Theory / Technical

In the final instalment of our series on the techniques and technology of digital audio, Hugh Robjohns contemplates plugging it all together.

Following on from last month's look at digital tape recording formats, Hugh Robjohns turns the spotlight on the techniques and technology of disk-based recording.

In the fourth instalment of our series on the techniques and technology behind digital audio Hugh Robjohns looks at digital tape recording formats.

Though you might not realise it, the audio industry has employed data reduction strategies since the earliest days of digital systems. Hugh Robjohns explains the concepts and explodes some myths.

In the third instalment of our series on the techniques and technology of digital audio, Hugh Robjohns turns his attention to digital audio error detection and correction — and some of the problems associated with them!

Hugh Robjohns continues his look at the techniques and technology of digital audio. This month — quantising and oversampling.

Digital recording systems have been in everyday use now for nearly 20 years, and such systems have become affordable to the project studio owner within the last decade. But what actually is digital recording, how does it work, and are the claims made about its sonic perfection justified? In the first of this new 6-part series, Hugh Robjohns revisits the technology and techniques involved.

Paul White explores the role of both passive and active DI boxes in recording applications.

Hugh Robjohns shrinks to microscopic size in order to show you around the conglomeration of knobs, wires and circuits that make up a mixer.

Open just about any equipment manual and you'll come across terms like input impedance, output impedance, impedance matching and so on — but what do they all mean, and does it matter anyway?

What are decibels and where did they come from? Paul White explains why equipment specs quote them, meters read them and operating levels conform to them.