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!
DPA have long been held in high esteem by classical recordists — and now their recording mic range has been given a major overhaul.
Old and new worlds collide as this 1176 clone is treated to remote control via a VST 3/AAX plug-in.
I have two sets of monitors. The first pair are 40 inches apart and the second, outside of these, around 55 inches apart.
Digital technology has helped PMC’s monitors go from strength to strength — and now they’re using it in their subwoofers, too!
I have a Casio PX310 digital piano. When jacks are inserted into the (quarter-inch) line out sockets, the onboard speakers are not muted. They are muted when headphones (or a jack) are inserted...
Does TC’s latest post-production tool have anything to offer the music-making market?
When does one need a headphone amp? I have some Shure 1840s, which are great, but I’ve read about headphone amps and want to be sure I am getting the most from the cans.
I’ve read that pro gear should use balanced connections, but I’ve been looking for a mixer recently and find that most have unbalanced insert points. My interface uses balanced I/O, as does most of my outboard gear. What gives?
I’m using a Yamaha EMX 5000-20 for live sound and I seem to be unable to get the foldback working for some sources, even though it works for others. Am I missing something obvious?