乐队拾音的个人翻译版
乐队拾音的个人翻译版...应该很早就已经有人翻译了得到优秀的现场音效是很多因素共同构成的结果，它们之中尤其重要的是话筒的摆放位置。如果你不是和一群精通于现场拾音技术的工作人员一起布置演出场地，我们可以为你提供一些实用的点子和指引方针。
在这篇论文里，我们将会看到一个典型的摇滚组合——吉他，键盘，萨克斯，还有鼓。我们还将包括那些你会发现很有用的信息，当你考虑到那些大众的麦克风摆位——3：1规则时。当我们的指导在现场声音表演中获得了广泛的赞同时，请记住这都是和实验有关的。什么声音对于你和你的乐队是好的？如果你找到了一个……那么，这就是对你和乐队来说正确的那个。
准备开始了吗？let's go！
设备与你 一个好的开始位置是通过倾听的将要拾音的设备或者放大器找到的。声音是怎么发射的？仔细倾听，然后远离一点点，把你的手指放进一支耳朵里，然后用另一只耳朵去听声音的源头，直到你找到一个听起来很好的点，把麦克放在那儿。在有些时候，一个音源从好几个地方发声的设备要求超过一支的话筒（例如钢琴）。
将一支麦克风靠近设备（为了获得最大的信号等级同时拒绝拾取到那些不想要的声音）在话筒摆位中变得更加重要。
每个设备和麦克风都有自己的特性。而每个音乐家对于什么是好的声音都有他们自己的想法，去实验和倾听吧。 用多少支麦克？ 你在工作中使用麦克的数量在你的话筒摆位策略中扮演了一个很重要的角色。如果你有一对麦克可以使用，而且同时乐队中有歌手，那么把话筒放在他那儿吧。
吉他和贝斯演奏者靠近这条线，和鼓，键盘站在一起，特别是在一个很小的场所演出的时候。 使用尽可能少的话筒！话筒数量每增加一倍，潜在的原声增益要衰减3dB。这就意味着系统的音量必须为了每个多余的话筒增加而降低。舞台上你的话筒越多，越有可能导致反馈。使用较少的话筒将会允许你在反馈发生之前获得更大的音量。 当使用多个话筒的时候，每个话筒之间的距离应当在每个话筒对应声源的三倍距离，这样可以阻止那些不愉快的被称为梳状滤波的空虚感，一般发生在2个或多个话筒拾取同个声源时出现的现象。 这个技术被称做3：1规则。
许多相同的话筒规则被应用在录音中只是为了让现场声音更好，物理学的定理不会为了拾音而改变。（拾音要符合物理定律!） 话筒摆位的一般规则 录音与现场拾音的一点最大的不同，就是话筒与声源的接近程度。
现场拾音将麦克尽可能地靠近声源的原因有2个：
1，将话筒尽可能靠近声源提供了导致反馈发生的最大音量级。（发生反馈的临界音量级越高，越不容易发生反馈）
2，近场拾音可以充分拒绝声泄露和拾取那些不想要的声音。
范晓纬译，转载请注明 翻译的不好请拍砖
附原文 Getting great live sound is the result of many factors. Not the least of these is mic placement. So if you're not playing arenas with a full sound crew well versed in these techniques, we can help with some useful tips and guidelines. In this issue, we'll look at a typical rock line-up - guitar, keyboards, sax and drums. We'll also include information you'll find useful when thinking in general terms about microphone placement - the 3:1 Rule. . And while these guidelines are widely accepted in live sound performances, remember that it's all about experimentation. What sounds right to you and your band, if you have one, is … what's right for you and your band. Ready to get started? Let's go! The Instrument and You A good place to start is by listening to the sound of the instrument or the amplifier you are miking. How does the sound radiate? Listen up close, and then a few feet away. Place your finger in one ear, then listen to the sound source with the other ear until you find a spot that sounds good, Put the mic there, In some cases, more than one mic is required for an instrument that emanates sound from a number of places at once (a piano is one example). The closer a microphone is placed to the instrument (to maximize signal level and reduce pick-up of unwanted sounds), the more important placement becomes. Every instrument and microphone has its own characteristics. Every musician has his or her own idea of what sounds good. Experiment and listen. How many mics? The number of mics you have to work with plays a pretty big role in your mic placement strategy. If there are only a couple of mics available and there are singers in the band, that pretty much settles it. Guitar and bass players are next in line and with drums and keyboard, particularly if you're playing small venues, last. Use as few microphones as possible. Every time the number of microphones doubles, the Potential Acoustic Gain of the sound system decreases by 3 dB. (Check the sidebar feature in this issue for more about decibels.) This means the volume level of the system must be turned down for every extra mic added. The more microphones you have on stage, the more likely you are to experience feedback. Using fewer microphones will allow more volume before feedback happens. When multiple microphones are used, the distance between microphones should be three times the distance from each microphone to its intended sound source. This prevents the unpleasant hollow effect called comb filtering, which occurs when two or more microphones pick up the same sound source. This technique is known as the 3-to-1 Rule. Many of the same microphone rules used in recording apply just as well for live sound. The law of physics doesn't change for sound reinforcement. General Rules for Placement A major difference between miking for live sound versus recording is proximity to the sound source. The goal in live sound is to get the mic as close as possible to the source for two reasons: Placing microphones as close as possible achieves maximum sound level before feedback occurs. Close-miking reduces leakage and pick-up of unwanted sources.
在这篇论文里，我们将会看到一个典型的摇滚组合——吉他，键盘，萨克斯，还有鼓。我们还将包括那些你会发现很有用的信息，当你考虑到那些大众的麦克风摆位——3：1规则时。当我们的指导在现场声音表演中获得了广泛的赞同时，请记住这都是和实验有关的。什么声音对于你和你的乐队是好的？如果你找到了一个……那么，这就是对你和乐队来说正确的那个。
准备开始了吗？let's go！
设备与你 一个好的开始位置是通过倾听的将要拾音的设备或者放大器找到的。声音是怎么发射的？仔细倾听，然后远离一点点，把你的手指放进一支耳朵里，然后用另一只耳朵去听声音的源头，直到你找到一个听起来很好的点，把麦克放在那儿。在有些时候，一个音源从好几个地方发声的设备要求超过一支的话筒（例如钢琴）。
将一支麦克风靠近设备（为了获得最大的信号等级同时拒绝拾取到那些不想要的声音）在话筒摆位中变得更加重要。
每个设备和麦克风都有自己的特性。而每个音乐家对于什么是好的声音都有他们自己的想法，去实验和倾听吧。 用多少支麦克？ 你在工作中使用麦克的数量在你的话筒摆位策略中扮演了一个很重要的角色。如果你有一对麦克可以使用，而且同时乐队中有歌手，那么把话筒放在他那儿吧。
吉他和贝斯演奏者靠近这条线，和鼓，键盘站在一起，特别是在一个很小的场所演出的时候。 使用尽可能少的话筒！话筒数量每增加一倍，潜在的原声增益要衰减3dB。这就意味着系统的音量必须为了每个多余的话筒增加而降低。舞台上你的话筒越多，越有可能导致反馈。使用较少的话筒将会允许你在反馈发生之前获得更大的音量。 当使用多个话筒的时候，每个话筒之间的距离应当在每个话筒对应声源的三倍距离，这样可以阻止那些不愉快的被称为梳状滤波的空虚感，一般发生在2个或多个话筒拾取同个声源时出现的现象。 这个技术被称做3：1规则。
许多相同的话筒规则被应用在录音中只是为了让现场声音更好，物理学的定理不会为了拾音而改变。（拾音要符合物理定律!） 话筒摆位的一般规则 录音与现场拾音的一点最大的不同，就是话筒与声源的接近程度。
现场拾音将麦克尽可能地靠近声源的原因有2个：
1，将话筒尽可能靠近声源提供了导致反馈发生的最大音量级。（发生反馈的临界音量级越高，越不容易发生反馈）
2，近场拾音可以充分拒绝声泄露和拾取那些不想要的声音。
范晓纬译，转载请注明 翻译的不好请拍砖
附原文 Getting great live sound is the result of many factors. Not the least of these is mic placement. So if you're not playing arenas with a full sound crew well versed in these techniques, we can help with some useful tips and guidelines. In this issue, we'll look at a typical rock line-up - guitar, keyboards, sax and drums. We'll also include information you'll find useful when thinking in general terms about microphone placement - the 3:1 Rule. . And while these guidelines are widely accepted in live sound performances, remember that it's all about experimentation. What sounds right to you and your band, if you have one, is … what's right for you and your band. Ready to get started? Let's go! The Instrument and You A good place to start is by listening to the sound of the instrument or the amplifier you are miking. How does the sound radiate? Listen up close, and then a few feet away. Place your finger in one ear, then listen to the sound source with the other ear until you find a spot that sounds good, Put the mic there, In some cases, more than one mic is required for an instrument that emanates sound from a number of places at once (a piano is one example). The closer a microphone is placed to the instrument (to maximize signal level and reduce pick-up of unwanted sounds), the more important placement becomes. Every instrument and microphone has its own characteristics. Every musician has his or her own idea of what sounds good. Experiment and listen. How many mics? The number of mics you have to work with plays a pretty big role in your mic placement strategy. If there are only a couple of mics available and there are singers in the band, that pretty much settles it. Guitar and bass players are next in line and with drums and keyboard, particularly if you're playing small venues, last. Use as few microphones as possible. Every time the number of microphones doubles, the Potential Acoustic Gain of the sound system decreases by 3 dB. (Check the sidebar feature in this issue for more about decibels.) This means the volume level of the system must be turned down for every extra mic added. The more microphones you have on stage, the more likely you are to experience feedback. Using fewer microphones will allow more volume before feedback happens. When multiple microphones are used, the distance between microphones should be three times the distance from each microphone to its intended sound source. This prevents the unpleasant hollow effect called comb filtering, which occurs when two or more microphones pick up the same sound source. This technique is known as the 3-to-1 Rule. Many of the same microphone rules used in recording apply just as well for live sound. The law of physics doesn't change for sound reinforcement. General Rules for Placement A major difference between miking for live sound versus recording is proximity to the sound source. The goal in live sound is to get the mic as close as possible to the source for two reasons: Placing microphones as close as possible achieves maximum sound level before feedback occurs. Close-miking reduces leakage and pick-up of unwanted sources.
