純粹吹吹水用..........:P
可列印查看
純粹吹吹水用..........:P
最近在看一些文章
我邊看邊分享嘍
不過很多高手在旁邊潛水,要多多發言啦
首先要先研究的是立體聲雙麥克風的錄音方式
先借用DaYeh的這張圖開始
http://my-hiend.com/vbb/picture.php?...ictureid=13335
A/B Stereo Mic Technique
http://0.tqn.com/d/homerecording/1/5/L/1/-/-/AB.jpg
優點是靠近錄音源的話,錄音效果會非常好
缺點是立體定位不好,周圍的訊息也會損失
A/B is the most simple stereo technique to use. Quite simply, two microphones are pointed straight ahead at a source. This technique sounds surprisingly good on acoustic guitar and very close to the front while recording live; however, there's not much stereo image, if any, and a lot of ambient information is lost.
A/B is the preferred method of tapers who stack tape - taping close to the speakers to get a cleaner sound. However, A/B isn't as useful for taping further back, as a good stereo image is necessary for full reproduction of the event.
http://homerecording.about.com/od/mi...reo_mics_3.htm
A B Stereo 也稱為 Spaced Pair
(1)都常會使用兩隻電容式麥克風
(2) 若兩支麥克風的距離越遠,立體聲的寬度會越寬
(3) 在兩隻麥克風中間的樂器定位就會在中間,若樂器不在中間,雖然兩隻麥克風收到的聲音差不多,但靠近樂器的那隻會先收到音樂,會有相位差的問題,也就是重播時定位會跑掉
(4) 若兩隻麥克風距離太近,那立體聲的音場又會過小,也會太強調在中間樂器的聲音
(5) 可在中間加一隻麥克風再混音改善這問題 (Decca Tree?)
http://www.deltamedia.com/resource/s...echniques.html
Spaced Pair
With this method (also called AB), you place two identical mics a few feet apart and aim them straight ahead (Figure 4). The mics can have any polar pattern, but omni is most popular for this method. The greater the spacing between mics, the greater the stereo spread.
http://www.deltamedia.com/images/stereo_fig4.jpg
Figure 4. Spaced-pair technique.
來源:DPA
聲音大小與時間都會影響到立體聲音響重播的定位
(1) 左右聲音一樣,時間也一致,那聲音定位就會在中間0的地方開始
(2) 當一邊聲音大過另外一邊15dB或是時間差了1.12ms或是音量差了6dB及0.5ms的延遲組合,聲音定位就會在30度的地方開始
http://my-hiend.com/vbb/picture.php?...ictureid=13976
A是現場樂器的位置
B是正常音響重播的定位
C是太窄的錄音 (如兩隻麥克風擺得太近或是角度太靠近)
D是誇張分離了..(如兩隻麥克風擺得太遠或是角度太遠)
http://www.deltamedia.com/resource/s...echniques.html
Figure 1 shows three stereo localization effects. Figure 1A shows some instrument positions in an orchestra: left, left-center, center, right-center, right. In Figure 1B, the reproduced images of these instruments are accurately localized between the speakers. The stereo spread, or stage width, extends from speaker to speaker. (You might want to record a string quartet with a narrower spread).
http://www.deltamedia.com/images/stereo_fig1.jpg
Figure 1.
Stereo localization effects:
(A) Orchestra instrument locations (top view).
(B) Images localized accurately between speakers (the listener’s perception).
(C) Narrow-stage effect.
(D) Exaggerated separation effect.
A stereo pair of microphones can be angled apart, spaced apart, or both. Angling and spacing affect the stereo localization, as does the polar pattern of the microphones.
If you space or angle the mics too close together, you get a narrow stage width (Figure 1C).
If you space or angle the mics too far apart, you hear exaggerated separation (Figure 1D).
That is, instruments halfway to one side are heard near the left or right speaker.
要評論定位,一定要坐在喇叭中間,喇叭成60度的角度與在第10排聽交響樂的角度差不多
To judge stereo effects, you have to sit exactly between your monitor speakers (the same distance from each). Sit as far from the speakers as the spacing between them. Then the speakers appear to be 60 degrees apart. That is about the same angle an orchestra fills when viewed from a typical ideal seat in the audience (say, tenth row center). If you sit off-center, the images shift toward the side on which you're sitting and are less sharp.
來源DPA
(1) 電容式麥克風與AB Stereo錄音方式適合麥克風離演出聲音距離較遠時使用,因為其較指向性麥克風更能有完整的低頻。
(2) 錄音角度 (recording angle)與兩隻麥克風距離的決定,例如錄音角度140 => +-70 => 在+ - 30度再生 (1.1ms的時間差異) => 麥克風要距離40cm
http://my-hiend.com/vbb/picture.php?...ictureid=13977
來源:DPA
立體聲錄音的寬度跟頻率是有關的,因此想要更高品質的音調(tonal),那麼麥克風之間的距離就要越寬,建議是最低音調波長的1/4左右,並且要考慮人耳對150Hz以下定位的能力,最佳距離在40~60cm左右。越近的麥克風距離用在接近發聲點以避免某個樂器太寬或不自然。若距離減少17~20cm,那是會被人耳所查覺的,這個距離約等於人兩耳間的距離。
要注意的是麥克風寬度越寬,那麼會影響系統再聲的定位能力,也會影響在Mono重播下的品質。
Since the stereo width of a recording is frequency-dependent, the deeper the tonal qualities you wish to reproduce in stereo, the wider your microphone spacing should be.Using a recommended microphone spacing of a quarter of the wavelength of the
deepest tone, and taking into account the human ear's reduced ability to localize frequencies below 150Hz, leads to an optimal microphone spacing of between 40 and 60 cm. Smaller microphone spacings are often used close to sound-sources to prevent the sound image of a particular musical instrument from becoming "too wide" and unnatural. Spacings down to 17 to 20 cm are detectable by the human ear, as this distance is equivalent to the distance between the two ears themselves.It should also be noted, that an increase in microphone spacing will decrease the system's ability to reproduce the signals from sound-sources positioned directly between the microphones.This will also lead to a reduction in the quality of the stereo recording when it is played in mono.
X/Y 90 Degrees
http://0.tqn.com/d/homerecording/1/5/M/1/-/-/XY.jpg
用兩隻心型指向性的麥克風成90度,這種錄法定位焦點最好
也適合在困難的環境中使用
缺點低頻不多
In this method, we take two cardioid microphones and place the capsules at a 90 degree angle to each other. In this technique, the microphone on the left is actually wired to the right channel, and vice versa, because of where they're pointing. This technique is considered by many to be the perfect way to get started in recording stereo.
With this technique, you'll get get a recording that's very focused, with a tight low-end response. You'll lose a little depth, but that's made up for in the lack of ambient information. This technique is best used if you're in a difficult-sounding room, and need to "zoom in" on the sound as best as possible.
When used with figure-8 (bidirectional) microphones, XY is called the Blumlein Technique.
ORTF Technique
http://0.tqn.com/d/homerecording/1/5/O/1/-/-/ORTF.jpg
The ORTF technique - named after the Office de Radiodiffusion Télévision Française, where it was invented in the 1960s.
ORTF uses two cardioid microphones with the capsules spaced 17 centimeters, with the angle between the microphone bodies at 110 degrees. ORTF is similar to XY in that it's used well in poor acoustical enviroments, however, ORTF is well-suited for use further back in a room than XY. Using ORTF up close to a sound source could result in too much off-axis pickup.
ORTF is well-suited for concert taping when dead-center in the venue, whereas XY is best suited for stack taping.
來源:Sennheiser
AB Stereo 有時間相位的問題
XY Stereo 有音量的問題
ORTF 有時間相位與音量的問題(折衷)
http://my-hiend.com/vbb/picture.php?...ictureid=13979
good! 加油...
能不能請tacan網友也傳授幾招?您有沒有特別常用的麥克風收音技術?還是隨場地和演奏的音樂形示決定?
我不是學這行的,純粹是好奇。如果有牽涉到業務機密,那就請您當我沒問過。謝謝!
先到這邊看,讚的喔~
http://blog.sina.com.tw/studiodizzy/
謝謝小葉,其實tacan網友的網站我也逛過幾次了. 的確很讚!
他照相也很有Fu.....錄音作品也一定非常good....
錄音? 沒招啦...
相信耳朵.相信妳選擇的器材..不要侷限前人設好的規範..
decca tree. 大AB. NOS .都是我錄大編制常用的方式呀..
不要侷限前人設好的規範.. => 這個跟我想法完全一致
當然不是說不管,還是可以參考,但自己要想辦法突破,每次錄音的變數都不一樣
一樣是跳投,每個人跳出來的程度還是有不同...
讚!
大家努力囉....
我還是搬個板凳在旁邊看就好...呵呵...
那我看都是坐板凳的比較多....哈
為什麼不每一種樂器分開錄音(材料), 之後由混音師(廚師)來完成CD(菜餚) 編制 ?
這樣的話想要什麼效果也可以了~
應該在柏克萊還有吧..呵呵...
好文.........!
定位 ?
看製作人跟混音工程師想定在哪裡..就定哪裡呀...
流行的多軌錄音 / 混音完全看製作人的口味....
流行音樂百分之九十九點九九都是這樣錄音。就算古典音樂也很多,只要看到錄音資訊寫著Recording Engineer(收音)與Balancing Engineer(混音)不同工程師名稱的,就是這種錄音了。
但大眾音樂也有例外的。舉個音響迷們熟知的例子:Abbey Road錄音室的錄音師是輪班制,Alan Parsons當年是不斷跟同事調班,才能一人完成Dark Side of the Moon專輯的錄音。收音的好壞也會影響最後錄音品質,因此,一張錄音好的專輯實在有太多影響因素。
有的廚師拿到普通材料也能煮出好菜,也有廚師只會使用頂級食材。烹飪如此、錄音如此、製作Hi-End音響器材也是如此。只要能得到好的結果,過程有時並不那麼重要。
我很好奇,大多數的發燒友面對『談錄音』時,是採用那一種態度?....:)
是認為『大多數唱片都錄得還可以』?還是認為『只有極少數唱片錄得還可以』?
聽起來好像很龜毛,但是龜毛不就正是音響發燒友最重要的意義與價值嗎?否則,難道我們也主張:『大多數音響都播放得還可以』?那慘了!大家的數十萬數百萬器材都要跟mp3、電腦喇叭與電視喇叭相提並論了!!那些mp3才是大多數的音響吧?
既然我們使用的音響系統往往是萬中取一的發燒東東,那麼,會不會夠水準的錄音(或唱片)也只是萬中選一的?如此一來,我們應不應該以如同嚴苛挑剔音響硬體的態度、嚴苛挑剔唱片錄音?那麼,很多討論內容都會出現不一樣的風貌了!.....:D :D
我到現在還在懷念您之前在水岸爵士音樂節調出來的戶外現場聲音咧~~~8)[/QUOTE]
(噓~低調點..)
不知道最近岀了那么多名跑,更奇怪多是女車主,不知道她們會不會開,懂不懂性能和車厂歷史。。。
。。。嘖,説着她就差点碰上“靚女你懂不。。。Angela,你都那么...心裡想説性感,她要和我换駕,想了想反正没駕過這款,后來趕在他后面吃風,我明白后生可畏
知道多少,不如爽過多少
很多很好的歌手,唱片錄音卻是很慘
反而在streetvoice自己簡單製作的,聲音卻很好
這現象非常有趣.........
越商業....品質越差?!
你永遠不知道聆聽者會在什麼設備.什麼環境.什麼背景下聽你錄製編輯發行的作品..
可能是車上..可能是速食店的吸頂喇叭..也可能是發燒友的百萬音響..或者是阿伯手上聽京戲的三洋收音機..
所以只好用大多數都可能適用的頻率響應.動態壓縮來處理..更不用說這些年來的音壓戰爭..(我的cd 不能比人家小聲..那就壓動態取RMS 音壓最大..)..大家都馬馬虎虎聽的下去..但是真正的高低細節跟動態.暫態早就都修光了...
這是商業唱片慣用的處理方式..
小眾跟Indi 根本沒有去考慮這些東西..
就是純粹的紀錄.編輯....
反而留下最多與最真實的細節..尤其是音樂性感人的部分....
越作越大聲(大聲容易吸引人?)、編制混音越來越複雜(多弄些名堂看起來比較厲害與費工?).......流行樂非常明顯