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 SOS reader was having trouble with his monitoring, so the SOS team sped over to his home studio in Bristol, England to sort things out.
Would it be possible to use two figure-of-eight mics to create a surround sound recording on a two-track recorder, which could be decoded and mixed later on?
This new mixer caters for those who found TL Audio's M3 too small, and the flagship VTC too big. But is the M4 just right?
With their latest Superanalogue console, SSL bring the sonics and functionality of their flagship SL9000K to studios with smaller rooms and budgets. In the process, they've incorporated comprehensive control-surface facilities for driving computer DAWs remotely. But can the AWS900 really live up to its pedigree?
This monitor controller sets new standards for operational flexibility and sonic fidelity.
When I plug my guitar into my 16-track and send the same signal to two channels, if I pan both channels to the middle it sounds louder. Why?
These new speakers from M&K let you switch between reflex and infinite-baffle designs on a whim.
I was working with a group who have a wind player in their line-up. When it came to the clarinet I just could not get a signal that would cut through the mix, despite using a second mic. Any suggestions?
I read recently that when top engineers check their mixes in mono, they don't just hit a mono switch, but instead route the mix through a single speaker to hear it in true mono...