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!
These gadgets might not be the most glamorous devices, but at some point in your recording adventures you’ll probably find you need each and every one.
If you’ve invested in a pair of high‑end headphones, you’ll want a high‑quality headphone amp to power them. And headphone amps don’t get much better than this...
I’ve played with ‘out of phase’ parallel compression (where the compressed signal path is polarity inverted) — but, honestly, I didn’t really understand what I was doing...
I noticed in your review of the Lewitt LCT 1040 microphone that it has a switchable 120Hz 6dB/octave high‑pass filter, for countering the proximity effect. If my mic doesn’t have this feature, can I just set up the same thing in my DAW channel EQ?
I recently rewired my studio and patched a compressor and an effects unit into my mixer’s master inserts. Both processors were set to work with +4dB signals but the levels from the processors seemed low, so I switched them to their ‑10dB positions and the levels seem healthier. Have I done the right thing?