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!
3D‑printing has made it practical for designers to manufacture all manner of specialised microphone mounting brackets at relatively low cost.
Paul White and Hugh Robjohns discuss the evolution of recording from the perspective of their own experiences, starting with analogue tape and ending with computer-based digital systems.
I record spoken‑word narration, close‑miked in a small room, with basic room treatment. While I have no noise‑floor problems, I’ve noticed that some of my mics have a lot less noise than others...
Why might you need a dedicated monitor controller — and what separates the good models from the bad?
Trinnov’s pioneering range of room‑correction systems now has a dedicated monitor controller.
The final Revox tape recorders left the factory almost 25 years ago, yet the enthusiasm and support for these classic machines remains as strong as ever.
Can a solid‑state microphone really give you the sound of Sony’s classic valve C800G?
Focal’s revised Alpha‑series speakers offer serious studio monitoring at an entry‑level price.
SPL combine their acclaimed headphone amps with monitor control facilities and USB audio interfacing.
I’m running my whole studio from one 13 amp socket. I should imagine the total load is no more than one kilowatt. Even at twice...