The sound engineers want to record their recordings just right, but not every sound engineer is aware of the importance of the right sound scene to the success of the sound work. In fact, different audio works have very different requirements for sound scenes. Therefore, how to choose and grasp the sound scene is really an important part of the recording, and it is also an important part of the recording from sensibility to rationality.
The sound scene is also called the sound image scene. Roughly speaking, it refers to the sound space that is built up between the speakers during recording. The construction of this acoustic space should obviously conform to the different artistic requirements of different recording genres in order to create an acoustic performance space that is either imposing or sleek.
Here, "construction" has the two meanings of the means of conceiving and realizing the idea.
About conception. In the face of a recording, you should at least consider the following question: How much more should you reproduce the sound space of this work? How far should its forefront be from the listener? Each of the sound sources is located How big should the point match be in the entire sound image scene? What is the activity level of each point in the space?
The means to realize the concept can be said in a nutshell: the realization of the "scene" in the concept depends mainly on the placement and delay of your microphone and the accurate use of reverberation. It can be seen that the recording is actually a practice of "thinking" and "doing" causality. If there is no idea in the chest, even if the recording of "everyone" is applied, the effect of "everyone" may not be recorded.
The following two examples illustrate how to create a suitable acoustic scene (the following descriptions are based on the acoustic conditions of a short reverberation <0.4 to 0.8 seconds> recording studio).
A double-volume orchestra
For the recording of large orchestras, the accepted expression is to create moderately loud sound scenes. This is the key to getting the first impression of most of your work in the first place.
The moderately large scene requires you to make the sound to the atmosphere but not too exaggerated. To be atmospheric, first of all, the width of the sound image should make the whole band evenly occupy the acoustic space between the speakers, and the depth should be no less than the depth of the actual band (note that at this point, the microphone responds to the spatial distance) There is always a difference between the nonlinearity on the upper and the nonlinearity of the human ear). Secondly, the sound image reproduced by the speaker should be at a moderate distance from you. This distance is essentially limited by the condition that the front of the band's sound source is evenly arranged between the speakers. To this end, try to make sure there is not much distance difference between the main microphone and each source in the front row (or the microphone should be far enough). Because the distance difference is too large, it will give the impression that the sound source space of the sound source of the main microphone is too large and the distance is small in the farthest sound plane of the speaker (you need to know that each source of the band is between the left and right speakers). The size is limited, and eventually the points on the sound image plane are different, which makes the overall balance of the band feel damaged. Of course, the distance between the microphone and the sound source should not be too far, otherwise it would be easy to produce the feeling of being too dead to listen to music from a small speaker or keyhole. Only when the distance is moderate, can the constant adjustment of the gain of the main microphone, so that each source of the band is moderately enlarged to form the skeleton of the overall larger scene.
The author believes that the main microphone should be no less than 3.5 to 4 meters away from the front row, and the height should be about 3 meters (depending on the room's reverberation time or reverberation radius), so that the recorded distance is realistic and overall. The sense of balance is obviously better than that of many books. The main microphone is about 4 meters high behind the command. (According to the Pythagorean theorem, the main microphone is 4 meters behind the command, and the band it picks up. The difference between the distance between the first row and the last row is definitely less than the actual sitting distance of the two rows, which will reduce the sense of depth of the sound and weaken the atmosphere of the so-called scene.
With the skeleton of the above big scene, it is necessary to fill the flesh and blood with the following two points: one is to arrange the auxiliary microphone reasonably, and the other is to correctly add the delay and reverberation.
Arrange the auxiliary microphone reasonably. We know that the auxiliary microphone is usually set to solve the imbalance of the volume of the band. However, since close-range pickup can properly exaggerate the sound image of the point source and expand the sound details and expressive power of the sound source, in order to make the sound scene more "atmosphere", for those instrumental groups that are more than 3 meters away from the main microphone, The auxiliary microphone should be placed as much as possible. The reason why it is required to place the auxiliary microphone more than 3 meters away from the main microphone is that when the same microphone is used in the case of the same microphone amplifier gain, the primary and secondary microphones must have a level difference of not less than 6 dB to avoid The auxiliary signal has significant interference with the main signal level, phase, spatial positioning, and the like. Generally speaking, the sound pressure level of the sound wave is reduced according to the reciprocal law of the square of the distance, and 2 meters becomes the minimum requirement to satisfy this condition. Considering that the auxiliary microphone has a distance of about 1 meter to the sound source, the setting of the auxiliary microphone is set. It must be under the premise that the distance between the main microphone and the sound source is greater than 3 meters. For the same reason, the distance between the auxiliary microphones should not be less than 2 meters and the usual 3:1 principle should also be followed. In combination with the requirements of the main microphone mentioned above, which is 3-4 meters away from the band, we can know that for the recording of large orchestras, virtually all instrumental groups including violin, viola and bass strings can be placed separately. However, sometimes it may be necessary to properly increase the distance between the instrumental groups.
Add delay and reverb correctly.
We must first clarify why delays and reverbs are used:
(1) imitate the acoustic space of the acoustic scene you have conceived;
(2) increasing the blending and fullness of the sound image;
(3) Simulating the distance level between sound sources with time delay;
(4) magnifying the spatial proportion of the sound image with reverberation;
(5) Other special effects and uses.
However, it is not easy to grasp the use of delayed reverberation. Because only when your own subjective cognition is recognized by the industry's fair and objective evaluation, will you prove that you have used it correctly. But the following concepts will help you not to be outrageous: in the setting of the reverberation time, it will feel that the band is too fast. Only the instrument resonance is lacking in room resonance. When it grows, it will feel loose and dragging, lacking the angle of the head; in the amount of reverberation The use of less, it will be less active, lack of affinity, the sound source is not pinched together, and more will turbid affect the clarity and brightness.
Specifically, since the acoustic scene of the orchestra is based on the concert, the reverberation data should normally be set with reference to the concert hall: early reflection time 45ms ~ 75ms, reverberation time 2.3 seconds ~ 2.8 seconds, reverberation The spread is moderate. And how much reverberation is added, in order to be able to find compromises and balances in the following contradictory requirements:
(1) The violin and viola group are intertwined with a sense of floating and soft, and the big bass and the bass are thick and strong, and the sound tail of all the strings has a sense of ripples;
(2) The plosive sound, overtone and penetrating power of the copper tube are obviously enhanced;
(3) The wooden tube is elastic, and the rushed and short notes have a clear grain texture;
(4) The percussion sound is sharp and angular, and the tail is not dragged with water.
In terms of the use of delays, it is true that the "atmosphere" scene depends to some extent on the auxiliary microphone. However, this kind of setting up will be counterproductive. Because there is a level difference between the pickup of the auxiliary source and the main microphone, and you amplify these differences, you will feel that the overall sound is degraded by the phase distortion. The following two methods can completely get rid of this problem:
First, all auxiliary microphone channels (referred to as secondary channels) are serially added to the time difference of sound wave transmission between the primary and secondary microphones. Note that this delay must be 100% serial rather than parallel, and then sent to the downmix bus (pure serial effects processing, digital mixer or audio workstation can be easily implemented). The second is the classic approach mentioned above: the level difference of the auxiliary channel must be more than 6dB lower than the main channel. In fact, experienced sound engineers know that with this 6dB difference, the auxiliary microphone is still very effective. When the auxiliary microphone is more than seven or eight, it is easy to stir into a pot of porridge. So remember, the key to using an auxiliary microphone is to forget the pure serial delay.
As for the use of reverberation on the auxiliary channel, it is necessary to use a large amount of reverberation to imitate the spatial distance sense that pure delay has, because the method of large reverberation is "too old": Reverberation simulation distance level not only does not help, but will be self-defeating. Generally speaking, the reverberation time used by the auxiliary channel should be the same as that of the main channel, and the amount of reverberation should be less and less, otherwise the point will be too "hypertrophic". Of course, for bass strings, sometimes in order to pursue the "swing" feeling in the space when plucking the strings, the reverberation of the channel is slightly larger.
2. Peking opera singers with only a few accompanying instruments
Compared with large orchestras, the acoustic scenes of drama singing are more or less influenced by the introverted restraint of Chinese traditional culture. The spatial expansion of sound image is not so strong, and there is a tendency to show Xiaojiabiyu.
First of all, it can't fill the width of the sound image in the spatial layout of the sound image; secondly, the front edge of the sound image of the band should be farther away from the listener than the symphony orchestra. This is because, although the Beijing Opera's band includes the "martial arts" percussion performance is very hot, but because people's traditional appreciation habits are that their voice comes from a small area beside the stage curtain, its sound source is more "carrying" and The distance to the audience is also longer, so when you split them apart to create a sound scene that is wider and closer to the listening distance, you will feel that the band's tone is not right. Not only can the band not be too close, but the voice of the singer is also influenced by the specific space of the traditional theater of performance, nor can it be too close to the listener, and the elasticity of the voice in space cannot be too active. That is to say, the time and amount of reverberation used should not be too large.
Therefore, the acoustic scene of the drama-song-song program is: a wide but deeper sound image space, the distance between the band and the listener is relatively far, and the sound image of each sound source (including the singer) should not be too large in space. It should not be too active.
Specifically, the distance between the singer and the band is no less than 5 meters and can be arranged face to face to each other. At this time, no special main microphone is set up, but the spatial distance between each instrument and the singer of the band is determined by the information picked up by the singing microphone, so from this point, the singing microphone plays the role of the main microphone. Is the coordinate zero point of the entire sound image space judgment distance. Relative to it, the microphones of all other instruments should be added with a corresponding delay time in their respective channels according to their respective linear distances to the singing microphone. The distance between the singing microphone and the actor is increased or decreased depending on the singing performance (this means that the band's depth is more than 7 meters). At this time, the sound image orientation of the accompaniment instrument is represented by the microphone in front of the accompaniment instrument: a stereo microphone is picked up about 3 meters before the percussion, and the microphone is placed about 1.5 meters before the huqin, plucking and bass instruments.
Reverberation data setting: early reflection time 25ms ~ 40ms, reverberation time 1.5 seconds ~ 1.9 seconds, reverberation spread faster. The amount of reverberation is to reverberate the reverberation of the entire band, and it is necessary to add a strong and flexible sound to each sound source, and not to increase the percussion of the percussion and the burrs of Jinghu and Yueqin.
Through the analysis of the selection and establishment of different sound scenes, we will discuss the problems and hope that we can pay attention to the sound scene problems, so as to think about and draw lessons from the sound scenes cut by different sound recordings.
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