My current assignment has found me behind a monitor console once again. It's been a while since I stage-mixed on a regular basis, so I am enjoying the change of scenery.
我目前的课题使我重新回到了监控调音台的后面.自从我在舞台混音许久之后已经好一阵子了,所以我喜欢目前这环境的改变.
Here are some of my rules for setting up successful stage mixes.
以下是我的一些成功建立舞台混音的准则
Objective
目的
To me, the first and most important stage-mixing rule is to understand exactly what you are trying to accomplish. (As with most things in life!) The objective is for the player or Artist to hear what they need or want to hear, in a way that makes sense to them. Do not confuse this with the idea that you are there to make it sound good to you! The two do not necessarily coincide. Wedge mixes do not generally sound like FOH mixes.
对我来说,舞台监听最初也是最重要的一个原则就是去准确的弄清楚,你到底要试着去实现什么.(就象生命中的大部分事情一样!)目的就是为了乐手或是艺术家们需要或者是想要听到什么,不要光是你自己感觉良好就可以了!这两者没有必然的一致性.舞台监听并不是象扩声那样的.
Be Realistic
现实一些
Face it; on a one-off with an unfamiliar band all you can do is give it your best shot. If it's a couple of folks with acoustic guitars, you're probably "in there". If it's Godzilla meets Metal-Head, well... set up accordingly. If you are going on tour with a band, try to find out as much as possible about them. Perhaps the guy who was sitting in the seat before you got there would be a good place to start. Make a plan, but don't try to reinvent the wheel on the first day. Many musicians get used to their mixes sounding a certain way, and right or wrong be prepared to leave it that way. But if you are lucky enough to tour with some receptive players, you will have plenty of time to try different things and fine-tune your "stage sound" as you go!
面对现实;在一场和一个不熟悉的乐队合作的一次性的演出中你所能做的全部就使出你自己最棒的一击.如果是给几个乡村乐手还有箱琴吉他,那么你可能只是"在那里".如果是碰到了重金属,好吧...就这样建立起来了.如果你将和一个乐队巡回演出,试着找出尽可能多的找出关于他们的东西.也许这些坐在席位上的家伙比你先到那里将会是个好的开始.先制定个计划,但是不要尝试着在第一天时将顺序重新来过.很多音乐家习惯于他们的返听有一个可靠的方式,并且每个人的要求都是不同的.但是如果你足够幸运碰到的是一些很善于接收的乐手,你将有许多时间去尝试不同的事情并调节你的"舞台音响"如你所愿!
First Things First
最先的一步
Assuming this is a tour...you will probably receive information about what goes in to the mixes, but it's best to speak directly to the band members if possible. This is your starting point. Following that initial information, you set up for your first sound check. When they begin playing and I am comfortable with my initial mixes, the next thing I like to do is walk around to the various positions and listen. I mean really LISTEN carefully to what everyone is hearing. It will change as you move around depending on your proximity to various instruments, amplifiers and wedges. It may change from song to song depending on the volume of the instruments. Make mental notes of what you hear. This will be the foundation for building a successful "stage sound" later.
假如这是一次巡回演出..你将可能收到关于什么将要被放进混音中的信息,但是尽可能的还是最好直接和乐队的成员进行沟通.这是你的起点.紧接着那些最初的信息,你建立起你的第一次音响标准.当他们开始排练时我舒适的进行混音,接下来我习惯于行走于各种位置并去听.我的意思真的是 听 ,仔细的去听每一个人听到的那些声音.当你走来走去时凭你对不同乐器,放大器和舞台的了解,听到的声音也将起变化.从一首歌到另一首歌依靠各个乐器音量的变化声音也会改变.多花点脑子注意你听到了些什么.这将是稍后你成功建立"舞台音响"的基础
Psycho
心理学
You must also play psychiatrist a bit and try to get inside the player's heads. It is important to understand the difference between a guy who will ask for his guitar in the wedge in front of him while standing in front of a Marshall stack turned up to eleven, and the guy who wants a taste of the keyboards because they are on the opposite side of the stage. If it is all about volume and ego... (Fill in the blans...)
你也可以扮演精神病专家一样试着进到乐手的脑子中去.很重要的一点就是要理解不同人之间的差异,例如一个弹吉他的家伙请求将他的声音插入到他面前当他站在旋钮放在11点位置时的MARSHALL的箱子前时,并且这个家伙想听到一些键盘的声音因为他和键盘手的位置是相对在舞台的两边的.这些都是关于音量和个体的...
Speaker Placement
扬声器布置
I am always amazed at how many guys don't take the time to really place the loudspeakers properly. Aim them at the players' faces, and away from troublesome acoustic instruments. (Like a grand piano) Try to keep from firing in to open microphones and the FOH mixer thank you. Drum fills are particularly troublesome. I like to get them as far down-stage as possible along side the riser, and aim them just up-stage of the drummer. Orient the box so that the narrowest horn dispersion is in the horizontal plane. (Usually on it's side) This will help to keep the foldback out of the tom and overhead microphones.
我经常对于那些不把时间花在认真摆放音箱合适位置的人感到惊讶.针对乐手的朝向,并且远离棘手的乐器.(比如三角钢琴)试着远离开着的开放式MIC,前台扩音师将感谢你的.鼓声的填充是明显棘手的.我喜欢使得鼓声尽可能的远离舞台前部靠边的那些听众,并且将鼓声正对着鼓手在舞台上显要的位置.确定音箱的方向使得最狭窄的喇叭也能在水平面上散播开来.(通常只是符合规则的位置)这样可以帮助保持返听系统输出桶鼓和整体的MIC声音
Be careful when you are using more than one enclosure on a mix. Play with the placement of your wedges and find out what works. You will be amazed at what a difference a few inches can make when it comes to hot spots and nulls. Usually I try to find a place where they are close enough together and down-stage to still be in front of the musician, but far enough apart to aim the high frequency axis past the microphone at his ears. When they are too far apart, you loose that "In Your Face" feel. Avoid crossing the HF axis from both boxes at the microphone itself. Also be prepared for reflections from hats or costumes.
谨慎混合当你使用了超过一个围栏的时候(这句话拿不准哎,死活没弄明白望高人指点).摆放返听音箱的位置并且找出舞台上哪些点是可以工作的.你会惊讶的发现当被提到舞台上热点和零信号点时很多人之间的差异是多么的大.通常我试着在舞台的前部寻找一个离乐手足够近并且集中的位置,但是又足够远的穿过MIC的高频轴向到达他的耳朵.当音箱离的过分的远的时候,你将失去那些"在你面前"的感觉.避免从两个音箱中出来的MIC高频轴向的交叉.也要对来自帽子和服装的反射声做准备.
(这一段的大概意思是 音箱的轴线尽量指向演员 音箱尽量离演员近 但是为了获得高频的覆盖范围又不得不远 )
累死了呵呵,才翻了一半
这两天身体不舒服,太慢了
过两天再把下半篇弄出来
主要讲的是一些心得
感谢鹤兄热心提供的帮助呵呵
[ Last edited by 呵呵 on 2005-3-10 at 01:35 ]
我目前的课题使我重新回到了监控调音台的后面.自从我在舞台混音许久之后已经好一阵子了,所以我喜欢目前这环境的改变.
Here are some of my rules for setting up successful stage mixes.
以下是我的一些成功建立舞台混音的准则
Objective
目的
To me, the first and most important stage-mixing rule is to understand exactly what you are trying to accomplish. (As with most things in life!) The objective is for the player or Artist to hear what they need or want to hear, in a way that makes sense to them. Do not confuse this with the idea that you are there to make it sound good to you! The two do not necessarily coincide. Wedge mixes do not generally sound like FOH mixes.
对我来说,舞台监听最初也是最重要的一个原则就是去准确的弄清楚,你到底要试着去实现什么.(就象生命中的大部分事情一样!)目的就是为了乐手或是艺术家们需要或者是想要听到什么,不要光是你自己感觉良好就可以了!这两者没有必然的一致性.舞台监听并不是象扩声那样的.
Be Realistic
现实一些
Face it; on a one-off with an unfamiliar band all you can do is give it your best shot. If it's a couple of folks with acoustic guitars, you're probably "in there". If it's Godzilla meets Metal-Head, well... set up accordingly. If you are going on tour with a band, try to find out as much as possible about them. Perhaps the guy who was sitting in the seat before you got there would be a good place to start. Make a plan, but don't try to reinvent the wheel on the first day. Many musicians get used to their mixes sounding a certain way, and right or wrong be prepared to leave it that way. But if you are lucky enough to tour with some receptive players, you will have plenty of time to try different things and fine-tune your "stage sound" as you go!
面对现实;在一场和一个不熟悉的乐队合作的一次性的演出中你所能做的全部就使出你自己最棒的一击.如果是给几个乡村乐手还有箱琴吉他,那么你可能只是"在那里".如果是碰到了重金属,好吧...就这样建立起来了.如果你将和一个乐队巡回演出,试着找出尽可能多的找出关于他们的东西.也许这些坐在席位上的家伙比你先到那里将会是个好的开始.先制定个计划,但是不要尝试着在第一天时将顺序重新来过.很多音乐家习惯于他们的返听有一个可靠的方式,并且每个人的要求都是不同的.但是如果你足够幸运碰到的是一些很善于接收的乐手,你将有许多时间去尝试不同的事情并调节你的"舞台音响"如你所愿!
First Things First
最先的一步
Assuming this is a tour...you will probably receive information about what goes in to the mixes, but it's best to speak directly to the band members if possible. This is your starting point. Following that initial information, you set up for your first sound check. When they begin playing and I am comfortable with my initial mixes, the next thing I like to do is walk around to the various positions and listen. I mean really LISTEN carefully to what everyone is hearing. It will change as you move around depending on your proximity to various instruments, amplifiers and wedges. It may change from song to song depending on the volume of the instruments. Make mental notes of what you hear. This will be the foundation for building a successful "stage sound" later.
假如这是一次巡回演出..你将可能收到关于什么将要被放进混音中的信息,但是尽可能的还是最好直接和乐队的成员进行沟通.这是你的起点.紧接着那些最初的信息,你建立起你的第一次音响标准.当他们开始排练时我舒适的进行混音,接下来我习惯于行走于各种位置并去听.我的意思真的是 听 ,仔细的去听每一个人听到的那些声音.当你走来走去时凭你对不同乐器,放大器和舞台的了解,听到的声音也将起变化.从一首歌到另一首歌依靠各个乐器音量的变化声音也会改变.多花点脑子注意你听到了些什么.这将是稍后你成功建立"舞台音响"的基础
Psycho
心理学
You must also play psychiatrist a bit and try to get inside the player's heads. It is important to understand the difference between a guy who will ask for his guitar in the wedge in front of him while standing in front of a Marshall stack turned up to eleven, and the guy who wants a taste of the keyboards because they are on the opposite side of the stage. If it is all about volume and ego... (Fill in the blans...)
你也可以扮演精神病专家一样试着进到乐手的脑子中去.很重要的一点就是要理解不同人之间的差异,例如一个弹吉他的家伙请求将他的声音插入到他面前当他站在旋钮放在11点位置时的MARSHALL的箱子前时,并且这个家伙想听到一些键盘的声音因为他和键盘手的位置是相对在舞台的两边的.这些都是关于音量和个体的...
Speaker Placement
扬声器布置
I am always amazed at how many guys don't take the time to really place the loudspeakers properly. Aim them at the players' faces, and away from troublesome acoustic instruments. (Like a grand piano) Try to keep from firing in to open microphones and the FOH mixer thank you. Drum fills are particularly troublesome. I like to get them as far down-stage as possible along side the riser, and aim them just up-stage of the drummer. Orient the box so that the narrowest horn dispersion is in the horizontal plane. (Usually on it's side) This will help to keep the foldback out of the tom and overhead microphones.
我经常对于那些不把时间花在认真摆放音箱合适位置的人感到惊讶.针对乐手的朝向,并且远离棘手的乐器.(比如三角钢琴)试着远离开着的开放式MIC,前台扩音师将感谢你的.鼓声的填充是明显棘手的.我喜欢使得鼓声尽可能的远离舞台前部靠边的那些听众,并且将鼓声正对着鼓手在舞台上显要的位置.确定音箱的方向使得最狭窄的喇叭也能在水平面上散播开来.(通常只是符合规则的位置)这样可以帮助保持返听系统输出桶鼓和整体的MIC声音
Be careful when you are using more than one enclosure on a mix. Play with the placement of your wedges and find out what works. You will be amazed at what a difference a few inches can make when it comes to hot spots and nulls. Usually I try to find a place where they are close enough together and down-stage to still be in front of the musician, but far enough apart to aim the high frequency axis past the microphone at his ears. When they are too far apart, you loose that "In Your Face" feel. Avoid crossing the HF axis from both boxes at the microphone itself. Also be prepared for reflections from hats or costumes.
谨慎混合当你使用了超过一个围栏的时候(这句话拿不准哎,死活没弄明白望高人指点).摆放返听音箱的位置并且找出舞台上哪些点是可以工作的.你会惊讶的发现当被提到舞台上热点和零信号点时很多人之间的差异是多么的大.通常我试着在舞台的前部寻找一个离乐手足够近并且集中的位置,但是又足够远的穿过MIC的高频轴向到达他的耳朵.当音箱离的过分的远的时候,你将失去那些"在你面前"的感觉.避免从两个音箱中出来的MIC高频轴向的交叉.也要对来自帽子和服装的反射声做准备.
(这一段的大概意思是 音箱的轴线尽量指向演员 音箱尽量离演员近 但是为了获得高频的覆盖范围又不得不远 )
累死了呵呵,才翻了一半
这两天身体不舒服,太慢了
过两天再把下半篇弄出来
主要讲的是一些心得
感谢鹤兄热心提供的帮助呵呵
[ Last edited by 呵呵 on 2005-3-10 at 01:35 ]