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!
Does sending phantom power to a dynamic microphone cause any problems or affect the signal?
Suffering from mysterious hums and buzzes in your studio? This down‑to‑earth explanation will help you identify and solve the problems — or hopefully avoid them in the first place!
In celebration of the 75th anniversary of the AES, President Bruce Olson talks to Hugh Robjohns about their history, their role in developing standards across the audio industry and their entrance requirements for new members.
An image in Genelec’s GLM manual suggests placing a subwoofer in a position to send the direct sound waves right through the underside of the mixing desk. Is it perhaps not an obstruction issue because the sub‑80Hz frequencies aren’t so directional?
When using a mono-making plug-in, is there a range of transition that sees stereo signals gradually taper into mono?
Thomas Brett’s book offers a deep philosophical analysis of the various creative inspirations, ideas and processes involved in producing electronic music...
As electret condenser mics have internal preamps, do non‑electret condensers also have built‑in preamps?
Originally developed for a German broadcaster, the Digiface AES is now available to everyone.
Recently I had to record a Japanese taiko drum ensemble, but I got a fair bit of distortion even though my recording levels never reached 0dBFS. Why was I getting this distortion/compression?
What causes microphone feedback and what are the best ways to deal with it?