZotope’s Neutron, and how it is described as automating the process of attenuating some frequencies of audio track B, so that the simultaneously played audio track A, which has signal in the same frequency range, sounds more prominent...
We check out an interesting collection of specialist mic-mounting accessories, designed to support two mics in a precise physical relationship to each other.
Could you have quality time in your studio with Black Lion’s little black box?