录音/制作/创作 吉他 扩声技术 视频技术 作品展示 生活 信息 更多...

录音 / 混音

[转贴] 刚在网上看了一篇关于录音的文章，很不错，转过来给大家分享。

( 8 )
 
[收藏]
天上草原
1939
#1 11-10-13 22:01 …

刚在网上看了一篇关于录音的文章，很不错，转过来给大家分享。

英文好的可以帮忙好好翻译一下。自动翻译太草但。哈哈

We threw out a request for miking tips from the forumites at Craig Anderton's Sound, Studio, and Stage forum, and got some great ones. 这里有贡献者。 Here are the contributors.
AB：艾伦 - 巴恩斯，BP：条例草案直立，BS：布鲁斯Swedien，CA：EB：欧内斯特克雷格安德顿，巴克利，JC：乔恩查普尔，KL：肯李LF：李新干线，净重：纳特Whilk二，PK：Philbo国王RR：拉斯Ragsdale说 AB: Alan Barnes, BP: Bill Plummer, BS: Bruce Swedien, CA: Craig Anderton, EB: Ernest Buckley, JC: Jon Chappell, KL: Ken Lee, LF: Lee Flier, NW: Nat Whilk II, PK: Philbo King, RR: Russ Ragsdale
最小丝丝声：放置麦克风，使其略有离轴从签名者。 Minimize sibilance: Place the microphone so that it's slightly off-axis from the signer. 这确实有帮助。 This really helps. - 吉隆坡 —KL
的抒情表的重要性
：对于我来说，这一切都始于与抒情表，然后麦克风第二，处理的最后。 The importance of the lyric sheet: For me it all starts with the lyric sheet first—then microphone second, processing last. 我获得更多的抒情表和一支铅笔，我可以在页面中的故事弹出。 I get more done with the lyric sheet and a pencil, I can make the story pop off the page. - RR —RR
较好的复合录音
：理想情况下，我有歌词的几个副本，作为歌手的录音，我根据各自采取特别强的表演标志着。 Better composite recording: Ideally I have several copies of the lyrics, and as the singer is recording, I make marks under particularly strong performances for each take. 这使得更容易比赛后做几个完整的声乐传递的声乐曲目。 This makes it easier to comp the vocal tracks after doing several complete vocal passes. - 吉隆坡 —KL
MIC -害羞的歌手更舒适：我通常有一个大振膜电容或两个成立。 Make mic-shy singers more comfortable: I usually have a large diaphragm condenser or two set up. 但是，如果歌手是真正业绩为导向的，感觉不舒服戴着耳机和歌唱成一个大话筒，我偶尔会成立的扬声器（一期工程将尝试尽量减少出血），并给歌手手持式动态麦克风。 But if the singer is really performance-oriented and feels uncomfortable wearing headphones and singing into a big mic, I occasionally set up speakers (putting one out of phase to try and minimize bleed), and give the singer a hand-held dynamic mic. 我宁愿有一个比一个声音质朴的情感表现平平，伟大的声乐表演。 I'd rather have a great vocal performance than an emotionally flat performance that sounds pristine. - 吉隆坡 —KL
所有冰雹声乐骑士：最近，我一直在使用波“声乐骑士，几乎感觉像作弊。 All hail Vocal Rider: Lately, I've been using Waves' Vocal Rider, which almost feels like cheating. 我觉得我是从我的歌声自动化腕隧道，但现在我只是一巴掌波“声乐骑士和需要做的很少自动化只是在这里和那里的一些调整。 I used to feel like I was getting carpal tunnel from automating my vocals, but now I just slap on Waves' Vocal Rider and need to do very little automation— just a few tweaks here and there. 我喜欢这个，因为我不打压缩机很难，这给一个大的，自然冠冕堂皇的声乐。 I love this because I'm not hitting the compressor very hard at all, which gives a big, natural-sounding vocal. 这真正的大的摇滚主唱，以及嘻哈主唱一直行之有效。 This has worked well for really big rock vocals as well as hip-hop vocals. - 吉隆坡 —KL
压缩时最小房间的声音：如果你拿起太多的房间的声音，因为你压缩大量的人声，使用一个相对较短的释放，以尽量减少“房”的金额，它带给您的压缩机。 Minimize room sound when compressing: If you pick up too much room sound because you compress vocals heavily, use a relatively short release on your compressor to minimize the amount of “room” that it brings up. 或停止使用这么多的压缩和使用增益骑马，自动化，或声乐骑士。 Or stop using so much compression and use gain riding, automation, or Vocal Rider. - 吉隆坡 —KL
声学修正：我在一个小客厅，与可怕的声学记录。 Acoustic fix: I record in a small living room with hideous acoustics. 我周围放置一个麦克风，大大提高了进入麦克风的声学RealTraps MiniTraps夫妇。 I place a couple of RealTraps MiniTraps around the mic, which greatly improves the acoustics going into the mic. 作为奖励，我可以磁带抒情表声学处理面板。 As a bonus, I can tape lyric sheets to the acoustic treatment panels. 通常，我会成立一个小桌子附近，让歌手可以打破水或任何地方。 I'll typically set up a small table nearby so the singer can place water or whatever for breaks. - 吉隆坡 —KL
回复此帖 报告
天上草原
1939
#2 11-10-13 22:01 …
如何不缓和一个房间：包装毛毯，睡袋等，大多为中高端/高频率的吸收，这不是普遍认为的歌声或其他任何具有很宽的频率范围的。 How not to deaden a room: Packing blankets, sleeping bags, etc. are mostly for upper mid/high frequency absorption, which is not generally considered good for vocals or anything else that has a wide frequency range. 我宁愿RealTraps，做宽带吸收。 I prefer RealTraps, which do broadband absorption. - 吉隆坡 —KL
制作一个可移动的ISO -面板：一台便携式贴上移动毯（车轮）站在衣架创建一个便携式的ISO面板。 Make a moveable iso-panel: Affix a moving blanket to a portable (on wheels) standing clothes rack to create a portable iso-panel. 我通常把它背后的麦克风的脚，以帮助采取走出房间的方程。 I usually put it about a foot behind the mic to help take the room out of the equation. - AB —AB
不会太干：我不认为获得最干旱可能的声音是一定要走的路，即使你打算添加其他处理。 Not too dry: I don't think that getting the driest possible sound is necessarily the way to go, even if you intend to add other processing. “干”往往等于“死了，”你不想。 “Dry” often equates to “dead,” which you don't want. 如果所有的生活一直吸，在高频率的吸收形式的轨道，这几乎是不可能的，把处理。 If all the life has been sucked out of the track in the form of high frequency absorption, it's nigh impossible to put it back with processing. 它也影响歌手的表现，唱死的空间，它们用于听到从房间反射影响他们的声音的性质的某些谐波。 It also affects the singer's performance to sing in a dead space—they're used to hearing certain harmonics from the room reflections that affect the character of their voice. - LF —LF
减少邻近效应：如果你想最大限度地减少邻近效应，在全方位您最喜爱的多重图像冷凝器，一些地方（如低音陷阱或图案）背后的麦克风关闭，这样你就不会拿起房间太多。 Reduce the proximity effect: If you want to minimize the proximity effect, put your favorite multipattern condenser in omni, and place something (like a bass trap or gobo) close behind the mic so you don't pick up too much of the room. EV RE20已几乎没有邻近效应，因此可能是一个很好的选择，如果通过它的许多人，歌手的声音好。 The EV RE20 has almost no proximity effect, so that might be a good choice too if the vocalist sounds good through it—which many do. - LF —LF
不要工作太辛苦：，我几乎一个后诗句一个家伙，我可能会在比赛诗句B，但我几乎从未声援比赛单节。 Don't work too hard: I'm pretty much a one take guy—I might comp verse B after verse A, but I almost never vocally comp a single section. 这不仅仅是唱一遍给我更多的工作。 That's more work to me than just singing it again. - AB —AB
式切换开关话筒前：俄顷，而是我倾向于改变话筒代替。 Switch mics before you switch in EQ: Instead of EQing, I tend to change mics instead. - EB —EB
选择好：我从声乐话筒前和MULT它记录。 Choices are good: I record the vocal from the mic pre out and mult it. 第一条轨道直接进入，第二个得到压缩设置的味道。 The first track goes straight, the second gets compression set to taste. 我通常使用的处理跟踪，但像在情况下，清洁轨道的歌手开始对外开放和击中压缩机太难。 I normally end up using the processed track, but like having the clean track in case the singer starts opening up and hitting the compressor too hard. - BP —BP
更好的声乐混响/延迟深度：对于某些音乐风格，我喜欢录得约一英尺或更远离主话筒的第二麦克风。 Better vocal reverb/delay depth: For certain musical styles, I like to record a second mic about a foot or more away from the primary mic. 遥远的麦克风获取用于喂养混响和延迟。 The distant mic gets used for feeding reverbs and delays. 它常常给人一种比主话筒和喂养它的效果更好的深度感。 It often gives a better sense of depth than taking the primary mic and feeding effects from it. 从不远处的麦克风命中混合干燥。 The distant mic never hits the mix dry. - BP —BP
喜爱声乐录音：“我最自豪的声乐录音，大多都被心形图案极高品质的电容式麦克风，葡萄酒或更新的麦克风，将很好地做。 Favorite vocal recordings: The vocal recordings I'm most proud of have mostly all been done with the mic in cardioid pattern—an extremely high quality condenser microphone, vintage or newer, will do nicely. 我有一对纽曼的U - 47的，我在1953年购买了新的，我绝对崇拜。 I have a pair of Neumann U-47's that I bought new in 1953 that I absolutely adore . 。 . 。 . 但我没有主唱我SM7最常使用迈克尔杰克逊。 but I did use my SM7 most often on Michael Jackson for lead vocals. “大地之歌”是一个MJ声乐我用麦克风的SM7以外，他的领唱，我用我的纽曼的M - 49S之一。 “Earth Song” is the one MJ vocal where I used a mic other than the SM7 on his lead vocal—I used one of my Neumann M-49s. 我还使用了一些迈克尔的声乐录音我MILAB贵宾- 50。 I also used my MILAB VIP-50 on some of Michael's vocal recordings. - BS —BS
回复此帖 报告
天上草原
1939
#3 11-10-13 22:02 …
得到一个更好的立体声场：我是跟踪三个备份主唱（和自己做所有的歌唱），一首歌曲，想要一个逼真的立体声场。 Getting a better stereo field: I was tracking three backup vocals (and doing all the singing myself) on a song, and wanted a realistic stereo field. 所以我成立了一个图- 8麦克风和最不发达国家作为中端的一双，然后记录到一个立体声音轨，每个部分分别捕捉到两个MS渠道，。 So I set up a figure-8 mic and an LDC up as a Mid-Side pair, then recorded each part separately onto to a stereo track to capture the two MS channels. 我站在一对夫妇的第一部分的麦克风左脚，从第二部分的MIC相同距离回到，第三部分关闭的权利同样的距离。 I stood a couple feet left of the mic for the first part, about the same distance back from the mic for the second part, and the same distance off to the right for the third part. 我汇流排所有三个到一个共同的混音母线，并卡在MS解码器插件就可以了。 I bused all three to a common mix bus, and stuck in a MS decoder plugin on it. 其结果是相当惊人的立体声场，它的工作这么好，我感到非常震惊。 The result was a pretty amazing stereo field—I was shocked that it worked so well. - PK —PK
压缩的出发点：每个歌手不同，但在大多数情况下，与流行/摇滚音乐，开始与周围-15门槛，以2:1的比例，中等攻击，并快速释放。 Compression point of departure: Every singer is different but for the most part, with pop/rock music, start with the threshold around –15, a 2:1 ratio, medium attack, and fast release. - EB —EB
亲密的声音
：越接近你的麦克风，声音变得更加亲密，唇之嫌，呼吸的变化，和其他口生成的工件变得更加发声。 Intimate vocal sounds: The closer you get to the mic, the more intimate the sound becomes, as the lip smacks, breath variations, and other mouth-generated artifacts become more audible. 唱“跨越麦克风的路径”实在是一个离轴的方法，减轻邻近效应和失真造成plosives的，同时保留您所描述的这些亲密的素质。 Singing “across the path of the mic” is really an off-axis approach that mitigates the proximity effect and distortion-causing plosives, while retaining these intimate qualities you describe. 我总是告诉人们，如果他们真的想听到的邻近效应利用好，他们应该听比尔考斯比早期的喜剧专辑！ I always tell people that if they really want to hear good use of the proximity effect, they should listen to Bill Cosby's early comedy albums! - JC —JC
真的很安静的旁白
：当我需要极端安静的叙述，我将远离工作室的风扇和硬盘驱动器的一个房间，一个长的耳机线运行，然后使用Line 6 XD - V70的数字无线麦克风。 Really quiet narration: When I need extreme quiet for narration, I'll run a long headphone line to a room that's away from the studio's fans and hard drives, then use a Line 6 XD-V70 digital wireless mic. 因为没有长的麦克风电缆，声音其实可以比使用标准的麦克风清洁，以及麦克风建模选项允许多种叙述素质。 As there's no long mic cable, the sound can actually be cleaner than using a standard mic, and the mic modeling options allow a variety of narration qualities. 我设置了循环记录的DAW，并去了。 I set the DAW for cycle recording, and go for it. - CA —CA
更好的拟合备份主唱：虽然我使用一个大的电容式麦克风铅歌声与麦克风技术，尽我所能，移动和顺利进行，各级，避免备份主唱接管我经常切换到一个小的冷凝器或一个动态的，唱约一英尺，左右，压缩位较重。 Better-fitting backup vocals: Although I use a large condenser mic for lead vocals—with as much mic technique as I can, moving in and out to smooth out the levels and avoid overs—for backup vocals I often switch to a small condenser or a dynamic, sing from about a foot away or so, and compress a bit heavier. 结果是一个符合“内部”的领唱容易的音质。 The result is a sonic quality that fits “inside” the lead vocal easily. - 净重 —NW
三P的：“我总是达到3个P：音高，激情，和Pocket 。 The three P's: I always reach for the 3 P's: Pitch, Passion, and Pocket. 前两个应该是不言自明。 The first two should be self-explanatory. Pocket是一个警句般的时机，如果时机是不对的，影响是失去。 Pocket is timing—like a punchline, if the timing isn't right, impact is lost. 如果一个声乐所有三个没有，我会打电话给一个夺回。 If a vocal doesn't have all three, I'll call for a retake. - PK —PK
回复此帖 报告
天上草原
1939
#4 11-10-13 22:03 …
但愿没有火星
回复此帖 报告
笨一个蛋
899
#5 11-10-13 23:45 …
这翻译.....是在在线翻译上面上翻译的吗？
回复此帖 报告
慢手
255
#6 11-10-18 22:58 …
有原文地址吗？这翻译确实感觉压力山大
回复此帖 报告
天上草原
1939
#7 11-10-21 12:52 …
回复此帖 报告
echo_xiaowei
153
#8 11-10-21 13:59 …
没火星，直接一颗陨石砸我面前了。。。我看看原文去。。
回复此帖 报告
echo_xiaowei
153
#9 11-10-21 15:22 …
三P的：“我总是达到3个P         这nm自动翻译不牛逼啊 。。。。
回复此帖 报告
返回列表
高级模式
B Color Image Link Quote Code Smilies
您需要登录后才可以回帖 登录 | 注册

本版积分规则

搜索