tag:blogger.com,1999:blog-60215766243259932972024-03-04T23:52:43.052-08:00搖滾 需要翻譯有關搖滾樂的訪談,器材,混音,錄音的文章翻譯Anonymoushttp://www.blogger.com/profile/06377922510595008070noreply@blogger.comBlogger26125tag:blogger.com,1999:blog-6021576624325993297.post-83918237831403152572015-11-06T01:12:00.001-08:002015-11-06T01:25:12.769-08:00控台上的“Big Mick” Hughes<h3>
<span style="color: #f1c232;">混音金屬製品並且飛躍至數位</span></h3>
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<span class="s1"><b><span style="font-size: x-small;">Nov 1, 2007 1:47 PM, By Sarah Jones</span></b></span></div>
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<span class="s1">七月,Mix在倫敦的新溫布雷球場逮到機會訪問和金屬製品長期合作的”Big Mick” Hughes。這是樂團 <span style="font-family: "arial" , "helvetica" , sans-serif;">Escape from the Studio ’07 tour</span>的第七場,一共十二場秀的歐洲體育館巡演,每場的人次高達70,000名樂迷,進行在他們在Live Earth音樂節演出之後的夜晚。總是生龍活虎的Huges談論夏天的巡演計畫,分享一些選擇麥克風的秘訣,以及聊聊他和樂團在路上超過十年的經驗,還有他是怎麼克服對於數位混音台的恐懼——幫忙製作一台。</span></div>
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<span class="s1"><b>你跟金屬製品合作多久了?</b></span></div>
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<span class="s1">從’84的十一月開始,已經二十三年了。我當時是二十五、六歲,我現在四十九歲了。</span></div>
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<span class="s1"><b>你是怎麼跟他們搭上線的?</b></span></div>
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<span class="s1">我本來就幫他們的經紀公司工作——我那時跟Bob Doyle在英格蘭一家叫做Texserv的PA公司上班。Peter Mench-金屬製品、威豹、嗆辣紅椒的經理人,說他想要Bob底下的一個人來幫他在英國新簽的一個樂團叫Armory Show的做音控。後來我跟這個團跑了一年半;那年是’81年,大概是那個時候。Q Prime,這個經紀公司說:『我們失去了這個團,但我們喜歡你-你想幫個剛簽約的團做事嗎?這個新團叫做金屬製品。』我說:『好阿,他們是怎麼樣的團?』他回說:『是重金屬。』我回道:『重金屬是什麼鬼東西?』他說:『如果你做的話,你就知道了。』 然後我就說“『好吧,我加入。』所以我去了,在十一、十二月的時候做歐洲巡迴。然後樂團對我說:『我們喜歡你;你願意當我們的音響工程師嗎?』我說:『好啊,但那我要做什麼?』因為我從沒當過樂團的工程師,我總是跟著PA來來去去:裝台,做事,把器材收進卡車然後走人。我們從一月開始跟著Wasp和Armored Saint巡迴。那時候是’85年的一月,現在已經是2007了。</span></div>
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<span class="s1">人們對我說,你真夠幸運能夠目睹整個變化,從酒吧到俱樂部、劇院、半巨蛋、巨蛋、體育館。能看見事情的變化真的是很詭異。在之前,不過就是樂團、我,還有幾個傢伙坐在巴士上-我們全都坐在一台巴士上一起巡迴,就這樣。他們只有十九、二十歲,你知道我的意思嗎?現在我們都還在,還在巡迴。但他們全都有了老婆、小孩了。</span></div>
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<span class="s1"><b>事情的變化很大。</b></span></div>
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<span class="s1">是啊,你知道嗎?他們那時候甚至連兩便士都沒有。他們沒有信用卡,我記得借他們錢去洗衣服還什麼的。在一開始他們都負債累累,到處欠錢。現在已經不太一樣了。</span></div>
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<span class="s1"><b>告訴我一些這次巡迴的事情吧。</b></span></div>
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<span class="s1">這巡迴叫做『逃離錄音室』。他們在錄這張專輯時,就有這個想法了。我想他們在錄音室裡有點悶。那些錄音室裡的人總是試著展現創意,然後大家會說這說那的。他們只是試著偶而出去透透氣,並且出去為些朋友們演唱。他們總會說:『我們去做些小場子的演出吧。』(笑)我們就去訂些三萬、五萬人之類的場子。</span></div>
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<span class="s1"><b>聽起來像是私人聚會。</b></span></div>
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<span class="s1">對,就是朋友們一起鬼混,找點樂子,你明白吧?</span></div>
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<span class="s1"><b>昨晚Live Earth的演出陣容非常不錯。你會害怕Pussycat Dolls的粉絲嗎?</b></span></div>
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<span class="s1">我確實對樂團說,聽著,我不會像我平常那樣做的那麼猛,會做得溫和點。因為我敬重那些不想要聽金屬製品的人們。</span></div>
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<span class="s1"><b>新的溫布雷球場聲音如何?</b></span></div>
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<span class="s1">非常地巨大。它是個很大~的地方。我們在美國做過一些體育館,而且我在其中的某些地方玩得很愉快。這一個,我還不知道。我還沒覺得有任何的壓力。我們今晚會知道到底會發生什麽事情,確實。</span></div>
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<span class="s1"><b>你混音的方式是怎麼樣子的?</b></span></div>
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<span class="s1">這真的很怪,不是嗎?因為實在太久了。二十三年來不斷地改變、嘗試,試著找出為什麽聲音聽起來像狗屎一樣,再改進它。做一點這個,做一點那個。</span></div>
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<span class="s1"><b>你可以給我個範例嗎?</b></span></div>
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<span class="s1">我會先做所有的環境麥。我有六隻overheads;每一片銅鈸都有一支mic在底下收音。我們已經這樣做了很久。事實上,我們有一個舞台擺在鼓組底下。我想那是從Black album開始的吧。一共用了兩套鼓組,這樣子升台上放不了那麼多鼓。於是再降低鼓的套件,好讓鼓組可以合乎升台的空間。銅鈸跟舞台之間只有一英吋的距離。所以沒有空間可以再架設上方的麥克風了。我那時想:『該死!我要怎麼架設overhead呢?』結果就變成用underheads。你無法在兩側架麥,就只好將每片銅鈸都收音。Lars喜歡這樣,因為他就不需要用大銅鈸架附上麥克風。所以我們就用一些小的AT M35麥克風裝在鵝頸架上,因為如果你將麥克風放在中間,你必須小心這些鈸不會聽起來像是銅鑼一樣。所以你得用鵝頸架去延伸一點,好得到更多邊緣的聲音。</span></div>
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<span class="s1"><b>你得到更扎實的聲音。</b></span></div>
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<span class="s1">我在鼓上有使用掛上gates的triggers。我不是用triggers來驅動sample的聲音,我只是用這些triggers來打開noise gate。因為舞台上有太多的噪音,如果你直接在toms上掛gates,會出現-披滋、披滋-的聲音。為了不要這樣,我用trigger貼在鼓身上,拿一條multicore,在FOH插上gates,然後讓它因震動而打開gate,和聲響相反。。所以你可以只是輕拍鼓框,gate就會打開,這樣你就算對著麥克風將喇叭開到最大聲,也沒事會發生。</span></div>
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<span class="s1"><b>這是個好技巧⋯⋯</b></span></div>
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<span class="s1">這麼多年來,我曾試著gate超低音,然後讓大鼓跟著gate一起控制,你所要做的就是把超低音降個-大概是-3dB吧,這個範圍剛好足以讓所有東西都往上3dB去通過,當大鼓敲擊時。它會讓gate大開,你就會在超低音上得到額外的3dB低頻,更多一點貝斯、多一點吉他、多一點的所有東西,然後你會得到更大的大鼓。</span></div>
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<span class="s1">很多像這樣的事情我都試了好多年了。但你知道,你是為了特定的巡迴、PA去做嘗試的。而且時間過得很快,下一次你做事的時候就會:『喔!我這次不會再讓這件事情困擾我了。』或是『這是個強力的PA,我不需要這麼做。』你就是讓聲音響,保持改變。抱持著這樣簡單的原則,我總是可以找到最好的方法。</span></div>
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<span class="s1"><b>我會想像他們有著非常直接的聲音。</b></span></div>
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<span class="s1">到頭來,終究是做搖滾樂團嘛!他們製造很多的噪音。其實我也做威豹跟奧茲、滑結。像這樣越硬的樂團,越是難做⋯⋯威豹超棒的;如果演出到了獨奏的時候,觀眾會拍手、大叫。但是這些傢伙,他們獨奏的時候會彈得更用力。不會有『喔,他正在獨奏,把音樂收一點,把這軌推到前面吧!』所以這並不是像你所想的那麼簡單;有很多的花招。</span></div>
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<span class="s1"><b>所以你會把音量推得比其他軌都大?</b></span></div>
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<span class="s1">喔,我必須得快速地混音。但我也試著捕抓態度;不只是聲音而已。他們是金屬製品,他們有他們的態度,他們在一開始的時候創造出一種型態的聲音,我們一起製造出來的聲響——你知道的,大鼓的喀喳聲,從沒有人想過要去強調大鼓上的喀喳聲(約1.5kHz - 4kHz之間),我之所以開始這麼做是因為一個簡單的理由,該死的我聽不見它。我們總是在這些事情上打轉;當然,我曾經花很多時間跟樂團相處,我們會討論聲音的事情。現在看起來很有趣,因為我們已經沒有討論聲音好多年了。</span></div>
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<span class="s1"><b>你們像是個家庭。</b></span></div>
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<span class="s1">對啊,你知道,他們在二十三年後對我說了什麼嗎?已經根深蒂固了,如果聲音聽起來不好,他們會知道我正竭盡所能地讓它好轉。當聲音對了,我們就會一起歡呼。</span></div>
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<span class="s1"><b>James用什麼唱歌?</b></span></div>
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<span class="s1">ATM5400s。吉他全都是用Audio Technica 2500麥克風收音。<a href="http://www.audio-technica.com/cms/wired_mics/6c15480b96d121b7/" target="_blank">5400</a>收vocal,<a href="http://www.audio-technica.com/cms/wired_mics/99c664d84f1a5c98/" target="_blank">ATM35s</a>收toms跟underheads,然後<a href="http://www.audio-technica.com/cms/wired_mics/1f67f237a1b10c27/" target="_blank">23s</a>收小鼓、<a href="http://www.akg.com/pro/p/c451b" target="_blank">451</a>收底皮,451收hihats。</span></div>
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<span class="s1"><b>你們有對他的vocal channel做什麽事嗎?</b></span></div>
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<span class="s1">James有著非常強力的聲音,以及動態很大的麥克風技巧。他在中頻範圍製造很多的630 Hz。所以當你把那減少些,再修飾一下其他的eq點,然後他的聲音會變得很棒。我也用一個RMS averaging compressor ( the adaptive compressor on XL8) 用modrate attack 在大約3:1,再補償增益約6dB。這樣會很平順卻稍微超出動態一點點,但仍足夠讓演出錦上添花。</span></div>
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<span class="s1"><b>整個樂團都戴耳內監聽嗎?</b></span></div>
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<span class="s1">耳內監聽和監聽喇叭都有。大部份的團,當你使用耳內監聽,你就不去用監聽喇叭系統了。金屬製品從不減少任何東西,他們只會增加。James的說法很棒,他說:『我們需要監聽喇叭。』我回:『為什麼?』他繼續說:『為了吉他回授。我沒辦法把吉他對著我的耳朵!』我們其實不需要太多的樂器在台上,全都設置在獨立隔間、飛行箱,有內建的麥克風收音,而且全都放置在舞台後方,像貨車般的吉他聲音。它其實不是從舞台上傳來的,它是從別的地方來的。所以我們無法把這些東西搬上台,因為已經密封住了。還是會放一些音箱在舞台啦。</span></div>
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<span class="s1"><b>所以你一共用多少個input?</b></span></div>
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<span class="s1">舞台上的輸入端總數是48軌,包含六軌的triggers。所以我想用在樂團上的只有38軌。有10軌的人聲,James的節奏吉他用掉4軌,Kirk的吉他用掉2軌,後還有兩軌是James的clean sound。還有兩軌的貝斯,六支underheads、四顆tom toms、兩軌大鼓跟三軌小鼓。還有一軌hihat。</span></div>
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<span class="s1"><b>長久以來,你一直是Midas混音台的支持者。你是怎麼參與XL8的製作過程的?</b></span></div>
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<span class="s1">我用了十一年的XL4;我會買自己要用的混音台,它很棒。但他們不再生產它了。 老實跟你說,再也不會有新的大型類比混音台了,我想,好吧,該是時候踏入二十一世紀,然後走入數位的世界了。我在家有兩台混音台可以玩。但我不喜歡它的聲音,也不喜歡他們運作的方式。所以我想,我最好是能參與做一台。</span></div>
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<span class="s1"><b>你想要從混音台上得到什麼?</b></span></div>
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<span class="s1">一些我用得上的東西。它的人體工學設計、音質的感覺要像XL4。我也想藉著這些東西,來消除對於用它來作場子的恐懼,這就好像你必須靠著這些東西來操作你的戰艦,讓聲音進進出出。</span></div>
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<span class="s1"><b>所以在你加入之前,Midas團隊已經設計了混音台</b></span></div>
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<span class="s1">對呀。[Midas XL4設計師]Alex Cooper花了超過六個月的時間,透過這些東西聽著一個木魚的聲音。他有一個XL4 EQ和其他EQ來比較,然後他在類比世界裡,做出了新的XL8 EQ。然後那些數位的傢伙來了,把這些類比設計數位化,然後再用些樂高磚和線弄在一起給他,然後做更多的聆聽。我跟他坐在一起幾次,那真的是很耗損生命,精準地說,是坐在那裡一天聽十二小時的木魚叩叩聲。(笑)</span></div>
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<span class="s1">後來我問:『為什麼要這樣做?你們應該要能按下按鈕、碰碰這個、那個之後機器就可以作用啦,』他們回說:『那表示有150,000的編碼線要處理⋯⋯』</span></div>
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<span class="s1"><b>他們不只是替你設計混音台而已⋯⋯</b></span></div>
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<span class="s1">對呀、對呀。我只需要有時候退後一點去看,然後理解他們有很多的工作事項要進行,不是只有要處理我的想法而已。所以我們互相地拉扯,他們也會盡可能地給我意見。這是在做一台夢幻混音台。它會把頻道做給你;你再也不用去追著要頻道了。</span></div>
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<span class="s1"><b>所以你花了大半輩子跟著金屬製品。這對你有什麽影響?</b></span></div>
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<span class="s1">把你逼瘋。[笑]</span></div>
Anonymoushttp://www.blogger.com/profile/06377922510595008070noreply@blogger.com0tag:blogger.com,1999:blog-6021576624325993297.post-80253406825455904712015-09-06T08:11:00.001-07:002015-09-06T08:11:43.304-07:00珍貴的Jimi Hendrix訪談:關於寫歌、Bob Dylan、毀壞吉他<h3>
麥迪遜花園廣場像是大長篇童話的終章</h3>
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<span style="color: #999999; font-size: x-small;"><span class="s2"><a href="http://www.musicradar.com/author/joe-bosso"><b>Joe Bosso</b></a></span><span class="s1"><b>September 24, 2012, 10:03 UTC</b></span></span></div>
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<span class="s1"><b>在1970年二月四號,Rollin Stone雜誌的總編輯John Burks,接到Jimi Hendrix的經理人-Micheal Jeffery-的邀請,去訪問這位正在紐約市的吉他巨星。那時,Hendrix正處於一個轉變期,他已經和Jimi Hendrix Experience的原始團員拆夥,並成立了一個新的樂團Band Sun And Rainbows——是由Band of Gypsys(包括Experience的鼓手Mitch Mitchell,和貝斯手Buddy Cox的三人組合)演變而來的。</b></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhsxViaNoyYzNiUdInU4kVNUgH-41bxYkof4wf6E6Q7BgJFQPJRZ8Gz9dM4cYtpx71brDlLLPiwqpKnFT7ERBVuUGENWZxlFwIfFwBcADVu3JQ_9H7PGgJxQEQJmM2IyOWRCAC8uNdYGOU/s1600/o-JIMI-HENDRIX-facebook.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="227" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhsxViaNoyYzNiUdInU4kVNUgH-41bxYkof4wf6E6Q7BgJFQPJRZ8Gz9dM4cYtpx71brDlLLPiwqpKnFT7ERBVuUGENWZxlFwIfFwBcADVu3JQ_9H7PGgJxQEQJmM2IyOWRCAC8uNdYGOU/s320/o-JIMI-HENDRIX-facebook.jpg" width="320" /></a><span class="s1"><b>雖然在做這個訪問時,Mitchell跟貝斯手Noel Redding都還在樂團中,也在Jeffery的煽動之下,大力宣傳這將會是原始Jimi Hendrix Experience的重新合作,但Hendrix顯然另有打算——他隨後便只和Mitch、Cox上路巡迴。(Redding之後會從Mitch的女朋友那得知自己被換掉了)</b></span></div>
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<span class="s1"><b>下面的訪問摘錄內容,命名為大長篇童話的終章,曾部分載錄在1970年的Rolling Stone,以及全部載錄在1975年的Guitar Player雜誌上。文章內容是從即將出版的書取出的:Hendrix On Hendrix: Interviews And Encounters With Jimi Hendrix,由Steven Roby所撰。這本書將由Chicago Review Press在2012年十月一號出版。你可以在Amazon上預購此書。</b></span></div>
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<span class="s1"><b><span style="color: #45818e;">當你寫歌時,音樂是就這麼地進入你的腦中?還是,這只是你從早上十點開始坐下來,玩著吉他或鋼琴的一段過程罷了?</span></b></span></div>
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<span class="s1"><b>「我會聽到音樂,但我並不能用吉他去呈現。這就像躺著做白日夢還什麼之類的。你會聽見所有的音樂,但你就是無法用吉他複製下來。就事實而言,如果你拿起吉他,試著去彈奏那音樂,一切就毀了。我吉他沒彈得那麼好,好到去呈現那我所聽見的音樂;所以我就只是躺在那。我希望我學過如何去編寫樂器。我的下一步就是要去實現這件事,我猜。」</b></span></div>
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<span class="s1"><b><span style="color: #45818e;">所以像是Foxy Lady這樣的歌,你是先聽見音樂,然後再找到屬於這首歌的文字嗎?</span></b></span></div>
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<iframe allowfullscreen="" class="YOUTUBE-iframe-video" data-thumbnail-src="https://i.ytimg.com/vi/6Fz-F6xffvc/0.jpg" frameborder="0" height="266" src="https://www.youtube.com/embed/6Fz-F6xffvc?feature=player_embedded" style="clear: right; float: right;" width="320"></iframe><span class="s1"><b>「這都不一定。像Foxy Lady,我們就只是開始彈奏罷了,然後架上麥克風,這些文字就浮上我心頭了(笑)。那像Voodoo Child (Slight Return),是因為有個人想拍我們在錄音室的樣子,要我們(模仿一種很自大的聲音)看起來像是錄音室樂手一般——其中的一幕,你明白的,『好吧,就用E調來玩吧;一、二、三、下!』,然後我們就彈出了Voodoo Child。」</b></span></div>
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<span class="s1"><b><span style="color: #45818e;">當我聽到Mitch瘋狂的打擊,還有你驚人的彈奏,以及貝斯自由的聲線,這一切聽起來幾乎像是前衛爵士。</span></b></span></div>
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<span class="s1"><b>「嗯,那是因為這是它的根源——鼓的節奏。」</b></span></div>
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<span class="s1"><b><span style="color: #45818e;">你有喜歡的前衛爵士樂手嗎?</span></b></span></div>
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<span class="s1"><b>「有啊,當我們到瑞典時,去聽了一些從未聽過的樂手。這些傢伙是在一些小的鄉村吧、洞穴裡演奏的,你知道嗎,這其實很難想像。來自瑞典、哥本哈根、阿姆斯特丹,或是斯德哥爾摩的人們。每一次當他們開始演奏得像是製造出一個波浪般時。他們會帶著自己的個性,不時地進入彼此的世界裡,然後派對一整晚,或是宿醉(笑),再來邪惡的力量會將他們又一次地推開。你可以聽到音樂開始沒那麼緊。接著它又開始合在一起。就像潮汐般,我猜,來了又去。」</b></span></div>
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<span class="s1"><b><span style="color: #45818e;">就你自己的經驗而言,哪裡是最棒的表演地點?</span></b></span></div>
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<span class="s1"><b>「我喜歡在像俱樂部那樣的小地方,做<span style="font-size: xx-small;">[註1]</span></b></span><span class="s1"><b>深夜的即興演奏。你會有不同的感覺。你會以不同的方式與夥伴們演奏。你會有不一樣的感覺,而且你可以將這感覺和你剛才在演唱會時得到的感覺混合在一起。不為了聚光燈,就只是一群人混在一起而已。」</b></span></div>
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<iframe allowfullscreen="" class="YOUTUBE-iframe-video" data-thumbnail-src="https://i.ytimg.com/vi/3ow_ZJwu9z8/0.jpg" frameborder="0" height="266" src="https://www.youtube.com/embed/3ow_ZJwu9z8?feature=player_embedded" style="clear: right; float: right;" width="320"></iframe><span class="s1"><b><span style="color: #45818e;">這兩種體驗是怎麼個不同法,這個你從觀眾那得到的感覺?</span></b></span></div>
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<span class="s1"><b>「我從觀眾那得到更多夢幻般的感覺——當你進入那個狀態時,那感受是很多樣化的。你有時會進入一個狀態。你不會忽略掉觀眾,但你會忘記所有的煩惱,像是你在台上會想:『喔,天啊!我在舞台上——我現在該怎麼辦?』然後你會進入另一種狀態,它會變成是你幾乎是用適當的方式去演奏。」</b></span></div>
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<span class="s1"><b><span style="color: #45818e;">你不再摧殘你的吉他音箱,或是點燃吉他了嗎?</span></b></span></div>
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<span class="s1"><b>「或許我只是注意到吉他需要一點改變。或許。」</b></span></div>
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<span class="s1"><b><span style="color: #45818e;">那是個計畫性的決定嗎?</span></b></span></div>
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<span class="s1"><b>「噢,我不知道。那就像是個序幕的結束。我覺得麥迪遜花園廣場就像是大長篇童話故事的終章,那樣很棒。那大概是我遇過最棒的事情了。我覺得樂團好像離我視線越來越遠一般。」</b></span></div>
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<span class="s1"><b><span style="color: #45818e;">但你發生了什麼事?</span></b></span></div>
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<span class="s1"><b>「那就像一個念頭突然跑過我的腦袋,我就順著做。說實在的,我真的不知道怎麼說。我很疲憊。你懂的,有時候會有很多事情跑進你的腦子裡。然後這些事情會在某個時刻擊中你,會平和的發生,我正經歷我生命中最重大的戰爭——在我的內部,你懂嗎?但似乎那又不是事情發生的地方,所以我只是卸下我的偽裝。」</b></span></div>
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<span class="s1"><b><span style="color: #45818e;">你在你專輯裡的製作了多少部分?比如說,你有製作你的第一張專輯[Are You Experienced]嗎?</span></b></span></div>
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<span class="s1"><b>「不,是Chas Chandler跟Eddie Kramer做了幾乎所有的事情。Eddie是錄音師,而Chas是製作人,主要是讓事情能順利地融合在一起。」</b></span></div>
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<span class="s1"><b><span style="color: #45818e;">上一張的[Electric Ladyland]你被註明為製作人。你做了所有的事嗎?</span></b></span></div>
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<span class="s1"><b>「沒有。像Eddie Kramer和我。我所做的就是待著,確認歌曲沒錯,聲音對不對。我們想要一個特別的聲音。但是在剪輯室裡面找不到,因為我們在錄音結束之前就去巡迴了。我有聽見,而且我覺得那聲音非常地模糊。」</b></span></div>
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<span class="s1"><b><span style="color: #45818e;">你在上一張唱片做了All Along The Watchtower。還有你想做的Bob Dylan歌曲嗎?</span></b></span></div>
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<iframe allowfullscreen="" class="YOUTUBE-iframe-video" data-thumbnail-src="https://i.ytimg.com/vi/JJx5626euOo/0.jpg" frameborder="0" height="266" src="https://www.youtube.com/embed/JJx5626euOo?feature=player_embedded" style="clear: right; float: right;" width="320"></iframe><span class="s1"><b>「當然!我喜歡那首歌改編成的那樣子,’Please help me in my weakness’[Drifter’s Escape]。那很有律動感。我喜歡這樣。我喜歡他的Blonde On Blonde跟Highway 61 Revisited。他做的鄉村樂也很不賴,在一些特定時候。更安靜一點,你懂的。」</b></span></div>
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<span class="s1"><b><span style="color: #45818e;">你錄的Watchtower真的讓我很有感覺,然而Dylan的版本卻沒有。</span></b></span></div>
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<span class="s1"><b>「這麼說吧,那是鏡中的反射。[笑]記得’roomful of mirrors”嗎?那是首我們試著去錄製的歌,但我不認為我們真的完成了。我希望不是。它是有關試圖逃離這個充滿鏡子的房間。」</b></span></div>
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<span class="s1"><b>[模仿一種神經質的聲音]「好的,你看,我得過得非常健康,你知道的。我攝取大量的小麥胚芽,但是,你懂的[笑]——我不知道為什麼。」[拿起支筆然後寫些東西]</b></span></div>
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<span class="s1"><b><span style="color: #45818e;">你不是那種我稱之所謂的鄉村吉他手。</span></b></span></div>
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<span class="s1"><b>「謝謝。」</b></span></div>
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<span class="s1"><b><span style="color: #45818e;">你覺得這是種恭維?</span></b></span></div>
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<span class="s1"><b>「如果我是鄉村吉他手的話就會是。那會是我的另一個計劃。」</b></span></div>
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<span class="s1"><b><span style="color: #45818e;">你會聽那種做鄉村樂的樂團嗎?像是Flying Burrito Brothers。</span></b></span></div>
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<span class="s1"><b>「Burrito Brothers的吉他手叫什麼來著?他彈的很好。我喜歡他。他的吉他妙極了。會讓我想要去聽,那就是音樂。」</b></span></div>
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<span class="s1"><b><span style="color: #45818e;">那很棒。那真的很有料。</span></b></span></div>
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<span class="s1"><b>[拖長了聲音]”<span style="font-size: xx-small;">[註2]</span></b></span><span class="s3"><b><sup></sup></b></span><span class="s1"><b>Hello walls”[笑]你聽過這個嗎?Hello Walls?鄉下人的天堂。</b></span></div>
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<span class="s1"><b><span style="color: #45818e;">記得Bob Wills跟Texas Playboys嗎?</span></b></span></div>
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<span class="s1"><b>[笑]「我喜歡他們。The Grand Ole Opry曾經來過,我看過。他們曾有一些很棒的傢伙,很棒的吉他手。</b></span></div>
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<span class="s1"><b><span style="color: #45818e;">哪個音樂家是你會在路上聽的?</span></b></span></div>
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<span class="s1"><b>「Nina Simone跟Mountain。我愛死他們了。」</b></span></div>
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<span class="s1"><b><span style="color: #45818e;">那像McCoys這樣的組合如何呢?</span></b></span></div>
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<span class="s1"><b>[唱著Hang On Sloopy的前奏,Rick Derringer有在這首歌彈吉他]「當然,那個吉他手很棒。」</b></span></div>
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<span class="s1"><b><span style="color: #45818e;">你真的跟Band ofGypsys每天練習12到18個小時嗎?</span></b></span></div>
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<span class="s1"><b>「對,事實上我們是做即興演奏。我們說『練習』只是為了讓歌聽起來——你知道的——正式些。我們只是試著擺脫這樣子做;就這樣。沒有到18個鐘頭—大概是12或14個吧。[笑]我們[the Experience]在台上一起演奏過最長的時間。我們都會演個兩個半小時,有一次幾乎要三個小時。</b></span><b>我們發出聲音。人們鼓掌的時候也會發出聲音。所以我們再用聲音回應他們。我喜歡電子聲響、回應,還有之後的,寂靜。」</b></div>
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<span class="s1"><b><span style="color: #45818e;">除了專輯之外,你會也出單曲嗎?</span></b></span></div>
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<span class="s1"><b>「我們也許會有,從別的快要推出的唱片挑出來的。我不知道the Experience現在是怎麼樣。所有的唱片公司,他們只想要單曲。但你不能坐在那邊,然後說『做張單曲還什麼吧!』我們不打算這麼做。我們不會做。」</b></span></div>
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<span class="s1"><b><span style="color: #45818e;">Creedence Clearwater Revival是這麼做的,直到他們有了足夠的歌曲來做成專輯,就像以前一樣。</span></b></span></div>
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<span class="s1"><b>「嗯,但那是以前了。我覺得我們比較像是音樂家。打從心底比較像是音樂家,你懂的吧?」</b></span></div>
<div class="p5">
<span class="s1"><b><br /></b></span></div>
<div class="p8">
<span class="s1"><b><span style="color: #45818e;">但單曲可以為你賺些錢,不是嗎?</span></b></span></div>
<div class="p8">
<span class="s1"><b><br /></b></span></div>
<div class="p5">
<span class="s1"><b>「是的,那正是他們這樣做的原因。但他們是在之後才挑出來的。你會有一整個專輯的計劃,然後突然間,他們會,比如說,把Crosstown Traffic做成單曲,突然就蹦出來了,跳脫整個計劃。你看,做那張LP是有特殊含義在裡面的;我們之所以安排的曲序是有其原因的。所以他們把歌從中挑出來做成單曲這件事,幾乎像是條罪。而且在那個時候擅自替我們做主,只因為他們覺得可以賺些錢。他們總是挑錯歌。」</b></span></div>
<div class="p5">
<span class="s1"><b><br /></b></span></div>
<div class="p8">
<span class="s1"><b><span style="color: #45818e;">你安排the Experience的表演會間隔多久時間,這樣子你才不會對此感到厭倦?</span></b></span></div>
<div class="p8">
<span class="s1"><b><br /></b></span></div>
<div class="p5">
<span class="s1"><b>「只要我們三個都同意就可以了,我是可以一直做下去。」</b></span></div>
<div class="p5">
<span class="s1"><b><br /></b></span></div>
<div class="p8">
<span class="s1"><b><span style="color: #45818e;">你有考慮過把跟the Experience巡迴當作是基本要素,但也帶進其他的人嗎?還是說那樣會太混淆不清?</span></b></span></div>
<div class="p8">
<span class="s1"><b><br /></b></span></div>
<div class="p5">
<span class="s1"><b>「不,事情不會那樣子。也許我是那個壞蛋,對吧?[笑]可是並沒有任何的理由支持這件事。」</b></span></div>
<div class="p5">
<span class="s1"><b><br /></b></span></div>
<div class="p8">
<span class="s1"><b><span style="color: #45818e;">它是個好名字。</span></b></span></div>
<div class="p8">
<span class="s1"><b><br /></b></span></div>
<div class="p10">
<span class="s4">「<span style="font-size: xx-small;">[註3]</span></span><span class="s5"><sup></sup></span><span class="s4">它是個好遊戲。</span><span class="s6">不, </span><span class="s1">你說在巡迴的時候讓別的團一起來尬一咖,讓我們的朋友尬一咖嗎,我不知道現在該不該這樣做;現在還不到那個時候,因為我們正以一個三人樂團的形式讓我們的東西融合在一起。但我們終究會跟朋友一起表演的,也許我會跟</span><span class="s4">Buddy [Miles]</span><span class="s1">還有</span><span class="s4">Billy [Cox]</span><span class="s1">一起即興,搞不好會一起錄音也說不定,換作是他們也會這樣做的。</span><span class="s4">」</span></div>
<div class="p2">
<span class="s1"></span><br /></div>
<div class="p8">
<span class="s1"><b><span style="color: #45818e;">你有想過跟別人一起演奏嗎?</span></b></span></div>
<div class="p8">
<span class="s1"><b><br /></b></span></div>
<div class="p5">
<span class="s1"><b>「我喜歡Stevie Windwood;他正是那別人的其中之一。但事情不用都那麼正式。對於即興演奏這回事是不用那麼拘謹的。但我一直還沒有機會跟他接觸。」</b></span></div>
<div class="p5">
<span class="s1"><b><br /></b></span></div>
<div class="p8">
<span class="s1"><b><span style="color: #45818e;">你有想過要加入別的吉他手到你的樂團嗎?</span></b></span></div>
<div class="p8">
<span class="s1"><b><br /></b></span></div>
<div class="p5">
<span class="s1"><b>「有啊,我聽說Duane Eddy今天早上進城來了[笑]他很棒。」</b></span></div>
<div class="p5">
<span class="s1"><b><br /></b></span></div>
<div class="p8">
<iframe allowfullscreen="" class="YOUTUBE-iframe-video" data-thumbnail-src="https://i.ytimg.com/vi/s7E3Q8SmzTE/0.jpg" frameborder="0" height="266" src="https://www.youtube.com/embed/s7E3Q8SmzTE?feature=player_embedded" style="clear: right; float: right;" width="320"></iframe><span class="s1"><b><span style="color: #45818e;">你有跟Larry Coryell還有Sharrock或其他類似的人即興演奏過嗎?</span></b></span></div>
<div class="p8">
<span class="s1"><b><br /></b></span></div>
<div class="p5">
<span class="s1"><b>「我跟Larry曾在The Scene稍稍地一起即興演奏過。只要一有機會,我們終究會一起玩的。但我一直苦無機會跟他認真的玩一下,起碼不會是最近。我有點想念跟他一起玩的時光。</b></span><br />
<span class="s1"><b><br /></b></span></div>
<div class="p8">
<span class="s1" style="color: #45818e;"><b>你會聽他們的作品嗎?</b></span></div>
<div class="p8">
<span class="s1"><b><br /></b></span></div>
<div class="p5">
<span class="s1"><b>「我喜歡Larry Coryell,是的。」</b></span></div>
<div class="p5">
<span class="s1"><b><br /></b></span></div>
<div class="p8">
<span class="s1"><b><span style="color: #45818e;">你覺得他比其他人還棒?</span></b></span></div>
<div class="p8">
<span class="s1"><b><br /></b></span></div>
<div class="p5">
<span class="s1"><b>「噢,沒有。其他人是指誰?我想我只聽過他的一些作品。」</b></span></div>
<div class="p5">
<span class="s1"><b><br /></b></span></div>
<div class="p8">
<span class="s1"><b><span style="color: #45818e;">他的吉他充滿了整個音樂。有時候聽起來並不是那麼有條理。</span></b></span></div>
<div class="p8">
<br /></div>
<div class="p5">
<span class="s1"><b>「聽起來很像某個我們都認識的人,對吧?」[笑]</b></span><br />
<span class="s1"><b><br /></b></span>
<span style="color: #666666; font-size: x-small;">註一: 原文中“after-hour”指的是打烊之後的時間。</span><br />
<span style="color: #666666; font-size: x-small;">註二:</span> <span style="color: #666666; font-size: x-small;">Hello Walls是首美國鄉村歌曲,由Faron Young所錄製。在1961年成為一首暢銷金曲,也讓它的作曲者Willie Nelson家喻戶曉。</span><br />
<span style="color: #666666; font-size: x-small;">註三: <span class="s1"> </span><span class="s2"><b>可能是他ㄎㄧㄤ到把「</b></span><span class="s1"><b>It's a nice name.</b></span><span class="s2"><b>」聽成「</b></span><span class="s1"><b>It's a nice game.</b></span><span class="s2"><b>」。</b></span></span><br />
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Anonymoushttp://www.blogger.com/profile/06377922510595008070noreply@blogger.com0tag:blogger.com,1999:blog-6021576624325993297.post-73463134384799921952014-08-28T07:11:00.000-07:002014-08-28T07:15:07.239-07:00傳奇混音師Andy Wallace的三個混音祕訣<div class="p1">
<b>如果你喜歡強力撞擊般的搖滾混音,那你一定喜歡Andy Wallace的作品。</b></div>
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<b><br /></b></div>
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<b><a href="http://www.mixrevu.com/images/Andy%20Wallace-Rock.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="http://www.mixrevu.com/images/Andy%20Wallace-Rock.jpg" height="180" width="320" /></a></b></div>
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<span class="s1">以混音Nirvana、Foo Fighters、Coldplay、甚至是Guns ’N Roses的作品而聞名-這個人已經在錄音室裡打滾了超過五十年之久!可惜的是,他鮮少和媒體分享他的想法。所以,當我看到</span><span class="s2"><span style="color: orange;">Sound On Sound刊了篇他的重點訪談</span></span><span class="s1">,我大吃了一驚。</span></div>
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<span class="s1"></span><br /></div>
<div class="p3">
<span class="s1">Wallace是名傑出、精雕細琢的工匠,我想要截取訪問中的三個他最重要的『撇步』,在這裡跟大家分享。</span></div>
<div class="p2">
<span class="s1"></span><br /></div>
<h3>
<span class="s1"><b>祕訣一:快速混音</b></span></h3>
<div class="p3">
<span class="s1">太多人做混音像是在做個重大手術。我們都想要直搗核心,並且『讓聲音變好聽』-也許這見仁見智。我這個建議已經說了好幾年了,我認為</span><span class="s2"><span style="color: orange;">一個出色的混音,是從超快速的混音開始的</span></span><span class="s1">。看起來Andy Wallace也是這麼做的。</span></div>
<div class="p2">
<span class="s1"></span><br /></div>
<blockquote class="tr_bq">
<span class="s1">「我通常會把東西很快的丟出來,幾乎像做很快的監聽混音那樣,快速地balance每樣東西,只是聆聽所有的元素該如何融合在一起,以及能對整首曲子有個基本的概念而已。」-傳奇混音師,Andy Wallace</span></blockquote>
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<span class="s1"></span><br /></div>
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<iframe allowfullscreen='allowfullscreen' webkitallowfullscreen='webkitallowfullscreen' mozallowfullscreen='mozallowfullscreen' width='320' height='266' src='https://www.youtube.com/embed/PbgKEjNBHqM?feature=player_embedded' frameborder='0'></iframe></div>
<div class="p3">
<span class="s1">這有個為什麼Andy要這麼做的理由(而你也應該要)。其實是兩個理由。</span></div>
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<span class="s1"></span><br /></div>
<div class="p3">
<span class="s1">首先,在你開始解析每樣聲音元素之前,做一個快速的混音是個聰明之舉。因為你一開始就在心中有整個歌的雛形,也可以在調整音量推桿和pan鈕時做出更好的選擇。你會用像你的聽眾一樣的方式去聆聽。</span></div>
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<span class="s1"></span><br /></div>
<div class="p3">
<span class="s1">第二,飛快地做好混音,你就不會去想太多。你的第一印象通常是正確的,所以憑著直覺去動作,能防止你開始去『修正』聲音。</span></div>
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<span class="s1"></span><br /></div>
<h3>
<span class="s1"><b>祕訣二:一個EQ/Compressor</b></span></h3>
<div class="p3">
<span class="s1">聽見Andy Wallace的這項做法時,我著實地嚇了一跳,他做混音時,在每一個音軌上只用了一個EQ跟一個compressor而已。他用SSL console來混音,而且只簡單地使用了內建的處理器而已-幾乎沒有用什麼outboard。</span></div>
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<span class="s1"></span><br /></div>
<blockquote class="tr_bq">
<span class="s1">「我在使用EQ上並不會含蓄,而且我幾乎都只用混音台上的EQ。這些年來,我發現我混音的時候越來越少使用outboard了。似乎SSL就能滿足我的需求了。」-傳奇混音師,Andy Wallace</span></blockquote>
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<span class="s1"></span><br /></div>
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<span class="s1">請不要誤解這項重點,認為他是因為使用真正的SSL EQ跟compressor,才會混的這麼好聽。<b>這裡的重點是:簡單就是王道</b>。</span></div>
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<span class="s1"></span><br /></div>
<div class="p3">
<span class="s1">一旦決定</span><span class="s2"><span style="color: orange;">只用一個EQ跟compressor來處理你90%的混音</span></span><span class="s1">,你就不用花上大量的時間,來做些無意義的決定。這樣做你可以混得快一點,而且可以把精力花在創意上面;因為你是專注在你該如何<b>使用</b>你的效果器,而不是抉擇你該用哪一台。</span></div>
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<span class="s1"></span><br /></div>
<h3>
<span class="s1"><b>祕訣三:操作推桿</b></span></h3>
<div class="p3">
<span class="s1">大多Andy Wallace的作品,都是些很有衝勁的搖滾唱片(沒人會反對吧?像是Slayer)-很自然地,人們會想要知道他是怎麼做出這麼強勁的混音。是壓縮嗎?限制器?還是什麼神奇、稀有的outboard?</span></div>
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<span class="s1"></span><br /></div>
<blockquote class="tr_bq">
<span class="s1">「我花了很多時間把過小的[貝斯]音符推起,還有把音量過高的音符降低。這個階段最重要的就是把automation做好,把什麼推起來,什麼該拉下來,也許某個部分在副歌時該推個3、4dB起來,然後再慢慢降下去。我玩的是怎麼去增加混音的戲劇性和結構性。」-傳奇混音師,Andy Wallace</span></blockquote>
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<iframe allowfullscreen='allowfullscreen' webkitallowfullscreen='webkitallowfullscreen' mozallowfullscreen='mozallowfullscreen' width='320' height='266' src='https://www.youtube.com/embed/67-oVENy5sI?feature=player_embedded' frameborder='0'></iframe><span class="s1"></span></div>
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<span class="s1">答案揭曉,只是簡單地推推桿而已。</span></div>
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<span class="s1"></span><br /></div>
<div class="p3">
<span class="s1">現在的日子裡,你已經不需要一台SSL 9000系統混音台去做事了-<b>你的DAW已經就有強力的內建automation了</b>!</span></div>
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<span class="s1"></span><br /></div>
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<span class="s1">典型的臥房製作人大多時候都忽略了這件事。</span></div>
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<span class="s1"></span><br /></div>
<div class="p3">
<span class="s1">Wallace做的事其實很簡單-他利用調整音量推桿的力量(做最基本面的混音),用automation,在適當的時刻推起適當的音軌。</span><span class="s2"><span style="color: orange;">我稱之為提味-隨便你怎麼稱呼,總之這行得通!</span></span></div>
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<span class="s1"></span><br /></div>
<div class="p3">
<span class="s1"><b>就像電影導演會利用剪接技巧去拉近畫面的焦距,在某個時刻能引導觀眾的注意力,操作推桿讓你引導聽眾的耳朵去聽見,你想要他們在某個段落聽見的東西。</b></span></div>
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<span class="s1"></span><br /></div>
<h3>
<span class="s1"><b>Wallace沒提到的事</b></span></h3>
<div class="p3">
<span class="s1">有趣的是,整段訪問中,Wallace唯一沒提到的事情,就是器材。</span></div>
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<span class="s1"></span><br /></div>
<div class="p3">
<span class="s1">當被問起器材時,他是有透露他最喜愛的一些工具(一台SSL跟Pro Tools),但也就僅限於此了。比起器材,他更多時候是在談論極微主義、感覺、音樂,以及了解藝人的觀點。</span></div>
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<span class="s1"></span><br /></div>
<div class="p3">
<span class="s1"><b>當像 Andy Wallace這樣的傳奇混音師寧願談論『製造衝擊』,而且使用差不多同樣的器材超過了五十多年;現在所有的home studio玩家似乎都只在意器材這件事,就顯得非常諷刺。</b></span></div>
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<span class="s1"></span><br /></div>
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<br /></div>
<div class="p5">
<span class="s1"><span style="color: #999999; font-size: x-small;">原文網址: <a href="http://therecordingrevolution.com/2014/08/04/3-mixing-secrets-from-the-legendary-andy-wallace/"><span class="s3">http://therecordingrevolution.com/2014/08/04/3-mixing-secrets-from-the-legendary-andy-wallace/</span></a></span></span></div>
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Anonymoushttp://www.blogger.com/profile/06377922510595008070noreply@blogger.com3tag:blogger.com,1999:blog-6021576624325993297.post-67668203131105993072014-08-13T06:28:00.000-07:002014-08-14T10:17:43.197-07:00有效地試音<div class="p1">
<b><span style="font-size: large;">完成一個好的試音的秘密是什麼?我們詢問了在現場聲響業界中享有盛名的大人物們,來和大家分享他們的獨門祕訣。</span></b></div>
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<span class="s1"><span style="color: #999999; font-size: x-small;">Jon Burton</span></span></div>
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<span class="s1"></span><br /></div>
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<span class="s1">在最近的一次演出時,因為我和SOS的專欄編輯Sam Inglis的一場對話,我想寫如何處理試音的念頭就浮現了。Sam有過一些在小場地做音控的經驗。他想知道在大場地,像是在Corn Exchange,或是在劍橋能容納一千八百人的場地裡做音控有什麼不同。我當時試著說服他,不管大、小場,我做的事都沒有什麼不同。</span></div>
<div class="p3">
<span class="s1"></span><br /></div>
<div class="p7">
<span class="s1">我決定去找一些可靠、享譽國際的工程師們聊聊,取得他們的一些意見。我很高興,對於試音我們都有相同的處理概念!這篇文章不是要寫成試音指南的,而是討論一個人,對於試音這件事是該怎麼處理的,即使是在你還沒走進場館的那扇門之前。</span></div>
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<span class="s1"></span><br /></div>
<h3>
<span class="s1"><b><span style="font-size: large;">做你的功課</span></b></span></h3>
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<span class="s1"></span><br /></div>
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<span class="s1">身為一個音控,我需要在不同的環境下工作,從大型的戶外音樂節,到小型的俱樂部和戲院,但一直以來,我所要做的第一件事,就是獲得我要與之工作的樂團的一些資訊。這通常包含去樂團的排練室跟他們碰面,聽他們彈奏幾首歌。我會試著去得到他們曾經做過的錄音,從試聽帶到現場錄音,當然也包括已發行的歌曲。在第一場表演之前,通常我會試著獲得概略的歌單,然後再順著聆聽,能有多久就有久,直到這些歌深刻在我腦中。</span></div>
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<span class="s1"></span><br /></div>
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<span class="s1"></span><br /></div>
<div class="p7">
<span class="s1">我會做些筆記,然後畫出簡略的input list和舞台配置,然後寄給已預約好演出的場館。讓這些表單越清楚、越精準是非常重要的。必須要實際點 — 如果你是在只有十六軌混音器的酒吧或俱樂部做演出時,千萬不要計劃超過十六軌的channel list!指示出channel list上的樂器名稱,以及它所在的位置(例如:吉他,舞台左側)。記住,除非你的樂團非常的有名,不然沒有人會知道誰是”Geoff”!</span></div>
<div class="p3">
<span class="s1"></span><br /></div>
<div class="p7">
<span class="s1">我會畫出一個簡單的舞台配置,來幫助別人了解樂器該擺在舞台上的位置。並不用畫的像建築藍圖一樣,只要清楚和容易理解即可。在我的工作生涯中,我曾看許多很出色的圖,也曾看過許多根本無法理解的圖!一定要把你的聯絡方式放在這兩份資料上,也要標示出日期,你才能分辨它們是不是正確的資料。有一次我在一場音樂節工作,正在架設壓軸藝人的的配置,突然間發覺這份經紀人寄來的舞台配置和channel list竟然是十八年前的,只因為沒有人去檢查!</span></div>
<div class="p3">
<span class="s1"></span><br /></div>
<div class="p7">
<span class="s1">把channel list和舞台配置寄給場地的音控;即使是最小的表演場所,它的網站上應該都會有聯絡用的電子信箱,或是電話號碼。</span></div>
<div class="p3">
<span class="s1"></span><br /></div>
<h3>
<span class="s1"><b><span style="font-size: large;">第一印象</span></b></span></h3>
<div class="p3">
<span class="s1"></span><br /></div>
<div class="p7">
<span class="s1">在演出日,我都會試著在預定時間之前早一點到達場地,並且開始作業。我寧願早到,也不要匆匆忙忙的,如果出了什麼天大的差錯,我情願沒有人在那裡等著我!</span></div>
<div class="p3">
<span class="s1"></span><br /></div>
<div class="p7">
<span class="s1">Shan Hira補充說:「我要給的第一個建議是,去取得你將要一起工作的音控人員的名字。確保他有你們樂團最新的input list和舞台配置,以及所有你自備器材的資料。如果你有自備器材,確認你有帶正確的導線,好連接場館的混音器。我也會建議你在演出前兩天聯絡他/她,自我介紹,並且快速地聊一下,讓他們知道你的樂團的狀況。」</span></div>
<div class="p3">
<span class="s1"></span><br /></div>
<div class="p7">
<span class="s1">「在你到那之前先跟他們做朋友,確保他們獲得最新的資訊以及你的名字,那將對你很有幫助。你將會花上一整天跟他們一起工作,讓他們和你同一陣線,會為你帶來些好處。當然,他們每週都會碰上幾個音控,但其中大多都沒有做到這一點。」</span></div>
<div class="p3">
<span class="s1"></span><br /></div>
<div class="p7">
<span class="s1">「抵達場館時,去找你的音控人員。握手並自我介紹——幾個微笑能化解彼此的緊張氣氛,這招每次見效。讓他們知道你很OK,最好能給他們一杯茶(這樣通常接下去就很順利了)。」</span></div>
<div class="p3">
<span class="s1"></span><br /></div>
<div class="p7">
<span class="s1">「我曾見過一些音控一踏進場館,看了一眼PA系統跟設備,就開始對著house音控抱怨連連⋯⋯這樣只會讓這一整天很難過,而且你也改變不了器材!你必須對這個人拿出你最好的一面,尊重他們的工作。他們也許就會『盯睛』點,而且你就不用一說再說。」</span></div>
<div class="p3">
<span class="s1"></span><br /></div>
<div class="p7">
<span class="s1">「接著,是時候簡單地談些有關器材的事情了。問幾個有關PA系統的基本問題是個好的開始。他們通常會用圖形等化器把系統的哪些頻率砍掉?場地滿座的時候,聲音會有什麼變化?記得這些答案,留著晚一點會派上用場。現在,你應該已經跟他們和睦相處了,並且對於今天的工作情形有個概念了。」</span></div>
<div class="p3">
<span class="s1"></span><br /></div>
<h3>
<span class="s1"><b><span style="font-size: large;">井然有序</span></b></span></h3>
<div class="p3">
<span class="s1"></span><br /></div>
<div class="p7">
<span class="s1">我喜歡工作時有個合理的整潔舞台,所以我會將台上的導線盤卷好,麥克風架都好好地擺放。如果你的舞台是乾淨的,在發生狀況的時候會減少你很多麻煩。再一次,尊重場地和它的工作人員,對你的工作只有好處,沒有壞處。</span></div>
<div class="p3">
<span class="s1"></span><br /></div>
<div class="p7">
<span class="s1">查看一遍場館備有的麥克風和架子,對於你不熟的器材,詢問house音控他們的意見。我通常都會去試用支沒用過、但效果不錯的麥克風,或是嘗試新的收音方式 — 你應該要不斷地學習!現在舞台上的backline(樂團的樂器和音箱)應該準備好了。在這個時候,我就會去幫忙house音控去架設麥克風。</span></div>
<div class="p3">
<span class="s1"></span><br /></div>
<div class="p7">
<span class="s1">總算談到導線了。我對於舞台有點潔癖,特別是導線方面!我喜歡我的導線拉的像電車軌道一樣,並排得整整齊齊。當一些無可避免的問題浮現時,這將會有所幫助;當你可以清楚地看到導線的路線時,除錯會變得容易些。我也喜歡幫東西上標示,特別是器材也要提供給暖場團使用的時候。</span></div>
<div class="p7">
<span class="s1">去『Greal』一個舞台,就是有系統地使用不同顏色的PVC膠帶,去標示所有的器材——是個我所追求的一個極端做法![『Greal』是以一個英國工程師Justin Grealy所命名的,他以他多樣顏色膠帶的收藏,以及會去標示舞台上幾乎所有的任何東西-從導線到喇叭-的這種做法而聞名。]如果台上有stage boxes,也為它們上好標示,這樣能加速你接線的速度。</span></div>
<div class="p3">
<span class="s1"></span><br /></div>
<div class="p7">
<span class="s1">接完線之後,我會大致地查看一下混音台和系統,再用自己帶來的PVC膠帶和全新的筆,整齊地在控台上做標示,或是在數位控台上輸入名稱。</span></div>
<div class="p3">
<span class="s1"></span><br /></div>
<h3>
<span class="s1"><b><span style="font-size: large;">類比或數位?</span></b></span></h3>
<div class="p3">
<span class="s1"></span><br /></div>
<div class="p7">
<span class="s1">這是個討論使用類比或數位控台來混音有何不同的好時機。用類比的話,每一次都是新的開始,我總是會花上幾分鐘,來重新調整每一軌的gain到零dB,然後把channel EQ 調成平的。我會清楚地標示我用到的每一軌,為送到house效果器和舞台監聽的AUX sends做上記號。</span></div>
<div class="p3">
<span class="s1"></span><br /></div>
<div class="p7">
<span class="s1">然而,用數位的話,是能夠將演出內容存檔帶去下一個演出使用的。和一個樂團工作一陣子之後,你可能會蒐集了一堆對應不同控台的演出檔案內容!如果你是用小台的數位混音器工作的話,這是個你該重新思考你的channel list的時刻。多層次fader表示你的channel會在好幾個頁面上,所以將最重要的fader放在第一頁是很值得的。Ken 'Pooch' Van Druten說:「我都會把我最常用的fader擺在第一組,所以,通常最上層會放vocals、貝斯、吉他、一些鼓(通常是大、小鼓),還有鍵盤。那些我不常動的東西,像是toms、overheads、伴奏音軌,我就放在其他的組別裡。」</span></div>
<div class="p3">
<span class="s1"></span><br /></div>
<div class="p7">
<span class="s1">用類比控台,有時候你會發現,channels會從控台的中間部分切成兩半。比如說:1-16軌在左手邊,17-24軌在右手邊。當你發現你的鍵盤左側在控台的一邊,而鍵盤右側在控台的另一邊,這真的很讓人吐血。所以,即使是類比控台,小心地規劃你的channel list也是非常重要的。</span></div>
<div class="p3">
<span class="s1"></span><br /></div>
<h3>
<span class="s1"><b><span style="font-size: large;">系統檢查</span></b></span></h3>
<div class="p3">
<span class="s1"></span><br /></div>
<div class="p7">
<span class="s1">有一些品質好的耳機,以及一個好的音源(通常是我的筆電,但也可能是手機或MP3 player)是不可或缺的。耳機是我的參考依據,而且他們可以用來檢查channels,還可以幫助混音工作。在音樂節裡,我非常仰賴耳機來聆聽EQ後的改變,所以有一對好耳機是很重要的。</span></div>
<div class="p3">
<span class="s1"></span><br /></div>
<div class="p7">
<span class="s1">當每樣東西都被接好、並做好標示後,我會接上我的音源,確認它在我耳機裡聽起來是OK的。然後,我會用單聲道來聆聽整個系統。Shan Hira有些很有用的建議,來檢查FOH PA的基礎有沒有打好:「放張CD,只推起一軌,pan左或pan右來檢查兩邊喇叭是否聽起來一樣。我很訝異喇叭聲音不對稱的情形時常發生。如果喇叭音量不一樣的時候,詢問house音控,看看是不是有什麼特殊原因;也許只是巧合,或者他能解釋出來原因;有時只需要小小地修正就好。」</span></div>
<div class="p3">
<span class="s1"></span><br /></div>
<div class="p7">
<span class="s1">這一點我必須十分地強調。在第一場Pendulum巡迴的時候,超過75%的系統,每一邊聽起來和彼此都不一樣,只因為錯誤的系統安裝,或是有零件故障,甚至因為前一晚是別人來辦週三迪斯可夜,所以喇叭沒接上!</span></div>
<div class="p3">
<span class="s1"></span><br /></div>
<div class="p7">
<span class="s1">即使系統正確地安裝了,場地本身也可能會去影響表演。Mick說:「我的第一個動作是在場地裡走一圈,看看有沒有任何建築上的問題會去影響聲音,尤其是在FOH的位置-玻璃、平滑的表面、房間的角落⋯⋯等等。「雖然,每一個好的系統技術人員都會將這些狀況列入考量,但也都無法真的改善場地最主要的問題,這只能幫助我去了解我所工作的環境。讓我能理解為什麼系統聽起來是這個樣子。」</span></div>
<div class="p3">
<span class="s1"></span><br /></div>
<h3>
<span class="s1"><b><span style="font-size: large;">圖形細節</span></b></span></h3>
<div class="p3">
<span class="s1"></span><br /></div>
<div class="p7">
<span class="s1">只要系統被妥善地安裝,我第一個要EQ的就是系統控制。現今的日子裡,就連小場地都配有主動式分音器,我會簡單地試一下超低音的音量,調整中、高頻來讓系統的平衡更好些。如果有圖形等化器的話,我會一次調整一邊的系統,試著不要砍太多的頻率。我喜歡呈現笑臉圖樣的圖形等化器,而不是看起來像喜馬拉雅山的地形圖那麼陡!</span></div>
<div class="p3">
<span class="s1"></span><br /></div>
<div class="p7">
<span class="s1">無人的空間聽起來跟有觀眾時很不一樣(某人跟我形容過觀眾就像一大塊水性聲響吸收板)。記得當觀眾進來時,聲音產生的變化:它很難變得更糟!聲音通常都會變得更緊實、更好控制。觀眾會蓋住最大的反射表面-地板,這樣能改善中、高頻無止盡的反射。</span></div>
<div class="p3">
<span class="s1"></span><br /></div>
<div class="p7">
<span class="s1">「這能幫助你不去過度地EQ系統。」Mick這麼說道。「我想我們都曾這麼幹過,把2.5kHz拉掉,但後來又再補回來,只因為觀眾遮蓋住一些反射面之後,你下午時覺得過量的頻率早就不一樣了。不少人吃過大片水泥地板的虧。」</span></div>
<div class="p3">
<span class="s1"></span><br /></div>
<div class="p7">
<span class="s1">記住,在小一點的空間裡,除非你的懸掛喇叭有超過頭頂,不然高頻就會被第一排的觀眾給吸收。很多次我都看到喇叭放在大約頭的高度,本來聲音都還OK,直到有人湧進到喇叭之前,聲音就給毀了!</span></div>
<div class="p3">
<span class="s1"></span><br /></div>
<div class="p7">
<span class="s1">即使是場地的溫度,都要列入可能會影響聲音的因素:「場地的溫度和演出時的溫度:根本是兩回事,在室內環境中,溫度會讓聲音有劇烈的變化。」Mick這樣表示。「PA系統在溫暖的環境下比較好聽。這是因為空氣密度改變而造成的,而我覺得這在做現場時總是被低估了。」</span></div>
<div class="p3">
<span class="s1"></span><br /></div>
<div class="p7">
<span class="s1">在音樂參考範例的部分,我用了Rickie Lee Jones的〈The Horses〉已經十五年了。它的錄音很好,而且是非常歌聲取向的。如果我能讓她的歌聲聽起來是正確的,那通常系統就是OK的。那首歌的低音很輕,所以我可以在啟動超低音之前,先集中注意力在中、高頻上。試超低音時,我會播Dreadzone或Deadmau5,全看我的心情!我總是會在房間裡走一圈,檢查喇叭的覆蓋範圍如何,看看是否需要調整喇叭的角度,通常這樣能改善很多事情。</span></div>
<div class="p3">
<span class="s1"></span><br /></div>
<div class="p7">
<span class="s1">Pooch附和著說:「帶你十分熟悉的曲子來試PA系統,大概聆聽一下,但別陷進去了。你可不是要幫這些曲子做混音;你面前的live channels才是。使用你的『調音』CD或WAV檔案,只是為了獲得一個整體的印象,但到了最後,真正重要的是你要混音的那些音軌。多花點時間在它們身上!」</span></div>
<div class="p3">
<span class="s1"></span><br /></div>
<h3>
<span class="s1"><b><span style="font-size: large;">線路檢驗</span></b></span></h3>
<div class="p3">
<span class="s1"></span><br /></div>
<div class="p7">
<span class="s1">希望你現在已建構好了一套你很滿意的系統,可以開始和樂團工作了。我總會在這個時間點來做線路檢查。這不是試音;而是檢查所有的麥克風和DI可以正常地工作。從Channel 1開始,輕拍所有的麥克風。聆聽所有你insert到channel的東西,像是gate還是compressor之類的。確認每一隻麥克風,聽看看有沒有什麼不對的地方。如果聽起來不對,先把線換掉,如果還是不對,再把麥克風換一支。</span></div>
<div class="p3">
<span class="s1"></span><br /></div>
<div class="p7">
<span class="s1">我總是會帶著一台需幻象電源供電的粉紅噪音產生器,來做除錯。它需要48V的幻象電源才能工作,所以很適合來測試導線:如果導線有問題,馬上就會發現。這件事也得在樂團上台彈奏之前先做。有必要的話,你也可以叫團員先去晃個十分鐘再回來。</span></div>
<div class="p3">
<span class="s1"></span><br /></div>
<div class="p7">
<span class="s1">完成所有的導線測試之後,你可以開始試音了⋯⋯</span></div>
<div class="p3">
<span class="s1"></span><br /></div>
<h3>
<span class="s1"><b><span style="font-size: large;">一、二⋯⋯</span></b></span></h3>
<div class="p3">
<span class="s1"></span><br /></div>
<div class="p7">
<span class="s1">每個音控都會有他們各自的方式來做試音,但其中還是有些既定的方法。Pooch會從歌手開始:「如果我是要做樂團的試音的話,我總是會從vocals開始,因為這會影響其他樂器最終在混音中的模樣。」</span></div>
<div class="p3">
<span class="s1"></span><br /></div>
<div class="p7">
<span class="s1">Mick附和道:「我總是從ambient mics開始。我說的ambient mics,是指那些總是開放著、沒有掛上gate的,比如說vocals、overheads、hi-hats,也許還會有吉他麥克風,如果吉他音箱和麥克風就在鼓組旁邊的話。」</span></div>
<div class="p3">
<span class="s1"></span><br /></div>
<div class="p7">
<span class="s1">Mick是第一個帶我了解試音工作是怎麼進行的,而且他的方式非常的合理。我現在總是從主唱開始,找個人去台上用那支麥克風,以正常的音量說話來做測試。我指的『正常』,用不著大喊大叫,或是無止盡的『一、二』。如果我要做的歌手很小聲,那我就找個人來小聲地說話,我才能知道系統會如何反應。</span></div>
<div class="p3">
<span class="s1"></span><br /></div>
<div class="p7">
<span class="s1">測完所有的vocal mics,我會把fader都推到大約-5dB的地方。它們會去影響舞台上所有的聲音,讓其他樂器增加許多的高頻。我再來會調整鼓。自從我發現各別試單一的鼓聲非常的無趣,以及無法反映真實情況之後,我喜歡叫鼓手用大鼓、小鼓、hi-hats,打個簡單的節奏。如果你叫鼓手只踩大鼓的話,他通常會踩的比打一個pattern時還用力。演奏一個適當的節奏,不但讓鼓手不至於那麼無聊,也幫助你聆聽鼓組一起演奏的聲音。</span></div>
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<span class="s1">這個時候,在我去碰EQ之前,我總是會試麥克風的相位,看看聲音如何。這也是你掛上noise gates的時機,記得把threshold設得夠低,讓每一個聲音都能順利發出。</span></div>
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<span class="s1"></span><br /></div>
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<span class="s1">我也會在這個時間點加入overheads,來獲得整體的聲音。在小一點的場地裡你根本就不用加,因為你的vocal mics就已經串進很多的銅鈸了!接著我會讓鼓手用單一節拍來打toms,然後再帶過門的打整套鼓,以及ride patterns。</span></div>
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<span class="s1"></span><br /></div>
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<span class="s1">接下來我才試其他的樂器,已經試完的channel就先擱著了。讓樂手去試他們最安靜和最吵的狀況,一直都是很有幫助的,你會對你要處理的聲音動態範圍有個概念。下一步我會請樂團演奏一首歌。可能的話,最好是首中板的歌;不特別吵,讓我有機會可以去抓balance。你會希望被聆聽的是樂器之間互動的方式,而不是它們各別發出的聲音。。<br />
</span></div>
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<span class="s1"><b><br /></b></span></div>
<h3>
<span class="s1"><b><span style="font-size: large;">混音時</span></b></span></h3>
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<span class="s1">MIck 提供了些關於建構初步混音的建議:「去思考聲音聽起來應該是怎樣的。貝斯跟大鼓有合嗎?我認為聲音彼此融合在一起的方式,是整個混音的基礎。這點非常的重要,卻也很難搞定。去思考使用high-pass filters的方式。讓hi-hats能收到30Hz的頻率,卻串進其他鼓件低頻的意義何在?端看hats的類型、麥克風的不同、收音的位置,它的頻率可以高到300至400Hz。去檢查麥克風是不是有內建的high-pass filter是很值得的-如果有的話,就用吧。吉他也是一樣的:依據吉他本身的聲音、麥克風類型、收音位置,來決定high-pass filter的頻率位置。如果你是使用需要近距離收音的麥克風,比如像Shure SM57,我就會用很極端的HPF設定,也許cut到200Hz。」</span></div>
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<span class="s1"></span><br /></div>
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<span class="s1">思考你的混音,記住這一點,你只是要幫舞台上的聲音擴音,不是要去替換它的聲音。錄音室混音跟現場混音最大的差別就是,當你把fader拉掉的時候,聲音並不會就因此不見,在某些情況下這樣做甚至改變不了什麼!因為這樣,讓樂團在舞台上的聲音balanced是很重要的,我會擔心如果某個樂手的音量大到爆炸的話,會讓混音失去平衡-如果有人太小聲的話也是一樣的。</span></div>
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<span class="s1"></span><br /></div>
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<span class="s1">「如果舞台上有一把很安靜的吉他,那表示你得把它的gain轉到很大,讓麥克風更敏銳,增加收音的範圍,然後就影響到鼓聲了。」Mick這麼說著。「這種情形,我的建議是把吉他音箱轉大聲!不要太過頭,只要以不影響到鼓組channels為基準就好。」</span></div>
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<span class="s1"></span><br /></div>
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<span class="s1">吉他手們有時候會有破音的主奏音色,都會比他們一般的音量還大,如果沒有儘早處理安置,這聲音就會衝出你的混音。我也有過主奏吉他聲音比節奏吉他還小的情況,所以還要幫它推一點起來。在通常的情況下,最好是能讓樂團在舞台上是balance的,總比都要仰賴你自己去做所有的處理好。</span></div>
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<span class="s1"></span><br /></div>
<h3>
<span class="s1"><b><span style="font-size: large;">過渡期</span></b></span></h3>
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<span class="s1"></span><br /></div>
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<span class="s1">Mick:「在比較小的場地裡,它的house音控都知道,backline的直接音就占了大多的聲音,所以有一個技巧有時候能有些幫助,去delay整個PA來配合bakcline。不只可以修正多個聲音的抵達時間(一個從吉他音箱,一個從PA出來),它還能讓聲音變得更好,而不像現在音箱和PA的聲音是打架的,而且還phase了。」</span></div>
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<span class="s1"></span><br /></div>
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<span class="s1">Delay PA的聲音10ms左右,讓它退個10呎,和鼓組的目測距離一般。這樣能幫助到一些phase的問題,而且能讓聲音聽起來像是從同一個地方出來的,回到舞台上。</span></div>
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<span class="s1"></span><br /></div>
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<span class="s1">在個別的樂器上也可以這麼做:「如果你的貝斯有從DI直接收音,也有從音箱上的麥克風收音的話</span>,很明顯地,音箱上的麥克風會比DI的聲音稍稍慢一點。」Mick這麼說著。「如果是使用每一CH都有delay的數位混音台,試著去delay一點點 bass DI,去觀察它和音箱的聲音是不是有合襯些。如果是用類比混音台的話,你能做的就只有試試看不同的phase-reverse按鍵組合,看怎樣最好。」</div>
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<span class="s1"></span><br /></div>
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<span class="s1">如果可以的話,我會試著用極性和時間排列,搭配著濾波器,極盡所能地去塑造聲音的模樣。有一句古老的格言是這麼表示的,而我也同意:一個好的音源、良好的麥克風收音位置,和一台好的麥克風前級;這樣子的聲音是最棒的。我堅定地相信著,EQ是讓你聲音變好的最後一道防線。</span></div>
<div class="p3">
<span class="s1"></span><br /></div>
<h3>
<span class="s1"><b><span style="font-size: large;">大聲等於更好?</span></b></span></h3>
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<span class="s1"></span><br /></div>
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<span class="s1">試音的一個常見錯誤,就是把它當成正式演出一般對待。它並不是。它是你在演唱會開始前的準備工作,讓你能檢查所有東西的一個機會。如果台下有人,像是管理階層的人,或者是樂團的女朋友們在觀看,試音通常都會被做得像正式演出一般。我也會踏入這個陷阱,發現音量大的嚇人,就像是透過我操控機器的能力,來向人展示我的自尊一般。這樣會產生不良的後果,也非常的糟糕。如果你在一個空曠的房間裡,用很大的音量來試音的話,你不只會讓你對聲音的模樣有個錯誤的印象,也會讓舞台上的聲音變糊。沒有觀眾來吸收房間的聲音,聲音會串回舞台上,讓樂手很難聽到他們自己在幹嘛。這樣會成為樂團成員之間,把音量提高到好聽到自己的一場競賽之類的。所以我傾向試音的時候只用50%到70%演出的音量來做。這音量對我而言已經夠大、夠清楚知道balance是怎麼樣了,而且樂手也能了解他們在演出時會是什麼情形,而不是過於大聲,讓舞台上的聲音開始被吃掉。</span></div>
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<span class="s1"></span><br /></div>
<div class="p7">
<span class="s1">另一件該做筆記的事情是,舞台上的聲音是依賴著FOH系統的。PA的聲音一定會滲進舞台的,特別是低頻,因為它比中、高頻要來的沒有方向性。這會為舞台上的聲音增色不少。我試著在試音中不去開開關關PA,或是solo FOH系統,而是用耳機去聆聽個別的樂器來代替。</span></div>
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<span class="s1"></span><br /></div>
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<span class="s1">Pooch:「我總是讓PA保持開著,並且適當地做極微soloing[破壞性 solo]。藝人都想在試音的時候聽見所有的聲音;如果你把PA關掉了,會讓藝人感到不對勁。再說,monitor engineer都仰賴FOH能為她/他補償一些低頻。」</span></div>
<div class="p3">
<span class="s1"></span><br /></div>
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<span class="s1">跑了幾首歌之後,我通常會感到滿意。這時你該問問團員,他們有沒有準備任何驚喜是你需要知道的,比如說大家為了某首翻唱歌曲,而全換成烏克麗麗。很詭異吧?但這確實發生過!</span></div>
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<span class="s1"></span><br /></div>
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<span class="s1">我總是喜歡用歌單的第一首歌作為結束。這讓我有機會為整場表演的頭陣做好準備。如果樂團還需要更多的時間,我會離開控台,保持開著,但拉小聲點,避免自己昏了頭。在這個時間點做調整通常會是沒有任何建設性的,而且你甚至開始會重新混音。我通常會利用這時間去聽我不是那麼熟的效果器,或是去set up patches、還是改用耳機聽聽看。</span></div>
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<span class="s1"></span><br /></div>
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<span class="s1">有時候,如果有什麼東西是我想要再調整的,像是小鼓還吉他,我都會等到主要的試音結束後再處理。這樣子比你為了幫鼓重新調音,或改變麥克風的收音位置而讓大家枯等要來的好多了。</span></div>
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<h3>
<span class="s1"><b><span style="font-size: large;">表演時間</span></b></span></h3>
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<span class="s1">試完音之後,如果有別的樂團要試音,我會記下表演所有的設定。如果我是用數位混音台的情況下,我會用獨立的硬碟去儲存混音台上的設定,如果我用類比機器的話,我會拿支筆,在紙上標記下所有的設定。</span></div>
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<span class="s1"></span><br /></div>
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<span class="s1">當試音結束,要做暖場團的時候,把你要共用的導線拔下並作上記號,把要重新設定的地方做上標示 (稱為 ”spiking the stage”)。我也會試著讓東西整齊些。直到舞台是乾淨的,東西都做了記號,我才會讓下個樂團上來-如果你讓他們一股腦地全衝上來,這將會成為你的一場噩夢,所以最好讓大家等個五分鐘,再來有組織地進行。</span></div>
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<span class="s1"></span><br /></div>
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<span class="s1">試音完後,確認你手上有有些音樂好在進場的時候播放,或是你的DJ已經準備好了要放歌⋯⋯最後,記得找點東西來吃!</span></div>
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<span class="s1"></span><br /></div>
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<span class="s1">________________________________</span></div>
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<span class="s1"></span><br /></div>
<div class="p8">
<span class="s1"><b><span style="color: orange; font-size: large;">工程師介紹</span></b></span></div>
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<span class="s1"></span><br /></div>
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<span class="s1">有著如同名人錄一般的履歷,包含Led Zeppelin、Ozzy Osbourne、Def Leopard,以及和Metallica的長期合作關係,讓 ”Big Mick” Hughes的名聲如雷貫耳。自1984年,他便開始了和這些大咖合作的職業生涯,並且為帶來現場聲學極大的影響。他仍舊對聲音保持著無比的熱情,也不吝於發表他的意見!來自大西洋的另一端,Ken “Pooch” Van Druten。他的履歷也一樣地叫人瞠目結舌,他的名字和Kiss、Jane’s Addition、Limp Bizikit、Guns ’N Roses、Beastie Boys⋯⋯等知名樂團連在一起,而列舉的只是其中一小部分而已。</span></div>
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<span class="s1"></span><br /></div>
<div class="p7">
<span class="s1">當然,硬式搖滾並不是現場聲學的全部,來自曼徹斯特的Shan Hira,他在舞曲的領域中大名鼎鼎。他和Chemical Brothers、the Streets以及Lily Allen的工作成果,讓他成為英國最受歡迎的工程師之一。</span></div>
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<span class="s1"></span><br /></div>
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<span class="s1">Jon Burton,本文的作者,他和各種類型的音樂家合作,包括James、Mika以及Pendulum,而且他已經和Prodigy一起巡迴好多年了。他同時也幫一些樂團做monitor engineer,像是Stereophonics。</span></div>
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<span class="s1">____________________________________________________________</span></div>
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<span class="s1"><b><span style="color: orange; font-size: large;">舞台監聽</span></b></span></div>
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<span class="s1"></span><br /></div>
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<span class="s1">大家總說Monitor engineer是巡迴之中最難勝任的一個角色,得像個多核心電腦一樣忙碌,我不得不點頭如搗蒜!</span></div>
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<span class="s1"></span><br /></div>
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<span class="s1">在小的表演場地裡,通常都只有一位音控,他必須用一台混音器來照顧樂團在舞台上的聲音,以及外場的聲音。然而,在大一點的場地中,通常會有兩台混音台:會多一台放在舞台側邊,如同外場的混音台一般。monitor engineer要處理的音軌和FOH engineer的一樣多,但不同的是,他必須要有聖人般的耐心。</span></div>
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<span class="s1"></span><br /></div>
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<span class="s1">當一開始接觸監聽系統時,你必須檢查所有的舞台監聽喇叭,確認它們都沒問題,並且大致上聽起來是一樣的。把所有的圖形等化器都歸零,並且從頭開始。我通常會從主唱送進中央的監聽喇叭開始。我會確認channel EQ都歸零,但把high-pass filter打開。不像house那樣,我不需要太多的超低頻送進舞台監聽。我會拿麥克風用正常的音量說話,來測試是否有任何頻率需要調整。通常都會是中頻的部分,特別是400Hz到800Hz,以及1.6到3.5kHz的地方。我會輕微地調整fader,確定這頻率是不是我要的,再衰減它。</span></div>
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<span class="s1"></span><br /></div>
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<span class="s1">我非常反對把任何一段的頻率衰減得太多:如果你在這個階段把某個頻率衰減得太多,那晚一點你就知道死了。我也反對把舞台上的麥克風打開,將音量推到它回授為止,再把所有在叫的頻率都cut掉這樣的做法;這並不特別對你有幫助,因為它跟人聲的聲音無關。我也不會將麥克風覆蓋住或用手『罩』著它來測試。這麼做會讓任何一支mic回授,除非這是你的歌手會做的事,否則一點意義也沒有。</span></div>
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<span class="s1"></span><br /></div>
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<span class="s1">要是有個人能在混音台前幫你操作以上的步驟,那會很有幫助。這樣一來,你可以待在舞台上聆聽調整過的變化,並迅速地反應。在我得到滿意的EQ曲線之後,我會把舞台監聽推得大聲一點,借此來看它能有多大聲;這樣我可以知道演出中監聽喇叭的極限在哪。再來我會把EQ的曲線拷貝到別顆監聽喇叭的EQ上,各別的聆聽它們,並且作必要的調整。</span></div>
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<span class="s1"></span><br /></div>
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<span class="s1">現在我有了個合理的起始點。如果我是從FOH的混音台作舞台監聽混音的話,我通常會在這個時候拿些”Y-split” cables,來分開任何重要的channel,像是主唱,把它分成兩路。這樣子做,我可以設定好一路給監聽用,一路給house用。這表示我可以在不影響監聽的情況下,任意地調整主唱在house的聲音。</span></div>
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<span class="s1"></span><br /></div>
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<span class="s1">我通常會在樂團開始試音前,設定好基本的moinitor mix。我會把所有的vocals,送進相對應的監聽喇叭裡,送一點大鼓到鼓手和貝斯手的監聽裡,keyboard送到鍵盤手的監聽,諸如此類的。接著我會在試音中的舞台上晃一圈,和樂手交談一下,確認他們對聲音滿意,能聽見所有的聲音。我會儘量主動一些,如果我不能聽見某個聲音,我會回去混音台前再做調整。</span></div>
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<span class="s1">試音是工程師唯一的機會去聆聽舞台上的聲音:要是你在混音台前花的工夫太少;那麼,你就會為了獲得更好的聲音而付出更多的時間!</span></div>
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<span class="s1"><span style="color: #cccccc; font-size: x-small;">原文網址:<a href="http://www.soundonsound.com/sos/jul12/articles/soundchecking.htm?print=yes"><span class="s2">http://www.soundonsound.com/sos/jul12/articles/soundchecking.htm?print=yes</span></a></span></span></div>
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Anonymoushttp://www.blogger.com/profile/06377922510595008070noreply@blogger.com0tag:blogger.com,1999:blog-6021576624325993297.post-51852778943523025352014-05-29T06:45:00.001-07:002014-06-01T00:59:36.665-07:00Eric Valentine談論石器時代之后的《心靈之歌》<h4>
<b>吉他:</b></h4>
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<object class="BLOGGER-youtube-video" classid="clsid:D27CDB6E-AE6D-11cf-96B8-444553540000" codebase="http://download.macromedia.com/pub/shockwave/cabs/flash/swflash.cab#version=6,0,40,0" data-thumbnail-src="https://ytimg.googleusercontent.com/vi/s88r_q7oufE/0.jpg" height="266" style="clear: right; float: right;" width="320"><param name="movie" value="https://youtube.googleapis.com/v/s88r_q7oufE&source=uds" /><param name="bgcolor" value="#FFFFFF" /><param name="allowFullScreen" value="true" /><embed width="320" height="266" src="https://youtube.googleapis.com/v/s88r_q7oufE&source=uds" type="application/x-shockwave-flash" allowfullscreen="true"></embed></object><span class="s1">Josh對於吉他音色有一種特別的態度。基本上,就是去使用沒人在用的東西。如果在這邊說到用Marshall、Vox、Fender或Gibson⋯⋯等,嚴格來說就已經是種限制了。他錄這張專輯的主奏吉他,大多都是用Ampeg貝斯音箱(V4B)。他想為這張唱片增添新的元素,而且他對於嘗試用一些電晶體音箱感到興奮。我建議我們應該要去一趟Black Market樂器行,因為他們總是有一堆很遜、很便宜的電晶體吉他音箱擺在店裡。我們去了,並帶回幾顆舊的Peavy電晶體音箱(不同版本的『Musician』系列)。這些音箱就這麼成了設備中的一份子。他想,如果大家都用昂貴的真空管音箱的話,那我就要用些便宜的爛貨。在〈No One Knows〉的主要吉他聲音,是三種音箱的綜合體:一顆Peavy電晶體音箱、一顆Ampeg VT40,還有一顆被清倉出售,具有瘋狂音色的Tube Works音箱。吉他的音色是個挑戰。有時候從音箱發出的吉他聲音並不是那麼美妙,且又極度不尋常。我會在音箱前,還有房間裡放上很多麥克風,所以我在控制室裡就會有許多的選擇可用。我會不斷嘗試用不同的麥克風及音箱的組合,直到滿意為止。我有件非常堅持的事情,就是傾向使用off axis的收音方式。那些音箱所發出的粗糙聲響,除了靠近喇叭單體收音之外,實在是沒有別的法子了。他那時主要的吉他是Ovation電吉他。它莫名地有種暗沉、鈍的音色特質,非常適合降弦後的fuzz聲音。唯一被使用的fuzz效果器,是一顆某牌的Foxx octave fuzz。它是屬於<a href="http://www.alainjohannes.com/" target="_blank">Alain Johannes</a>的。我得說,處理這張專輯的吉他音色真的很難。為了得到這張專輯所呈現的吉他音色,我付出了相當多的時間和精神。這裡有張照片,呈現了其中一次的吉他收音方式。你可以看到,為了找出Ampeg V4B適當的收音方式,我有多麼的狂熱。</span><br />
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<span class="s1">在錄製過程中,並沒有使用太多的效果器。我唯一記得Josh偶爾會用的一顆效果器,是<a href="http://www.zvex.com/hardon.html" target="_blank">Super Hard On</a>。它可以推動音箱,讓聲音變得更硬。</span></div>
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<span class="s1">我們剛開始是用V4B來錄些基本軌的,但最終在專輯裡沒用上太多,倒是用了很多Ampeg VT-40。例如,〈First It Giveth〉的吉他全是用VT-40錄的。VT-40有更多的gain可用。沒錯!音量基本上都是推到最高。若有需要的話,他還會用Super Hard On去推出更多的gain來。</span></div>
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<span class="s1">我在這張專輯的錄製過程中,試了無數的麥克風種類和擺放位置。最終,我將一隻麥克風擺在距離音箱較遠的位置,對著四顆音箱的中間收音。這樣的擺放它最酷的一點,就是去加強了許多的中頻。Josh喜歡他的吉他有很多的600Hz。這樣的收音方式,讓我們不用去動EQ,就能得到想要的中頻。在使用電容式麥克風的時候(<a href="http://www.neumann.com/?lang=en&id=hist_microphones&cid=u87i_publications" target="_blank">U87</a>、<a href="http://www.coutant.org/sonyc37a/" target="_blank">C37A</a>),我有很好的運氣。這張照片,是我們將錄音移到加州聖馬丁的錄音室(The Site)進行的那一週左右拍的。我之所以將錄音移至The Site進行,是因為我感覺到洛杉磯有太多令人分心的事了。The Site是間位於樹林外,並且可以入住的錄音室。除了錄音之外,你沒有太多的事情可做。他們有間很大的錄音間,但我相信大部份人從這張專輯聽到的聲音(No One Knows、First It Giveth、Go With The Flow),都是在我的地方錄的,就跟錄鼓同樣的那間小隔音間。</span></div>
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<span class="s1"><b>鼓組:</b></span></h4>
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<iframe allowfullscreen='allowfullscreen' webkitallowfullscreen='webkitallowfullscreen' mozallowfullscreen='mozallowfullscreen' width='320' height='266' src='https://www.youtube.com/embed/DcHKOC64KnE?feature=player_embedded' frameborder='0'></iframe><span class="s1">所有那聽起來異常沉重、又乾的鼓聲,都是用我的Sonor Phonic Plus鼓組錄的。小鼓是用Tama Bell Brass或 Pearl Export,我在別的訪問有提到過。這些特別乾的鼓聲,都是在我錄音室裡的隔音間錄的。這隔音間有它獨特的地方,因為它空間很小,天花板卻很高。我不想要鼓聲只是像近距離收音聽起來那樣,但它又必須聽起來很乾。這個收音間真的是有棒、如幽閉恐懼症的盒子般聲響。在《心靈之歌》這張專輯,你可以聽見鼓組是擺在一個很理想的聲響空間,聲音卻依然很乾。鼓組的收音方式是很極簡的。我用了一隻大鼓麥克風<a href="http://www.electrovoice.com/product.php?id=91" target="_blank">RE20</a>、一個NS10、 一隻麥克風收左側鼓組(C12A)、收鼓組中間的麥克風用<a href="http://mixonline.com/TECnology-Hall-of-Fame/1928_neumann_CMV3_microphone/" target="_blank">CMV-3</a>、一隻麥克風收右側鼓組(<a href="http://www.organicarecording.com/news/the-akg-c12a-a-historic-microphone" target="_blank">C12A</a>)、近距離收音的小鼓麥克風(<a href="http://www.coutant.org/we633a/" target="_blank">633A salt shaker</a>)、一個小的喇叭單體也當作麥克風來收小鼓、一對C37As當作room mics。不同的歌會用不同的配置對應。儘管當時錄音室的大收音間裡有鋪地毯,聲音有點死。但有些時候需要比較多的空間感,我們就會到那大房間錄。我們在鼓聲上完全沒有用到取樣。鼓聲之所以有取樣般的感覺,都是因為Dave Grohl用他超人般的耐力來演奏的。</span></div>
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<span class="s1">因為這案子的計劃,是要把專輯中所有的銅拔分開來做疊錄,我們便使用了一個特殊的鼓組,好幫助我們錄製基本的鼓組音軌。我們裝了V-drum電子銅鈸打擊墊給Dave,讓他能演奏主要的節奏。這樣一來,至少樂團在錄音演奏時,能聽到銅鈸的聲音。這麼做的效果非常好。如果你演奏時聽不到任何銅鈸,那將會很怪。</span></div>
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<span class="s1">在將整張專輯的鼓組收音、壓縮(用把刀片)完畢之後,我們才來疊錄所有的銅鈸。我們將銅鈸印到跟鼓組相同的十六軌母帶上。它們一共只有佔四軌。通常會有一對立體音軌,用來作overheads(<a href="http://www.recording-microphones.co.uk/Neumann-KM84-microphones.shtml" target="_blank">KM84s</a>),再加上一些room mic (C27As)混在一起的聲音。也有近距離收音的麥克風去收hihats(M582)以及ride(M582)。我並不能百分百地確定當時麥克風的選擇⋯⋯但差不多就是如此。我們還架了假的小鼓和toms給Dave,讓他在做疊錄時能夠更容易點。</span></div>
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<span class="s1">打鼓的時候,Dave似乎總是有用不完的精力和耐力,而且他對於每一次的演奏都感到興奮。我唯一看他顯露出慌張的神情,大約是銅鈸的疊錄進行到一半的時候。到了一個點的時候他大喊:『這是哪個王八蛋想出來的鬼主意啊?』但他很快地就恢復平靜,繼續用力地敲擊著。</span></div>
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<span class="s1">作銅鈸疊錄的好處,是讓你有更大的彈性,去作鼓的收音和混音。像是room mics收到太多銅鈸的聲音,或是小鼓麥克風串入銅鈸聲太多,其實並不是什麼大不了的問題。而做銅鈸疊錄的負面影響是:這會使鼓手感到不知所措、迷惘,因為他/她很難去感受到像平常打鼓那樣的狀態。我其實不太常去做這件事。做疊錄整張專輯的銅鈸這樣的決定,大多是Josh的主意。他對於一般的銅鈸收音很有意見。</span></div>
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<span class="s1">有兩首歌是沒有做銅鈸分開疊錄的,就是〈Another Love Song〉跟〈Song For The Dead〉。</span></div>
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<span class="s1">我有用一些東西來做鼓的消音。我用<a href="http://www.rtom.com/moongel.htm" target="_blank">moon gel</a>、膠帶/衛生紙,而且我真的很喜歡在小鼓上加些有消音效果的東西(我之前從未描述過,因為我不確定要怎麼去稱呼它)。有些時候我會剪下一條真皮的吉他背帶來用。它若有足夠的重量,就能安穩地放置在小鼓上,並且能有效地消除過多的泛音。它若比較輕一點,那大概小鼓敲了十下之類的,它就飛掉了。我就會拿塊膠帶,把皮帶貼在鼓框附近,來防止它移動,但又不妨礙它隨著打擊而輕輕地跳動。這樣讓鼓聽起來像有gate過,卻又沒有掛上gate。當鼓被打擊時,消音物就會彈起,讓鼓的聲響短暫地開放,再來消音物落下時,就會讓聲響不至於不受控制。我之所以開始這麼做,是因為之前不管我再怎麼消音,去控制鼓被打擊時所產生的聲響,都只會得到很悶的聲音。而這樣的消音做法,讓你在打擊的時候,能獲得完整的鼓聲,而且只會影響到延音。</span></div>
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<span class="s1">Dave對於鼓組的調音或配置一點也不挑剔。我通常會建議鼓手帶自己的踏板和鼓棒。但他一點也不在意這些狗屁。他不管鼓組是怎麼配置,還是拿了什麼樣的鼓棒,就只管坐下來把鼓操爆就對了。</span></div>
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<span class="s1">我很幸運,能有機會去幫一些真的很有天份的鼓手錄音,從Dave Grohl到Dennis Chambers。在我的經驗來說,那些真的、真的很有天份的鼓手根本不在乎他打的是什麼鼓。這只是個概論,而且一定會有例外,但看起來似乎事情是:鼓手越是挑剔,他們對自己打鼓能力的自信也就越是低落。</span></div>
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<span class="s1">LCR技巧在這張唱片裡非常實用,是因為銅鈸是疊錄上去的。基本上這張專輯錄鼓沒用到什麼近距離收音麥克風,真的沒有這個必要,因為我不用去對抗銅鈸串音的問題。L、R麥克風是用我的<a href="http://www.organicarecording.com/news/the-akg-c12a-a-historic-microphone" target="_blank">C12A</a>,然後C麥克風是一隻<a href="http://mixonline.com/TECnology-Hall-of-Fame/1928_neumann_CMV3_microphone/" target="_blank">Neumann CMV-3</a>。我確實有用一隻麥克風近距離收小鼓,但我在這張專輯的rough mixes裡沒用上。L 麥克風是收鼓組左側的聲音,會有比較多rack tom的聲音。C麥克風是直指著小鼓,然後R麥克風是收鼓組右側的聲音,會有比較多的Floor Tom。它們都離小鼓相同的距離,約三英呎遠。</span></div>
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<span class="s1">整張唱片的鼓都是用Quad 8 mic pres錄的。我有一台從Oral Roberts TV studio買來的舊<a href="http://www.quadeightelectronics.com/" target="_blank">Quad 8 console</a>。它上面也有裝<a href="http://www.quadeightelectronics.com/quad-eight-eq-444-444x" target="_blank">Quad 8 444 EQs</a>。我就決定要透過這些pre和EQ,來給這張唱片一個很直覺的聲音。</span></div>
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<span class="s1"><b>指導者/擔任製作人的角色:</b></span></h4>
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<span class="s1">對於石器時代之后和心靈之歌的走向,當然是由Josh來驅動的。他對於他想要做的音樂和聲音,都有很強烈的感覺。我想這跟我以往做過的專輯中,最大的不同是,我很願意去遷就任何、或所有Josh喜愛的冷門做法。我想,心靈之歌這專輯,非常地接近那曾讓Josh感到無比興奮,他腦中所繪製的音樂藍圖。而這其中最大的挑戰,是將一些抽象的想法和敘述,怎麼付諸實現成具體的聲音,讓它從喇叭流瀉出來的過程。我身為製作人的主要工作是,保持編曲的簡潔。我想要這張專輯比之前的專輯更去蕪存菁。石器時代之后從來不缺少很酷的主意,我只是想直接到達那些很酷的東西,而不要在那中間磨蹭。</span></div>
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<span class="s1"><b>盤帶:</b></span></h4>
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<span class="s1">(有多少東西是用盤帶錄的?)大概是全部吧!唯二的例外是一些銅鈸疊錄,和歌與歌之間的連接。</span></div>
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<span class="s1">在做銅鈸疊錄途中有個點,Dave感到有點想半途而廢。因為過程中有很多的punching,和經過一次又一次的嘗試,來確認銅鈸和鼓組部分確實有對到,而且黏得非常緊。這樣的過程令人感到乏味。於是我在這時,改成直接錄到電腦上;因為我可以感覺到,這過程需要加快些腳步。我同時也感覺到,在這個點,出現人性鬆弛狀態並不是件好事。(人性鬆弛狀態在石器時代之后的陣營裡,是一種被高度認同的特質)。讓鼓手這樣將鼓組跟銅鈸分開來打並不自然,而且當銅鈸和鼓組並沒有同步時,會造成感覺無法連接。於是我做了一點編輯,讓銅鈸明顯地聽起來更像是同時間演奏出來的。</span></div>
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<span class="s1">我過去最喜愛的盤帶樣式是3M996(有更高的音量)和Ampex 456(有比較復古的聲音)。我們在石器時代之后的唱片曾用過Ampex 456。但在當時我們只有兩個選擇,不是用ATR Magnetics,就是用RMG。ATR只有一種款式,而且是高音量型式的盤帶。RMG有900(高音量)和911(復古款)兩種樣式。但基於某些原因,它們都有些問題,似乎不像舊產品一樣的可靠。我有用過ATR盤帶來做混音,而且效果很不錯。這個秋天,我將會試試看用ATR來做多軌錄音。等著瞧吧!</span><br />
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<span class="s1">我並沒有真的做了整張專輯。那只是計劃開始的一部份。Josh的心裡有些做混音的特定人選。這個案子沒預料到會花這麼多時間。當錄音接近完成時,Josh突然決定要和<a href="http://mastersofreality.com/" target="_blank">Master of Reality</a>去歐洲做一個月的演出。這一個月的長假,讓計劃延後,並且卡到了我進行下個案子的時間。他們便去了一趟Conway和<a href="http://en.wikipedia.org/wiki/Adam_Kasper" target="_blank">Adam Kasper</a>一起做混音。他們最後增加了一首歌〈The Sky Is Falling〉,並且重錄了〈Do It Again〉。Do It Again的重錄版本有些可惜。我認為我跟他們錄的版本和〈No One Knows〉、〈Go With The Flow〉、〈Millionaire〉等歌有同樣的魔力。</span></div>
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<span class="s1">整體來說,Adam在專輯混音上做得很出色。他的品味和處理方式和我有些不同,而這變成我聽到完成品時,一個很酷的驚喜。</span></div>
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<span class="s1"><span style="color: #999999; font-size: x-small;">原文網址:http://gearnerd.info/post/9816291394/eric-valentine-talks-qotsas-songs-for-the-deaf</span></span></div>
Anonymoushttp://www.blogger.com/profile/06377922510595008070noreply@blogger.com0tag:blogger.com,1999:blog-6021576624325993297.post-54835759153486114872013-10-03T01:02:00.000-07:002014-09-23T01:23:37.531-07:00適合Stratocaster的音色電容器〈 第四集〉<div class="p1">
<span class="s1"><b><span style="color: red;">Tone Capacitors for Stratocaster, Part 4</span></b></span></div>
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<span class="s1"><span style="color: blue; font-size: x-small;">Dirk Wacker</span></span></div>
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<span class="s1"><span style="color: #666666; font-size: x-small;">June 16, 2010</span></span></div>
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<span class="s1">哈囉,歡迎回到「改裝車庫」的〈適合Stratocaster的音色電容器〉最後一章。我也會花點時間,來為我們那音色電容器之謎的故事做結。</span></div>
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<span class="s1">在收到從鑑識實驗室寄回來的Orange Drop電容器之後,我拿了一顆六零年代的Sprague高電容陶瓷電容器庫存品換給客人,讓這把Strat能和六零年代的原廠設定更接近。我們的客人非常高興,他現在仍把這琴當做他的第一武器。我留著這顆Orange Drop電容器,好去做更多的測試,也當作是上了一課的紀念品。</span></div>
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<span class="s1">不幸地,像這樣的情況-沒人能告訴你這樣的運作是怎麼一回事-真的很困擾我。我們已經找到問題所在,也解決了,但並不是在一個樂觀的情況下。所以我決定向這難解的聚酯膜-箔式電容器世界挖得更深些。</span></div>
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<span class="s1">重頭來過:我們有一個一百伏特的Orange Drop聚酯膜-箔式電容器,之前是Sprague公司製造的,現在則是SBE公司用原來Sprague的工具和製造方法製作的。這些電容器的做法,是用絕緣材料製成的一條長細片,再加上一條金屬箔片製的細片放在它的兩側。這兩張箔片就成了導體的金屬板,以及絕緣體和電介體。這條長細片再來會被捲成圓柱狀,兩端的金屬頭會接觸到兩邊的箔片,整個結構就會被包住密封,用某種設計來保持導體乾燥,並使導體運作穩定的材質。既然導體試捲成圓柱狀,箔片有一面就會在外側(稱為「箔片外側」末端),而另一面就會在內側(稱為「箔片內側」末端)。</span></div>
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<span class="s1">標準的聚酯膜-箔式電容器沒有像電解電容器那樣的定向問題,所以,理論上來說,它們安裝在吉他上的方向不會對音色造成任何差異才對。所以,為什麼它不會造成音色上的差異這點這麼重要呢?這樣說吧,箔片外側可以用來隔絕電場耦合進入導體-這對真空管音箱非常地重要。為了讓箔片外側的隔絕效果良好作用,電容器連接電路必須要用特定的定向,也就是音箱電路的低阻抗側。</span></div>
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<span class="s1">在被動式吉他電路裡,並沒有低阻抗側,因為我們是拿電容器來當作接地的bypass電容器。所以,在這種情況,箔片外側必須接在接地側。箔片外側將會成為一個隔絕層,來隔絕電場耦合進入導體,所以你會希望它是用最低阻抗的迴路去接地。依著這條原則,並將所有的電容器都照此方式連接,真空管音箱就不會輕易地被冷光燈發出的電磁波所干擾,或產生哼聲,被振動影響,還是被音箱附近的訊號干擾,而產生不必要的回授。</span></div>
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<span class="s1">所以,我開始在不同的吉他裡,反轉它們的音色電容器。出乎意料地,我發現了以下幾點:</span></div>
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<li class="li8"><span class="s1"><span style="color: orange;">有一些吉他,如果你反轉它的電容器,音色上會造成很大的不同,但有些吉他則不然-天曉得是為什麼!Stratocaster似乎是最容易出現這種狀況的,再來是Telecaster,然後才是Les Paul。</span></span></li>
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<li class="li8"><span class="s1"><span style="color: orange;">因為它們的結構,單層的電容器,像是陶瓷電容器或銀雲母電容器都沒有外層的箔片,所以反轉這些電容器不會造成差異。高伏特的聚酯膜-箔式電容器也是一樣。</span></span></li>
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<span class="s1"><b><span style="color: #c27ba0;">所以你也許會問,他說這些到底是為了什麼?我只是想鼓勵你張開你的耳朵!如果你有一把聲音很好的吉他,插上音箱卻很難聽,在你開始抱怨你的拾音器,並且打算花上大把銀子買組新的之前,試試看反轉你的音色電容器。</span></b></span></div>
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<span class="s1">很不幸地,辨識電容器的箔片外側並非易事。有些電容器會做上標記好區分,但因為這項作業會花上很多時間,大多的製造商都不會這麼做。為了破除網路上的謠言,我問過一位SBE的工程師,他以前也在Sprague工作。他說不論是Sprague還是SBE,他們都會在Orange Drop電容器上做標記!(他也說未來有計劃,要將提供這項服務,當做客製化生產的一個選項。)</span></div>
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<span class="s1">據同一位工程師所言,你所看到的舊Sprague Orange Drop電容器上,那條紋狀的標記,是因為當時Sprague所使用的製造過程而產生的。不管那是什麼意思。我交叉比對好幾個舊Sprague Orange Drops,來確認條紋狀記號,並不是箔片外側的指示。</span></div>
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<span class="s1">如果電容器上沒有標記呢?為了找出箔片外層面的連接點,你會需要一些知識,以及一個好的顯微鏡。我沒有篇幅好詳細解說測驗的過程,但如果你有興趣的話,寄E-mail給我。這麼說吧,反正也只有兩個電極,你有50%的機會,讓你的吉他起死回生。</span></div>
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<a href="http://feelnumb.com/wp-content/uploads/2010/12/fru1.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="http://feelnumb.com/wp-content/uploads/2010/12/fru1.jpg" height="156" width="200" /></a><span class="s1">這故事的寓意?如果你喜歡改裝吉他,而且你的吉他是裝Orange Drops、Mallorys、Roedersteins、WIAA,還是任何類似的電容器,聆聽吉他插上音箱的聲音,將電容器反轉,再聽一次。只要你不是用單層的電容器,或是高伏特</span><span class="s2">聚酯膜-箔式電容器,說不定你會聽到不一樣的音色。誰會知道呢-也許你會重新發現,你那把因為音箱聲音表現不好,而被遺忘許久的老吉他。</span></div>
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<span class="s1">下個月,我們會回到Straocaster的改裝上,我會詳述一個很酷的改裝方法叫做「老式線圈吉他導線模擬器」。在那之前,繼續改裝吧!</span></div>
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<span class="s1"><b><span style="color: blue;">Dirk Wacker </span></b></span></div>
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<span class="s1">Dirk Wacker住在德國,打從五歲起就被各式各樣的吉他吸引。他沈迷於任何有關舊Fender吉他和音箱的事情。空閑之餘,他在兩個樂團裡彈奏鄉村樂、鄉村搖滾樂、衝浪音樂,和納許維爾式音樂。他在當地兼職做錄音室樂手,也在一些吉他雜誌寫專欄。他是個吉他、音箱、效果器的重度改裝迷,並且經營一個關於這些事情的網頁 <a href="http://www.singlecoil.com/"><span class="s3">singlecoil.com</span></a>。</span></div>
Anonymoushttp://www.blogger.com/profile/06377922510595008070noreply@blogger.com0tag:blogger.com,1999:blog-6021576624325993297.post-20569545172452492222013-10-02T00:39:00.002-07:002014-09-23T01:23:55.536-07:00適合Stratocaster的音色電容器〈第三集〉 <div class="p1">
<span style="color: red;">Tone Capacitors for Stratocaster, Part 3</span></div>
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<span class="s1"><span style="color: blue; font-size: x-small;">Dirk Wacker</span></span></div>
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<span class="s1"><span style="color: #666666; font-size: x-small;">May 18, 2010</span></span></div>
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<span class="s1">哈囉,歡迎回到改裝車庫。我要告訴你一個幾年前發生在我身上的故事,來作為這Strats音色電容系列文章最終回的開始。我保證這是真的。希望你讀過文章之後不會把我釘上木樁-這跟超自然現象無關,真的!</span></div>
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<span class="s1">有一個我們的客人,來自瑞士的職業吉他手,打電話來說他會帶一把他幾天前買的vintage吉他過來,因為「電子零件有些不對勁」。當他抵達,打開了琴盒:一把引人注目的1962 Stratocaster!這吉他顯然已經被彈奏了很長一段時間了,但它的狀態仍是不錯。之前的主人說它聲音不太好,所以用很低的價錢拋售它,而我們的顧客無法拒絕這麼好的交易。</span></div>
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<span class="s1">我將它從琴盒拿出,調音,在沒插電的情況下彈了一些和弦跟樂句。我吃了一驚:這是我彈過琴身共振最好的電吉他了!整個琴都產生共鳴-從琴身的尾端,直到琴頭-你去碰琴頭,甚至可以感覺到音符的震動。它的泛音似乎都要跳出吉他之外了。我正處於彈奏的天堂。</span></div>
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<span class="s1">然而,吉他插上音箱之後,我徹底的失望了。它並不難聽-音色仍很Strat-y-但它跟夢幻兩字可差得遠了。我聽不見任何一流質感的聲音。它聽起來很普通。你應該知道,買了把vintage吉他並不代表會有很棒的vintage音色。許多年來,我見過很多從黃金年代生產出的吉他,所以我以為它會是其中之一。我再用很高品質的導線,將它插入我的1959 Bassman,結果還是一樣。我同意這位客人說的,電子零件方面應該有些問題。在把琴弦卸下之後,我們打開之後發現,大部份的電子零件都還是原廠的。有一個更換過的音色電阻,一顆Orange Drop音色電容器,還有一條新的接地線,連接顫音室和音量電阻。就這樣,沒什麼特別的。電阻會在長時間使用後損壞,焊線會斷,更換音色電容器這些都沒什麼不尋常。拾音器、切換關開、接線、其他兩顆電阻,以及輸出插孔都是原廠的。</span></div>
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<span class="s1">我的下一步就是把護板拿掉,包含輸出插孔,再放上一個已經焊接好的護板,我們用來作為參考的比較。這個護板上裝了標準配備像是CTS電阻、一個CRL 5-way switch,還有一組Fender 57/62拾音器。目的是為了做一個一般品質的護板作為測試-不會太好,也不會太糟。在接上每樣東西和裝上琴弦之後,我們將吉他插上導線,結果它好聽的不得了!還沒調整拾音器高度,聲音就好的難以置信。非常透明、有力,而且囊括了所有我們喜愛的vintage吉他特性。我們的客人完完全全被這把吉他的聲音所震驚,我們花了一些時間才讓他把吉他放下。你們都懂這個特別的時刻-第一次彈奏、聆聽你的新吉他。那總是讓你的臉上漾著大大的微笑。我猜你們都知道接下來發生了什麼事⋯⋯經過一些調整之後, 我們用來測試的護板就繼續裝在吉他上,借給他,好在我們檢查、修復原來的電子零件時,可以繼續使用。</span></div>
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<span class="s1">為了重新檢查每樣物件,我把原來的護板暫時性地裝到一把我們用來做測試用的吉他,一把墨西哥製 Fender Standard Stratocaster。測試後結果還是一樣。音色一般,沒有個性。我為這護板拍下一些高解析的照片,作為組裝的參考,接著把護板上的零件拆出,一樣一樣測試。一旦確定拾音器是好的,我就把它們焊接好,一個接著一個,直到最後的輸出插孔。它們都聽起來很棒。很明顯地,拾音器都沒有問題。所以,錯誤應該是出現在接線、接換開關,或是可變電阻。在把東西都脫焊下來之後,我測試了全部的焊線。它們似乎都沒有問題。切換開關也是一樣,可變電阻、電容器也都是好的。在重複檢查一次之後,我決定把零件重新安裝一遍,並且逐一更換檢查錯誤。在小心翼翼地重新組裝好後,我突然像被擊中了眉心一般:我將護板裝在我們測試用的Strat,它的聲音聽起來飽滿又漂亮-帥慘了。我試著去複製錯誤的狀況幾次,但都失敗了。這吉他聽起來太棒了,但我毫無頭緒為什麼這樣。</span></div>
<div class="p7">
<span class="s1"></span><br /></div>
<div class="p6">
<span class="s1">我依著照片比較焊線和零件的安裝,但看不出端倪。我甚至為所有焊線作上記號,再將它們裝在同樣的位置上。</span></div>
<div class="p7">
<span class="s1"></span><br /></div>
<div class="p6">
<span class="s1">好的,這樣的事情總是會發生。最重要的事,是錯誤已經排除,我的客人一定會滿意的。但這個無解的現象困擾了我。我讓吉他擺上幾天,然後再仔細地跟照片比較一遍。終於抓到了:我之前都沒有注意到-因為這不該造成差異的-但我是將音色電容的面朝上安裝(所以你可以閱讀它上面印的字,這會讓事情好辦些,因為你可以清楚地看到電容量)。在原來的結構裡,這顆電容器是面朝下安裝的,所以它是一百八十度反轉的。我並沒有注意到,是因為Orange Drop電容器是</span><span class="s2">聚酯膜-箔式電容器,它沒有像電解電容器一樣的定向問題。所以它們的安裝方式應該對音色不會造成任何影響。既然這是我所判斷的唯一異同處,我決定再一次地測試我的發現。我將電容器反轉,就像它原本一樣的安裝方式,我幾乎很難相信:我將吉他插上導線後,那個平庸的聲音又回來了!就像是它的靈魂又被抽離了一般。</span></div>
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<span class="s1"></span><br /></div>
<h4>
<span class="s1"><b><span style="color: orange;">將Orange Drop送去鑑識實驗室</span><div class="separator" style="clear: both; text-align: center;">
<a href="http://www.tubelab.com/images/AssemblyManualTubelabSE/Capacitors/OrangeDrop.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="http://www.tubelab.com/images/AssemblyManualTubelabSE/Capacitors/OrangeDrop.jpg" height="149" width="200" /></a></div>
</b></span></h4>
<div class="p10">
<span class="s1">我懷疑這電容器是瑕疵品,所以我用多功能數位電表,以及顯微鏡測試它,但我仍找不到問題所在。我把它送去我一個在當地大學實驗室上班的朋友那,他做了幾次密集測試,也還是找不到任何不尋常。它的狀況很好。</span></div>
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<span class="s1"></span><br /></div>
<div class="p10">
<span class="s1">為了避免你的電容器也發生一樣的問題,請鎖定下個月的專欄。</span></div>
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<span class="s1"></span><br /></div>
<br />
<div class="p10">
<span class="s1">在那之前,繼續改裝吧!</span><br />
<span class="s1"><br /></span>
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<div class="p8" style="background-color: white; color: #222222; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 13px; line-height: 18px;">
<span class="s1">____________________</span></div>
<div class="p10" style="background-color: white; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 13px; line-height: 18px;">
<span class="s1"><b><span style="color: blue;">Dirk Wacker </span></b></span></div>
<div class="p8" style="background-color: white; color: #222222; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 13px; line-height: 18px;">
Dirk Wacker住在德國,打從五歲起就被各式各樣的吉他吸引。他沈迷於任何有關舊Fender吉他和音箱的事情。空閑之餘,他在兩個樂團裡彈奏鄉村樂、鄉村搖滾樂、衝浪音樂,和納許維爾式音樂。他在當地兼職做錄音室樂手,也在一些吉他雜誌寫專欄。他是個吉他、音箱、效果器的重度改裝迷,並且經營一個關於這些事情的網頁 <a href="http://www.singlecoil.com/" style="color: #888888; text-decoration: none;">singlecoil.com</a>。</div>
<div class="p12" style="background-color: white; color: #222222; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 13px; line-height: 18px;">
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<div class="p5" style="background-color: white; color: #222222; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 13px; line-height: 18px;">
<span style="color: #666666; font-size: xx-small;"><span class="s1"></span>出處:http://www.premierguitar.com/articles/Tone_Capacitors_for_Stratocasters_Part_3</span></div>
</div>
Anonymoushttp://www.blogger.com/profile/06377922510595008070noreply@blogger.com1tag:blogger.com,1999:blog-6021576624325993297.post-9260674170330530772013-09-18T02:00:00.002-07:002014-09-23T01:22:33.542-07:00 適合Stratocaster的音色電容器〈第二集〉 <div class="p1">
<span style="color: red; font-size: x-small;">Tone Capacitors for Stratocasters, Part 2</span><br />
<span style="font-size: x-small;"><br /></span>
<span style="color: blue; font-size: x-small;">Dirk Wacker</span></div>
<div class="p3">
<span class="s1"><span style="color: #666666; font-size: x-small;">April 15, 2010</span></span></div>
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<span class="s1"></span><br /></div>
<div class="p5">
<span class="s1">哈囉,歡迎回到「改裝車庫」。在繼續我列你該試用在Strat上的電容器清單之前(<a href="http://rockstuffintranslation.blogspot.tw/2013/09/tone-capacitors-for-stratocasters-part-1.html?spref=fb" target="_blank">見Part 1</a>),我有些話要說,是有關前些年突然在市場上出現,並且很受歡迎的Luxe復刻電容器 (luxeradio.com)。這些複製品,是去忠實呈現舊的vintage電容器外觀,這些人真的做得很出色。我拿了一些放在我的工作台上,並小心地和原始型號做比較。在外觀上確實難以分辨-它們真的很像五十年前的電容器,它們甚至在觸感和嗅覺上都像。但請銘記在心,它們是複製品,所以它們的音色不會像原始型號一樣。如果你只是想要有仿舊外觀的電子零件的話,這樣子是很不錯。別誤會了,那些在</span><span class="s3"> </span><span class="s1">Luxe Radio & Musical Instrument Co.工作的人,是盡心盡力地要使他們的電容器聽起來像是原始型號沒錯的,所以他們用了同樣的結構。這麼說好了,Luxe Bumblebee復刻電容器是,由俄羅斯軍方提供,有著仿舊外觀的Vintamin Q油浸紙質電容器的庫存新品。這些電容器聲音很好,但不完全像舊的「Bumblebee」或「Black Beauty」。</span></div>
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<span class="s1"></span><br /></div>
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<span class="s1">OK,所以繼續列你該試用在Strat的電容器清單吧。</span></div>
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<h4>
<span class="s1"><b>Silver Mica </b></span></h4>
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<a href="http://upload.wikimedia.org/wikipedia/commons/f/fd/Silver_mica_capacitors.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="http://upload.wikimedia.org/wikipedia/commons/f/fd/Silver_mica_capacitors.jpg" height="132" width="200" /></a></div>
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<span class="s4">銀雲母電容器是雲母做的電介質,再做過浸泡式鍍銀而製成的,名字也是因此而來的。現在的銀雲母電容器很容易辨別,因為</span><span class="s1">它在身體中間有個典型的凹陷設計。</span><span class="s4">銀雲母電容器的庫存新品通常是平坦、矩形的外觀。它們很容易可以在高品質的音箱和效果器內找到。</span><span class="s1">它們也常被裝在音量鈕上當作hi-cut用,如果你能找到正確的數值,也能當作音色電容器用。高電容量的Silver Mica電容器通常不好找,又大顆又昂貴-但還是值得你一試。它們的聲音很出色,對聲音沒有任何的染色。它們會大大地改善吉他的音色,因為它們低訊號耗損的設計,會改善高頻和清晰度-作為tone circuits、tone stacks、濾波器而言,它們真的是最棒的。有個很好的銀雲母電容器替代品,就是我上個月提過的Styroflex電容器。它們的</span><span class="s5">體積更小,因此更容易當作吉他電容器使用。</span></div>
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<h4>
<span class="s1"><b>Paper-in-Oil (aka “PIO”) </b></span></h4>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiIXQHVi3JtQF4OneDxSiqVh1XoxIat4mHEokio_AECVWLW24u0vUAgtlxfAP7iLawFyofdUlgletaMgibAIgjSZZPw_upYs-F0lHBfJj6ompeWZJvE9XwWklcbBNjbWt76P9iHFZujzCk/s320/4-Vitamin-Q-PIO-Capacitors.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiIXQHVi3JtQF4OneDxSiqVh1XoxIat4mHEokio_AECVWLW24u0vUAgtlxfAP7iLawFyofdUlgletaMgibAIgjSZZPw_upYs-F0lHBfJj6ompeWZJvE9XwWklcbBNjbWt76P9iHFZujzCk/s320/4-Vitamin-Q-PIO-Capacitors.jpg" height="150" width="200" /></a></div>
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<span class="s1">Jensen、Sprague(Vitamin Q)、Mundorf,還有其他幾家公司都有做這些電容器,常常可以在high-end或hi-fi設備,像是電源供應器、</span><span class="s3"> </span><span class="s1">decoupling stages、揚音器的分音濾波器裡找到,在高級的吉他音箱裡也會有。它們非常昂貴,但很多人都為它掛保證。當然,如果你吉他的電路室夠大的話,你可以裝看看。這些電容器使用油浸紙來做電介質材料,這樣子阻尼會很好,音色會很透明、滑順、清晰、強勁、自然-頻帶會很寬,失真度會很低。五零年代非常早期的Sprague Bumblebee電容器就是PIO的,因為外觀上的斑點,所以很容易分辨。市面上有大量的PIO庫存新品在流通,它們有卓越的品質-有的甚至是軍事等級的-而且它們通常比Jensen或其他廠商做的電容器還便宜。<br />
</span></div>
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<h4>
<span class="s1"><b>Mullard/Philips C280 “Tropical Fish” </b></span></h4>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh8TVo71NSYNghbdjwS0vwTD6y4wY_4b5U3OkZx_zej30la4KLAIuNYaqZqmNz6MafNFLvqI52Z-ds74FxB3OzW2uKUThUTLqbhbJoVU5i5_bxqz9OPmDkXk1SWXQv1blRDFDI5qqsqBoyO/s1600/StreamImage.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh8TVo71NSYNghbdjwS0vwTD6y4wY_4b5U3OkZx_zej30la4KLAIuNYaqZqmNz6MafNFLvqI52Z-ds74FxB3OzW2uKUThUTLqbhbJoVU5i5_bxqz9OPmDkXk1SWXQv1blRDFDI5qqsqBoyO/s1600/StreamImage.jpg" height="150" width="200" /></a></div>
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<span class="s1">Mullard/Philips C280電容器,又稱熱帶魚電容器,因為它的彩色條紋而得此名。它是在六零年代晚期出現的聚酯膜電容形式電容器,你可以在那時期的真空管音箱和效果器看到它的身影。它也是個神奇的哇哇踏板用電容器。所以,它是你把你的現代哇哇踏板,轉換成vintage音色踏板的門票。「熱帶魚」這個詞,常常會讓人把它跟大黃蜂電容器搞混,但這是個顯而易見的錯誤。這些電容器已經停產十年以上了,但還是能買到它們的庫存新品。它們用在Stratocaster上的效果出色極了,能給你肥厚的音色,卻又不失真。比起Orange Drop薄膜電容器,它們有更多的中頻,以及更少的高頻嘶聲。如果你的Strato音色瘦弱,它們是值得你一試的。</span></div>
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<h4>
<span class="s1"><b>Paper-Waxed (aka “PIW”) </b></span></h4>
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<a href="http://www.mcclellans.com/images/Zenith6D525/RestuffedCleanedCases.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="http://www.mcclellans.com/images/Zenith6D525/RestuffedCleanedCases.jpg" height="115" width="200" /></a></div>
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<span class="s1">這種形式的電容器,是最早的設計之一,而且在今日已經是被淘汰了。紙製電容器的製成,標準上都採用蠟紙,來分離裡面薄而平坦的條狀金屬箔膜導體。它們用封蠟的方式來防潮、保存。你可以在一些早期的真空管收音機、電視,還有吉他音箱裡找到這種電容器。Fender在早期的Broadcasters、Esquires、Telecasters、Stratocasters,採用這樣的電容器(通常看起來像一團厚厚的矩形蠟塊)。在那時,0.1uF是標準值,它產生非常暗沈、像被裹住的音色(像我提及過的「診斷死亡」)。選擇這樣的值是Leo Fender的主意,有像貝斯一般的音色,能讓樂團裡的吉他手,在必要的時候,彈上一些bass line的緣故。吉他世界中最出名的PIW,是Gibson在1956年以前所使用,管狀的Cornell-Dubilier “Grey Tiger”。它們的結構能幫助抑制高頻,讓低頻和中頻突出,產生一個像被裹住般的音色。個人來說我並不喜歡這些電容器的聲音,但它們是最早期Fender吉他的原廠設定-所以,如果你想要複製早期電路的話,沒有別的辦法了。我唯一會推薦這個電容器的情況是,你有把冰錐般音色、刺耳、具有大量高頻的Strat。這些電容器已經停產了很多年,但你仍然可以在eBay上找到二手貨跟庫存新品。</span></div>
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<h4>
<span class="s1"><b>NOS “High Voltage” Ceramic </b></span></h4>
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<a href="http://www.leedsradio.com/images-caps/sprague_0pt1mfd500v.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="http://www.leedsradio.com/images-caps/sprague_0pt1mfd500v.jpg" height="200" width="165" /></a></div>
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<span class="s1">「高伏特」陶瓷電容器(又稱「煎餅」電容器),來自於像</span><span class="s3"> </span><span class="s1">Sprague、Centralab、Waldom、Mepco和Erie這樣,在六零到七零年代初期之間,幫Fender生產標準電容器的公司。它們看起來像咖啡色的巧克力碎片,而且大多數都含有高達1kV,甚至更高的伏特數。它們已經停產了,但有些公司仍在囤積這些絕頂好聲的庫存新品。另一個取得的方法,就是去找那個時代的電器產品來拆取,像舊電視、舊收音機。想要有六零年代那種Strat、Tele,或是P-Bass、J-Bass的vintage tone,沒有什麼能像原裝產品那麼棒的了。它們聽起來跟現代的陶瓷電容器完全不一樣。它們的差異真如天壤之別,有一些說法來解釋,它們為何那麼出色。從技術觀點來看,這些可真稱不上是完美的電容器,有很多的諧波跟高頻都沒被阻隔住-這就是為什麼大多數人說它們聽起來很棒的原因。它們也在我的最愛清單之內,它們的位置落在非常好聽和好聽極了之間。我試過很多的現代陶瓷電容器,但它們一點都比不上這些舊的。如果你能拿到一些的話,就換吧!</span></div>
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<span class="s1"></span><br /></div>
<div class="p5">
<span class="s1">好的,就這樣了。還有更多的電容器沒介紹到,但列一個超長清單不是我的本意。我想專注在那些適合Strat的電容器。例如,Bumblebee電容器,用在Fender吉他上就不太好聽,所以我們會留到未來談Les Paul和335改裝的時候再說。下個月,我們會以討論電容器的定向,來結束這一系列文章。我保證會有些精彩的故事。在那之前⋯⋯繼續改裝吧!</span></div>
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<span class="s1"></span><br /></div>
<div class="p5">
<span class="s1">__________________</span></div>
<div class="p7">
<span class="s1" style="color: blue;"><b>Dirk Wacker </b></span></div>
<div class="p5">
<span class="s1">Dirk Wacker住在德國,打從五歲起就被各式各樣的吉他吸引。他沈迷於任何有關舊Fender吉他和音箱的事情。空閑之餘,他在兩個樂團裡彈奏鄉村樂、鄉村搖滾樂、衝浪音樂,和納許維爾式音樂。他在當地兼職做錄音室樂手,也在一些吉他雜誌寫專欄。他是個吉他、音箱、效果器的重度改裝迷,並且經營一個關於這些事情的網頁 <a href="http://www.singlecoil.com/"><span class="s2">singlecoil.com</span></a>。</span></div>
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Anonymoushttp://www.blogger.com/profile/06377922510595008070noreply@blogger.com0tag:blogger.com,1999:blog-6021576624325993297.post-83321337689647801012013-09-17T22:17:00.002-07:002014-09-23T01:21:59.595-07:00 適合Straocaster的音色電容器〈第一集〉 <div class="p1">
<span style="font-size: x-small;"><span class="s1" style="color: red;">Tone Capacitors for Stratocasters, Part 1</span></span><br />
<span style="color: #666666; font-size: x-small;"><span class="s1"><br /></span></span><span class="s2" style="color: blue; font-size: x-small;">Dirk Wacker</span><br />
<span style="color: #666666; font-size: x-small;"><span class="s1">March 11, 2010 </span></span></div>
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<a href="http://www.guitar-museum.com/uploads/guitar/44/160168776593-1.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="http://www.guitar-museum.com/uploads/guitar/44/160168776593-1.jpg" height="128" width="200" /></a><span class="s1">哈囉,歡迎回到「改裝車庫」單元。最近,我收到很多關於Stratocaster電容器的E-mails。我有在前幾次的單元中討論過電容器,如果你想對吉他電容器瞭解更多,或是想知道怎麼去取決電容量的話,去讀那些之前的專欄會是不錯的開始。基於之前的基本概念,現在我們要研究地更深入些,專注在Strats的電容器上。我會基於自身過去幾年的經驗,給你些有關電容器和Strats的建議,但這沒有一定的規則。這是你的吉他和你的音色,沒有任何法則能說,你不可以去試任何你想要做的。勇敢且大膽些,也許你會意外地找到正適合你的東西。有一個我的客人,只用一種五零年代出產,特殊的舊德國收音機取出的電容器。對他而言,那是完美的音色。如果你在地下室還閣樓,有些舊的、不要的電子產品,它們就是你做些瘋狂實驗的最佳來源。我曾收過一封信,是從阿肯薩斯洲寄來的。那傢伙打開了一些五零年代的軍事用品,結果找到了一大堆的Sprague Bumblebee電容器⋯⋯有一些被拿來賦予他的Les Paul、SG吉他新的生命,也提供超棒的音色。 </span></div>
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<span class="s1">在小小的外殼下,電容器是個能利用兩個導體(稱作「金屬板」)之間的電場,來儲存能量的電氣/電子裝置。電容器儲存能量的過程,是利用兩邊電極的電荷相等,但相互反向,而建立起來的。電容器常用在電氣/電子電路板中作為能量儲存裝置。它們也常用來區別高頻和低頻的訊號。這項特性讓它們能在電子濾波器作用,這正是我們在吉他中使用它們的原因。基本上,我們的被動式音色控制,可以用來抑制高頻。當你把音色鈕關掉時,它會把高頻反應切掉,給你比較柔和的音色。調整這個控制鈕,會顯著地影響音色,但你依然很好辨識是同一把吉他。 音色電容器的基本法則就是:電容器越大,音色越暗。取決於電容的值(電容量),它的影響可讓音色從微暖(2200 - 6800pF),到女人聲(0.01 - 0.047uF),直到完全黑暗和死透(0.1 uF或更高的值)。另一件要記住的事,就是:雖然音色電容器也是吉他電路的一部分,但它甚至能在音色鈕全開的情況下影響音色-那就是音色電容器為什麼是聲音重要的一部分的原因。</span></div>
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<span class="s1">以下是些你該試用在你Strat上的電容器:</span><br />
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<span class="s1"><b>Orange Drop</b></span></h4>
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<a href="http://angela.com/images/products/detail/OrangeDropsPageHeader.7.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="http://angela.com/images/products/detail/OrangeDropsPageHeader.7.jpg" height="131" width="200" /></a><span class="s1">這些傳奇的電容器之前是由Sprague製造的。今天,它們是由一家美國公司SBE所製造的,但仍然是按之前輝煌日子的方式,用相同的舊機器做的。它們是薄膜式電容器,提供不同的伏特數、尺寸、形狀,以及電容量。就我們熟知的典型Orange Drop,都用在高品質的真空管音箱內,特別是630V。這些電容器在Strat上使用,會有最「Fendery」的音色:少量突出的中頻,緊實、有衝勁的低頻反應,最適合做clean playing(也適合overdrive)。他們有提供幾種不同的系列,最常在店家看見的就是715P,跟更高級的716P系列。它們都是</span><span class="s3">聚丙烯薄膜電容器。225P和PS系列是聚酯薄膜式的。這些也是你該嘗試用在你的Strat上的電容器。它們甚至比715P和716P系列來的更「Fendery」。作為一個薄膜式電容器,Orange Drop是沒有極性的,所以它們的安裝定向是沒有分別的⋯⋯至少它不應該有任何差別,但那是在稍晚的專欄裡會提到的問題。</span></div>
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<span class="s1"><b>Mallory 150</b> </span></h4>
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<span class="s4">這些圓軸式的</span><span class="s1">聚酯薄膜,或聚丙烯薄膜電容器,因為它們亮黃色的外觀,很容易就能分辨,就像你能在Music Man音箱內找到的舊Plessi電容器一樣。Mallory 150電容器是加拿大公司DuraCap製造的。因為軸狀的外形,它們很容易地能裝在吉他上。它們的聲音犀利帶勁-適合藍調和搖滾的完美Strat音色電容器。用overdrive時,它們聽起來圓潤、富有音樂性。這電容器和單線圈拾音器作用的很好,用在雙線圈拾音器上也很棒。如果你想要比較現代、圓潤的音色,這就是你該是去試的。</span></div>
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<span class="s1"><b>ERO Roederstein MKT1813 </b></span></h4>
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<span class="s4">由Vishay製造,這些也是圓軸式的</span><span class="s1">聚丙烯薄膜電容器,它們也是黃色的,但沒有像Mallory 150那麼閃亮。它們有很木質和透明的音色;裝在Telecaster上,它們有時候會聽起來像把木吉他。如果你的Strat主要是琴身共鳴的木質音色,這個電容器會將這項特質更加提升。</span></div>
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<span class="s1"><b>NOS Styroflex caps </b></span></h4>
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<span class="s4">通常都稱作「</span><span class="s1">polystyrol」電容器, 即使現在已經停產了 ,但它們在eBay上可以輕易地找到。 聚苯乙烯電容器用來在濾波器、時序電路、回授電路,以及任何需要高穩定、低耗損的地方最恰當,但它們也適合拿來當吉他、音箱、效果器的電容器。 聚苯乙烯(註:在歐洲通常稱作”Styroflex”或”styrol”)是長久以來,拿來當關鍵性的類比電路板材料的選擇之一。聚苯乙烯電容器是銀雲母電容器的最佳替代品,但體積更小,更容易找到適合吉他的電容量。如果你想要最透明,沒有任何染色的音色,這是你該去嘗試的款式。</span></div>
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<span class="s1">下個月我們會討論油浸紙質、銀雲母、熱帶魚、蠟質紙殻電容器,還有五零、六零年代出產的「高伏特」陶瓷電容器。在那之前⋯⋯繼續改裝吧!</span></div>
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<span class="s1" style="color: blue;"><b>Dirk Wacker </b></span></div>
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Dirk Wacker住在德國,打從五歲起就被各式各樣的吉他吸引。他沈迷於任何有關舊Fender吉他和音箱的事情。空閑之餘,他在兩個樂團裡彈奏鄉村樂、鄉村搖滾樂、衝浪音樂,和納許維爾式音樂。他在當地兼職做錄音室樂手,也在一些吉他雜誌寫專欄。他是個吉他、音箱、效果器的重度改裝迷,並且經營一個關於這些事情的網頁 <a href="http://www.singlecoil.com/"><span class="s5">singlecoil.com</span></a>。</div>
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<span style="color: #666666; font-size: x-small;"><span class="s1"></span>出處:http://www.premierguitar.com/articles/Tone_Capacitors_for_Stratocasters_Part_1</span></div>
Anonymoushttp://www.blogger.com/profile/06377922510595008070noreply@blogger.com0tag:blogger.com,1999:blog-6021576624325993297.post-31379597478225618902013-09-17T00:17:00.000-07:002013-11-08T02:18:40.368-08:00All Access: Soundgarden翻譯<h3>
<span style="color: #666666;">Apr 1, 2013 9:00 AM, Photos and Text By Steve Jennings</span></h3>
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<span class="s1"><span style="font-size: x-small;">三月初,Soundgarden正在宣傳新專輯的巡迴途中,他們剛做完兩場完售演唱會,辦在加州奧克蘭的Fox Theater。我們利用這段空檔,給他們做了採訪。全部的監聽和外場系統都由Rat Sound提供;當地的場館再協助P.A.系統不足的地方。</span></span></div>
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<span class="s1">照片右邊是外場工程師Ted Keedick,跟系統技師Jason Brandt,一起在<a href="http://www.avid.com/US/products/profile-system" target="_blank">Avid Venue Profile System</a>前合照。Keedick說:「它的體積很小、界面簡單,而且我真的很喜歡它能和Waves plug-ins以及Pro Tools無縫地整合。我用面板上的DigiRack Mod Delay 2做大多的vocal delays, 還有在鼓上用ReVibe,如果有需要的話,也可以拿來做一些vocal reverbs。Waves軟體方面,我用RCompressor、Renaissance Axx,還有非常出色的C4!它真的可以幫助我去塑造,或控制任何你去加在上面的東西。唯一的outboard gear,是我們帶了一台<a href="http://www.fohonline.com/home/23-road-tests/1289-dolby-lake-processor.html" target="_blank">Dolby Lake Processor</a>來做系統EQ和陣列式喇叭。」他繼續說道:「兩個多小時的演出長度,每個晚上的內容都不太一樣,所以舞台上會釋放出很多、很多的能量!我只是保持仔細地聆聽,手放在混音台上,集中注意在我的cues上,並且確保我們能聽見每一樣樂器和歌聲。」</span></div>
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<span class="s1">照片右邊是監聽工程師Martin Strayer,一起合照的是來自Rat Sound的系統技師Casey McDaniel,也同樣用 Avid Profile做混音,他說他試著去限制自己使用plug-in的數量,雖然他提及到,在Chris Cornell的vocal,使用了Bomb Factory plug-in做long delay。樂團也使用了<a href="http://www.dbaudio.com/systems/category/series/detail.html?tx_sschdbsystems_pi1[category]=2&tx_sschdbsystems_pi1[serie]=2&tx_sschdbsystems_pi1[product]=16&tx_sschdbsystems_pi1[controller]=Product&cHash=377b40abd0ddcc2631d8e1012c85a811" target="_blank">d&B audiotechnik</a>監聽喇叭。</span></div>
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<span class="s1">Strayer說:「我們給Chris一支<a href="http://www.telefunken-elektroakustik.com/products/show_product.php?item=24" target="_blank">Telefunken M80</a>當vocal mic,它有最佳的屏蔽,而且聽起來很棒!我已經做這行很久了,我能真心地說,他們是我共事過最棒的一群傢伙了。 敲算出Chris的long vocal delay,再將它們混進他的耳內監聽⋯⋯超有趣的。我好久沒有玩的這麼愉快了。」</span></div>
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<span class="s1">Kim Thayil的吉他技師Josh Evans,也是Soundgarden的設備經理。Thayil的<a href="http://www.mesaboogie.com/Product_Info/Out_of%20_Production/Tremoverb/tremoverb.html" target="_blank">Mesa Tremoverb combo</a>跟九十瓦的Mesa Eletradyne 4x12 cabinet,用Shure SM 57s收音。他的效果器包含T-Rex Tap Tone delay、Ibanez chorus、Electro-Harmonix Micro Pog、Hughes & Kettner Rotosphere、Dunlop/CAE wah、boost and distortion,以及一台<a href="http://www.providence-ltd.com/products/audiorouting/pec2.html" target="_blank">Providence Pec-2 routing system</a>。</span><br />
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Chris Cornell的吉他技師Stephen Ferrera-Grand說:「Chris Cornell的舞台設備有做過一些變動。在Fox的時候,他的舞台設備是兩顆Savage Rohr 15 2x10-inch combo amps,以及一顆<a href="http://www.dividedby13.com/ftr37.html" target="_blank">Divided By FTR 37 head</a>和 2x12 cabinet。Fred Taccone是Divided By 13音箱的設計師,音箱也是他親手打造的,他更是該品牌的老闆。我們非常感謝他的產品和支持。<span class="s1"></span></div>
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<span class="s1">據爵士鼓技師Neil Hondt說,Matt Cameron的鼓組麥克風包含一對AKG 414當作overheads、 Shure SM81收ride、新的Shure 98夾式麥克風收toms、Shure SM57收小鼓、Shure [beta] 52和 91一起收大鼓,還有一隻Shure SM57用來收hi-hats。</span><br />
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<span class="s1">貝斯技師Nathan Yaccino說:「Ben的設備由兩種音箱組成,一顆<a href="http://www.mesaboogie.com/Product_Info/Bass_Amps/carbine/" target="_blank">Mesa M6 Carbine</a>,和一顆<a href="http://www.ampeg.com/products/classic/svtvr/" target="_blank">Ampeg SVT-VR</a>。那顆Mesa傳送乾淨、不受影響的訊號,而Ampeg則是傳送較髒、經過他所有效果器染色的訊號。我們用一支Shure beta 98收Ampeg 8x10 cab的聲音。人們總是在問這個,因為它們通常用來收鼓組。Dave Rat,Soundgarden之前的外場工程師,曾經用這個來做貝斯收音一陣子。雖然Dave已經不再擔任他們的外場工程師了,但我們保留了這麥克風。它聽起來很棒!」</span></div>
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<span class="s1">他繼續說:「Ben半數的效果器在他的效果器板上,另一半放在他音箱後方機櫃裡的托盤上。Ben器材的中樞,是一台 <a href="http://www.radialeng.com/r2011/jx44.php" target="_blank">Radial JX44 Air Control</a>。所有的器材設備都經過它的迴路。」</span></div>
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<span style="color: #666666; font-size: x-small;">出處:http://mixonline.com/live_sound/tours/all_access_soundgarden/</span></div>
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<span style="color: #666666;">By John Riley </span></h4>
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<a href="http://higherlogicdownload.s3.amazonaws.com/PAS/f0e7f87c-a2ee-4b0c-a4aa-5cb6142f6981/UploadedImages/John%20Riley.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="http://higherlogicdownload.s3.amazonaws.com/PAS/f0e7f87c-a2ee-4b0c-a4aa-5cb6142f6981/UploadedImages/John%20Riley.jpg" height="200" width="133" /></a></div>
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<span class="s1">每種類型的音樂都有它自己的聲音。不管是風格、聲學需求,還是音樂脈絡,都有助於塑造我們對於好聲音的概念。無論是什麼音樂類型,爵士鼓的調音原則都很直接了當;鼓最好聽的狀況,就是每顆鼓合乎自己適合的音高,並且和其他樂器聽起來和諧。</span></div>
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<span class="s1">調音的第一步,就是要讓鼓皮的張力均衡。把你的鼓從架上取下,將它放置在桌上或地板上。這樣做,能讓你將要調音的鼓皮隔離開來。在你把新的鼓皮裝上之前,先將鼓身和鼓框擦拭清潔,去除殘留物。把鼓皮裝在鼓身上,再把鼓框裝在鼓身上。確認鼓皮和鼓框,都有跟鼓身對齊。</span></div>
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<span class="s1">用手將調音螺絲轉到最緊。現在,用你的鼓鎖,把每根螺絲順著同一個方向轉緊。最好是能將鼓皮對稱著鎖,例如:從十二點鐘方向的螺絲鎖完後,再去鎖六點鐘方向的;然後再從三點鐘方向的,鎖到九點鐘方向的,諸如此類推算。在鎖完每一根螺絲後,去壓鼓皮的正中央,來幫助你校準。重複以上的步驟,直到你得到你想要的音高。</span></div>
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<span class="s1">現在好戲上場了。用你的手指或鼓棒,輕敲鼓皮上離每一個螺絲約一吋距離的位置。聆聽每個點的音高。在心裡記下最高和最低的音。稍微轉緊音高較低的螺絲,放鬆點音高較高的螺絲。現在壓住鼓皮的中央。再敲一次;每一次可能都需要調整不同的螺絲。把音準較高和較低的點,朝中間值靠攏。不斷地調整,以及測試鼓皮的張力,直到鼓皮的音高平均。將鼓翻過來,對另一面鼓皮做一樣的調整。</span></div>
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<span class="s1">為了迎合不同樂風的需求,有三種的調音方式是比較常見的。全都是用上述技巧來做調整,但會因上、下鼓皮的音高相互關係,而造成不同的結果。</span></div>
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<span class="s1"><span style="color: orange;">當上、下鼓皮調整成一致的音高時,聲音會最為開放,共振最多。這樣子是標準的爵士風格調音。</span>鼓組的整體音高,完全憑個人的喜愛來決定,但爵士樂鼓手通常偏好音高較高的鼓聲。</span></div>
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<span class="s1"><span style="color: orange;">對於偏向流行樂、放克樂的調整方式,是將下鼓皮的音高,調成比上鼓皮小三度。</span>這樣讓你的鼓有比較深沈的音色,並且有聲音微向下沈的感覺。</span></div>
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<span class="s1"><span style="color: orange;">第三種方法,是將下鼓皮音高,調的比上鼓皮高。再一次的,距離小三度的音高,會產生較佳的效果。</span>用這種調音方式,延音會較短,音色會直接反映給樂手或麥克風。</span></div>
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<span class="s1"><span style="color: orange;">小鼓的調音也相當個人化的,但把每面鼓皮的音高調整好,並將下鼓皮完美地調成比上鼓皮低上四度音,會是個很好的開始。</span>舊時代的鼓手,以及管絃樂團的鼓手會將他們的小鼓音高調成降B。</span></div>
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<span class="s1">或許大鼓的調音方式,因風格的不同,而最多樣化。爵士樂鼓手喜歡開放的聲音、如toms般的共振聲,還有偏高的音高。流行樂、放克樂鼓手通常用低音高來演奏,單面鼓皮的大鼓,並且想要較強的起奏聲,和較少的共振聲。在打擊面放置隔音器材,可以消除共振,增加力道。</span></div>
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<span class="s1">當我在大編制的樂團裡演奏時,我會把我的大鼓聲音調的很低,非常開放的音色-不做任何消音。在小編制的樂團裡,我會將音高提高,還可能在打擊面外側貼上一張2×2吋的紙巾。我還會調整我的大鼓音高,去幫助融入不同的貝斯。和木貝斯演奏時,我發現較低,且共振多的音色最合適。因為電貝斯會有較多尖銳的聲音,所以我會傾向將我的大鼓做些隔音,作出比較尖銳的起奏聲。</span></div>
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<span class="s1">有一點值得細心注意的是,你所演奏的空間聲響;調整打擊力道和音準,能幫助你得到一個較好的結果。我想要我的鼓不但在舞台上好聽,也要從觀眾席聽起來一樣好。我有注意到從觀眾席上聽到的鼓聲,似乎會比舞台上的鼓聲來的深遠些,所以我就會把鼓的音高調得高些,好獲得我想要的「外場」鼓聲。</span></div>
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<span class="s1">不論你的鼓皮選擇是什麼,霧面或亮面、單層或雙層,這些調音方式和聲學概念是真真確確的。用不同的調音方式實驗,嘗試使用不同的鼓皮組合,能幫助你找到屬於自己的音色。想知道我近期的Remo鼓皮組合,可以上我的網站<a href="http://www.johnriley.org/"><span class="s2">www.johnriley.org</span></a></span><span class="s3">。</span></div>
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<span class="s1">調音是件冗長乏味的差事,但我知道,當我的樂器聽起來很悅耳時,我會更願意去練習、演奏。花些時間調音,並且找出最適合你的鼓聲。祝你好運。</span></div>
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<span class="s1">原文網址:</span></div>
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<span class="s1"><a href="http://www.remo.com/portal/pages/drumming/product_tips/Drumming+Product+Tips+Drumset.html"><span class="s4">http://www.remo.com/portal/pages/drumming/product_tips/Drumming+Product+Tips+Drumset.html</span></a></span></div>
Anonymoushttp://www.blogger.com/profile/06377922510595008070noreply@blogger.com0tag:blogger.com,1999:blog-6021576624325993297.post-74038096139800417542013-09-04T20:26:00.000-07:002013-09-17T00:30:19.064-07:00Jim Scott談錄製嗆辣紅椒的加州掏金夢 <h2>
<span class="s1"><b><span style="color: red;">JIM SCOTT: Recording Red Hot Chili Peppers' Californication</span></b></span></h2>
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<span class="s1"><span style="color: #999999;">Interview | Producer</span></span></h4>
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<span class="s1">嗆辣紅椒的回歸專輯獲得巨大的成功-難以置信的,這唱片幾乎是單聲道的。錄音師<a href="http://www.plyrzstudios.com/PLYRZ_STUDIOS/HOME.html" target="_blank">Jim Scott</a>對記者講述有關錄音的過程,和團隊是如何製作和混音的第一手資訊。</span></h3>
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<iframe allowfullscreen='allowfullscreen' webkitallowfullscreen='webkitallowfullscreen' mozallowfullscreen='mozallowfullscreen' width='320' height='266' src='https://www.youtube.com/embed/YlUKcNNmywk?feature=player_embedded' frameborder='0'></iframe><span class="s1">已經有很多跡象顯示,《Californication》專輯在全球銷售出色,它是樂團最暢銷的專輯,在澳洲、紐西蘭、加拿大、日本,以及美國都達到白金銷量;而在英國和大多歐洲國家更是得到了金唱片。在公開的資訊裡,這專輯名稱的由來,是源自主唱Anthony去婆羅洲遊玩的見聞。他很訝異看到當地的文化,被來自加州的象徵物給滲透了-不論是可口可樂、萬寶路、好萊塢電影,或是T恤、海報、像嗆辣紅椒一樣來自加州的樂團的卡帶和CD。《Californication》,理所當然地成為有先見之名的美妙專輯名稱,而這樣的雙關語,也相當搭配樂團他們辛辣的歌詞、狂野的舞台動作,和有明顯性意味的音樂錄影帶。</span></div>
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<span class="s1">當然,這隻來自洛杉磯的放克/搖滾/饒舌樂團已經嘗過走紅的甜蜜,他們早在1991年發行Blood Sugar Sex Magik專輯時,就已躍上國際舞臺了。那也是他們頭一次和傳奇製作人<a href="http://en.wikipedia.org/wiki/Rick_Rubin" target="_blank">Rick Rubin</a>-製作過Slayer、Danzig、the Beastie Boys、AC/DC,而近期常和Donovan、Johnny Cash、Tom Petty等人共事-合作的經驗。在1995年,他再一次的幫助紅椒們做《One Hot Minute》專輯,但在這次之後,樂團內的人際關係降到谷底,他們的吉他手John Frusciante墮落至踏上沾染毒品的自我毀滅途徑。</span></div>
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<iframe allowfullscreen='allowfullscreen' webkitallowfullscreen='webkitallowfullscreen' mozallowfullscreen='mozallowfullscreen' width='320' height='266' src='https://www.youtube.com/embed/TGObF2q63Ew?feature=player_embedded' frameborder='0'></iframe><span class="s1">四年後,幾個近乎奇蹟的事情發生了。Frusciante,讓人很難相信他能有機會活下來的人,現在戒毒成功了。他裝上了一組新的假牙,手臂上移植了一些皮膚,顯然地,他還記得怎麼彈吉他。更甚的是,他和主唱Kiedis、貝斯手Flea、鼓手Chad Smith一起讓紅椒復活了。他們致力於新專輯的創作,用觸動人心的旋律,點綴他們的高能量搖滾樂,像是〈Scar Tissue〉就已經成為一首賣座單曲。Rick Rubin也再度坐上了製作人的位子,還有來自洛杉磯的錄音師/製作人,Jim Scott親自操刀錄音、混音。</span></div>
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<span class="s1">像Rubin一樣,這位現年四十七歲的Scott,他的名字也出現在一長串的合作名單上:他和 Natalie Merchant、Lucinda Williams、Counting Crows、Tom Petty、Neil Young、the Rolling Stones、the Finn Brothers、Robbie Robertson、Sting、Santana、Seal,和Jewel。Scott對於捕捉紅椒的聲音和活力,做得出類拔萃,因而製造出一張強硬、粗獷音質的專輯。如果你有仔細聽這張專輯的話,你會發現有幾件古怪的事:大多的歌都是美好、復古的單聲道,而且用了極少的殘響效果。這樣產生了非常結實、有力的聲響。</span></div>
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<span class="s1">Jim Scott在他洛杉磯的家中受訪,他更是樂於透漏有關專輯製作的細節,像是其他工程師通常不願泄漏的事。他回憶道:「故事從頭說起,在John Frusciante回歸之後,樂團埋首於創作和重新熟悉音樂好長一段時間。1998的夏天,樂團都在Flea家的車庫練習,當他們進到錄音室時,他們都已經做好了萬全準備。他們剛開始錄音的時候是跟另一位工程師合作,但一週之後,他們覺得沒有得到理想的聲音。在幸運之神的眷顧下,我曾在一家位於洛杉磯,和他們相比鄰的錄音室裡工作,叫做Cello Recording(前身是<a href="http://www.eastwest-studios.com/history" target="_blank">Western Recorders</a>)。所以Rick叫我進來摻一腳,就像之前我為他工作一樣。在我開始跟他們一起工作之後,紅椒們對於錄出來的聲音感到非常開心,但我所做的,不過就是簡單地,將樂團在房間裡彈奏的音樂捕捉下來而已。我們在一週內錄了三十首歌,表示我們用了大量的盤帶,以及做了大量的演出。但他們彈奏的很棒,所以唯一要做的事情就是,好好把他們錄下來。在錄音過程中唯一可能會有變動的,就只有歌曲結構而已,但Rick有他和樂團做事的一套方式,而且樂團真的很信任他的意見。</span></div>
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<span class="s1">「我們同時錄他們四人,這張專輯的聲音基調就是如此。John會做些吉他疊錄,大概只有疊兩、三軌在某些歌吧,在疊錄的世界裡,這樣不算太多。像在〈Scar Tissue〉疊錄的滑奏吉他就是個例子。我不認為他有回錄音室再重新錄製一些吉他軌,而Flea大概只有重錄了一些段落。我們還加了一些AC/DC式的強力和弦鋼琴在混音中,但那並不是一層又一層的疊錄。這張專輯的聲音,就是我們在第一週所錄下的。那些『現場』的鼓聲、貝斯和吉他,貫穿了每一首歌。」</span></div>
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<span class="s1">據Scott所言,在Cello Recording做這張專輯,有另一個重要的因素。他之所以喜歡在這邊錄音,是因為『這裡有全世界最棒的搖滾樂麥克風收藏,而且他們收集了舊的Neve consoles和舊式類比盤帶錄音座。』他們在Studio 2錄音,一間尺寸中等的長方形錄音間,能讓聲音集中、飽滿。Scott再詳述:「鼓組設在房間的正中央,架在升降台上,還有一間大間的隔離房間,我們把John跟Flea的音箱放在那,只是為了將它們與鼓間隔開。我們做了一個狗屋把貝斯音箱隔起來,可以避免被吉他音箱干擾。但串音其實不是那麼大的問題。在我的經驗裡,只要你至少有將它們隔開些,就不會是個問題了。那裡還有個小的獨立收音間,錄Anthony唱歌。</span></div>
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<span class="s1">「Flea、John和Chad大約以離彼此十英呎遠的距離,形成一個小圓周,而Anthony在十多呎遠的收音間裡,可以透過玻璃看到大家。他們都可以沒有障礙地看見彼此。鼓組沒有架反射板,所以房間內轟隆震天。我架了兩隻room mics,但我沒有使用,所以鼓聲聽起來很近。Chad有套很好聽的鼓組,你可以在他的律動中聽見動態和細節,所以我只要把它忠實地錄到盤帶上就好了。對於Flea也是一樣的,他有很出色的彈奏技巧-即使他彈得很快,你也可以聽見所有的音符。因為他們都彈奏的很出色,再加上我錄音的方式,整體的聲音很乾、很有力。每個聲音都既大聲又清楚。」</span></div>
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<span class="s1">所以,那Jim實際上是怎麼收音的呢?這個問題通常會使工程師保持緘默,因為他們會想保護他們的商業機密。也許他們是想藏招,亦或者他們只是比較喜歡談論這差事的概念,這份需要同時兼備技術面和藝術面的工作。Scott過去曾拒絕回答這問題幾次,但那都不是什麼特別的案子就是,而現在他卻開心地侃侃而談:「為了要得到緊繃又趨前的聲音,你必須把麥克風架的離鼓組非常的近。不能收到太多房間的聲音。在某些唱片,最需要的就是房間的聲音,你就能得到像齊柏林飛船那樣的鼓聲。但Rick偏好又大又前面的聲音。如果麥克風可以架在距離只有一呎的地方,他是不會想要架在距離三十呎的地方的。麥克風的配置非常基本,就像八零年代時我在<a href="http://www.recordplant.com/" target="_blank">The Record Plant</a>錄搖滾樂一樣,沒什麼特別的。」</span></div>
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<iframe allowfullscreen='allowfullscreen' webkitallowfullscreen='webkitallowfullscreen' mozallowfullscreen='mozallowfullscreen' width='320' height='266' src='https://www.youtube.com/embed/61ScLjYlDKU?feature=player_embedded' frameborder='0'></iframe><span class="s1">「我用Neumann U47收大鼓,把它放進裡面。用兩隻Sennheiser MD421收toms,兩隻Neumann U87作overheads,還有一隻Shure SM57收hi-hats。小鼓是用兩隻SM57收,一隻收上面,一隻收下面,上面還多加了一隻Neumann KM84,讓我可以做好麥/壞麥組合比較:你可以在兩者之間找到理想的音色,也能得到明亮、飽滿的聲音。 這三個小鼓麥克風最後會併成一軌。在小鼓下方的SM57能給我較多的咯咯聲。特別是在一些靈魂抒情歌裡,這小鼓咯咯聲真是美麗,但Chad打的有點太快而讓這聲響多了些。我們在房間還放了第二套鼓組,完全不同的音色,是套拼湊出來的、又特大尺寸的鼓組。我們在《Porcelain》這首歌用上它。這套的小鼓有更多的咯咯聲,鬆軟的大鼓聲,再加上嘶嘶作響的銅鈸。為了作出自然的效果,加進了很多房間聲響。我拿剩下的麥克風來收這套鼓。我記得我用一隻SM57收小鼓,Electro-Voice RE20收大鼓,兩隻<a href="http://www.coutant.org/rca77dx/" target="_blank">RCA77</a> 緞帶麥克風收整套鼓。我也用了一對Neumann M50架在房間裡收兩套鼓組的環境音,雖然我有用它們收音,但最終沒在混音中用上。」</span></div>
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<span class="s1">Scott再敘述有關吉他、貝斯、以及人聲錄製的細節:「貝斯過DI進到混音臺,我同時也用Nemann U47真空管麥克風錄他貝斯音箱的聲音。我通常把DI和麥克風兩種訊號50-50的比例混在同一軌。我發現貝斯,能有那種在空氣中移動的聲音是很重要的。再者,有時候貝斯的拾音器會傳出些失真聲音,但它經過音箱之後傳出來比較好聽些。吉他方面,我用了兩隻SM57和兩隻U87麥克風,各取一隻成對分別用在兩個音箱上-再一次,好麥/壞麥組合。四隻麥克風全併到同一軌,它們凝聚在一起,會成為一個正點的吉他巨響。」</span></div>
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<span class="s1">「Anthony總是用SM57來錄他的主唱。我們把它架在麥克風架上,但我確定他把麥克風拿在手上,倚著它並吞著它唱。這就是怎麼錄他的聲音的。但意味著,去壓縮他的聲音非常地重要,因為要保護盤帶。和聲有百分之九十都是John唱的,雖然Flea跟Anthony也會唱一些部分。大多時候我都是用U87來錄John和Flea,但有時,John突然有主意想快速地嘗試一下時,我就讓他用Anthony的麥克風錄。經過多年的體會,我發現,當你有好聲音可以錄下來時,你很難從不同的麥克風來分出優劣,只管把那好聲音錄下來,把事情解決就是了。你不是每天都待在錄音學校-打鐵趁熱,把主意及時錄下,要比那來得重要多了。」</span></div>
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<span class="s1" style="color: red;"><b>魔術</b></span></h4>
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<span class="s1">當Scott開始擔心他是否透露太多細節時,他便著重在談論,其實他真的在做的就是把樂團一齊演奏的聲音給錄下。他用真誠的語氣讚歎著:「這些傢伙真的是很出色的樂手。我看著他們的潮起潮落,現在的他們正值最棒的時期。我想他們現在應該是當代最棒的樂團。整個樂團為這張專輯貢獻了他們最好的表現,這真的太棒了。Anthony大約每天下午三點鐘會到場準備,通常在四點左右開錄vocals。他有歌唱老師每天陪同他來,陪他暖嗓,所以他唱得很好。我想這是他有史以來唱得最好的一次。我們有留下一些Anthony在第一週所錄的live vocals,但他是唯一一個回來重錄很多東西的人,大多是因為他的歌詞更新了。我們在同樣的小隔間裡錄他的聲音。Anthony每天會唱三或四個小時,然後我們再從中挑出最佳的部分。Vocal的錄音大約進行了兩週。整個錄音過程大約花了五週時間,隨後再花個幾週時間混音,因為Rick不是很有空去聽這些混音。」</span></div>
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<span class="s1">所以樂團聽起來很棒,而且麥克風配置就只是『基本』的搖滾樂編制。那訊號鏈跟效果器方面呢?Scott:「整張專輯都是用一台七零年代的Neve 8038混音臺,錄進一台<a href="http://blag.proaudioeurope.com/index.php?id=51&entryId=871" target="_blank">Ampex 124 24-track</a>,這些機器在世上已經沒有幾台了。它們真的都是舊機器,聲音很棒。我們沒有使用杜比環繞音效。我們喜歡嘶聲。嘶聲是我們的朋友。去聽任何一張The Who的唱片,都聽得到嘶聲。那台Neve有很好的麥克風前級,所以我就用它們。所有其他廠牌的麥克風前級都想要變得像Neve的一樣。這台特別的混音臺有<a href="http://www.ams-neve.com/products/outboard/1073-mic-preamp-equaliser" target="_blank">Neve 1073 EQ</a>,我在錄音時用了一點。在錄音間聆聽和在控制室聆聽有極大的差別:在錄音間,那裡有五百瓦的吉他音箱在他們腦後咆哮著;而在控制室,那裡只有從六吋高的喇叭傳出同樣的聲音而已。所以你得把所有聲音擺在它對的位置,並讓聲音聽起來感覺很好又正確。方法就是去用EQ、壓縮器,或用任何你能拿來用的東西把它搞定。」</span></div>
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<span class="s1">「為了讓聲音在控制室裡聽起來很好,我在電吉他上加了很多中頻,在1kHz到2kHz之間,也加了很多低頻。Neve EQ提供你56Hz和100Hz可以調整,所以大概是100Hz吧。幫吉他加低頻很好,因為在激昂聲響的裝扮之下,聲音容易變得小又瘦。也許你可以很容易地就能聽見它,但它不會再那麼大了。John彈奏得非常大聲,理所當然地造成了音箱的壓縮,但我也在錄音時用一台Urei 1176壓縮John的吉他。我沒有用的太多。大多的聲音都來自他的指間。他用了一些效果器,但他實在不是個效果器魔人。他是從吉他、導線、音箱開始的。我們從未為了他設定聲音而等待過。他對於聲音動態的控制能力實在是太驚人了。像是〈Get On Top〉這首歌,他的吉他會在瞬間從巨大的聲響變成瘦小的聲音。而那幾乎在現場錄音時就已經完成了,而不是我去調整的。這是讓這張唱片,之所以這麼簡單可以錄好的原因。」</span><br />
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<span class="s1">「Flea也是一樣。專輯中開場歌曲的失真貝斯,就僅僅是他去敲貝斯而已。我沒有做任何更動。Flea從不去更改他貝斯的任何設定,整張專輯就用同一把琴錄,除了〈Road Trippin’〉,他彈了一把木貝斯。我用LA2A真空管壓縮器去壓縮他的DI和音箱。我想我沒動太多EQ,除了加一點在56Hz附近的低頻。我不記得有為了清晰度,加了任何中頻或中高頻,因為他聲音本來就很清楚。」</span></div>
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<span class="s1" style="color: red;"><b>不復古</b></span></h4>
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<span class="s1">「再來說錄vocal和鼓,因為Anthony幾乎快吃了麥克風,所以他動態過分的大,Scott解釋他用在Kiedis vocal的Urei 1176壓縮器:「大家都用這台。雖然我做的唱片聽起來可以很激進,但我不會做過度的壓縮。我用原廠設定,4:1 ratio,快的attack、慢的release還有足夠的壓縮量來完成工作。我把他的vocal跟壓縮印在一起,它很輕易地就成為了聲音的一部分。我錄鼓的時候用了大量的EQ。就像經典的老搖滾一樣。我想你可以在很多的搖滾鼓聲中找到API EQ的身影。你會加很多的5kHz和100Hz,那是鼓組聲音主要的地方。我是用Neve EQ,也是用同樣的概念。我加了很多低頻到大鼓和toms上,大約是在50Hz左右,還加一些高頻到小鼓和銅鈸上,剛好能讓聲音變美就好。」</span></div>
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<span class="s1">從很多方面來說,錄製《Califonication》像是用一些六零、七零年代所發明的技巧完成的。但,再探討得深一點,這專輯其實不是全然用復古方式製作的,而是也加上了現代的工具所完成的。這麼說的原因,最明顯的就是,他們最後用了48軌。讓專輯的基底是由三個人在房間的彈奏,再加上一些樂器疊錄所打造的。Scott:「我最終用了兩台Ampex 124同步工作。其中一台其實是用來做vocal的子帶。主要的那台上面有十軌的鼓聲:大鼓、小鼓、stereo toms、 stereo overheads、hi-hats、stereo rooms,而且我通常也會印出一個壓縮過的鼓submix-它會讓rough mixes聽起來更興奮些。那上面也有些打擊樂器,像是鈴鼓之類的。第二台24-track讓我們能放很多、很多的主唱跟和聲。然後我們把這些音軌轉到Pro Tools,好能夠對聲音做些實驗、剪輯、移位和存檔。這樣做vocal合成,比在類比設備上作來得快太多了,特別是當我們想要將一些嘗試做給Rick看的時候。你可以掌握聲音的全貌,所以你可以再將聲音恢復成原來的模樣。</span></div>
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<span class="s1" style="color: red;"><b>大單聲道</b></span></h4>
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<span class="s1">提到Pro Tools,特別是在Cello Recording使用的時候,一個充滿經典舊機器的環境,挑起了數位對上類比的爭論。Scott發覺這樣的辯論根本是浪費時間:「我偏好類比,但我能用任何的方式做我的工作。我會用任何的工具。我想你若堅持全都使用數位,是在給自己找麻煩,但我們使用Pro Tools時,可以讓判斷好壞的決定做得更快。」</span><br />
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<span class="s1">Scott顯然地站在務實派的那邊,而非理論派的那邊,這從他為這張專輯混音的方式可以看出端倪,大概是因為大多的歌曲既乾又是單聲道。對現在來說,這麼做是個既勇敢又非常瘋狂的事情,但他還是為這張專輯贏得成功-不過,華納兄弟也許會在把它轉成5.1環繞聲道上有些困難!Scott從頭開始描述混音的過程:「我們的初衷就是因為盤帶聽起來很棒,打從第一天開始就一直很棒,所以我們沒有任何理由要去改變它。所以我不用在混音時去修飾些什麼。我需要做的就是讓音樂保持平衡,並且讓它真的夠大聲。所以這混音很輕鬆。我主要考慮的是去正確地建構這些音軌,那這樣一來每個和聲都能順利地變大聲,而且歌曲中的高、低潮動態會更大。我在洛杉磯的The Village用Neve混音臺做混音的,還用了Flying Faders Automation。我用兩台24-tracks來跑混音,這樣還可以恢復到原始的音源。最後,我們用最佳的位元率把它bounce出來。」</span></div>
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<span class="s1">「混音幾乎是乾的。我沒加任何殘響,其它的效果也只加了一點點。我們用了一台『human compressor』在vocal上-我們把手指放在上fader上-確保Anthony能保持在混音中。對此,automation是個理想的幫手。我也沒做太多的re-EQing。我們已經有很刺激的鼓聲了,所以,我們幹嘛還去改變它?我用了很多的<a href="http://www.ams-neve.com/products/outboard/33609jd-stereo-compressor" target="_blank">Neve 33609</a>壓縮器在音樂整體的立體聲混音,為了增加些力道,而且我也加了一點低頻和高頻到整體的立體聲混音裡,只是為了讓它能更hi-fi些。紅椒的唱片必須要生氣蓬勃且放克,而且你如果試著讓他們聲音變得太大的話,唱片就毀了。如果你增加很多的低頻,你就能讓唱片慢一點,那音樂就會開始慢慢的成型。我們混了很多種數位形式(Apogee DAT、正規DAT、96K DA88)和類比雙軌,做過比較之後,最後選擇了30ips類比雙軌,沒有杜比效果。」</span></div>
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<iframe allowfullscreen='allowfullscreen' webkitallowfullscreen='webkitallowfullscreen' mozallowfullscreen='mozallowfullscreen' width='320' height='266' src='https://www.youtube.com/embed/11GYvfYjyV0?feature=player_embedded' frameborder='0'></iframe><span class="s1">那接下來呢,Scott先生,想當然專輯大部份都是單聲道的,除了toms和疊錄的吉他、還有〈Road Trippin’〉Chamberlin鍵盤發出的Mellotron式音色?這位美國人笑說:「沒錯!乾效果和單聲道,這是張大膽的唱片!單聲道讓音樂變得更大聲。我想Rick決定他不要唱片裡有聲音會突然從左聲道爆出來。我們怎麼可能會想要這樣呢?我們只想聽到歌曲而已。我們試過panning吉他到左、右聲道,但無論我們怎麼做,都像是:『它置中最好聽,就讓它留在中間吧。』如果有些很棒的吉他樂句出現時,它可以就疊在vocal後面。這張唱片是貝斯、鼓、吉他和一位歌手做成的。它沒那麼複雜。所以它用一個大單聲道聆聽是最棒的。」</span></div>
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<span class="s1" style="color: white;"><b style="background-color: #3d85c6;">不插電,但仍然嗆辣⋯⋯</b></span></h4>
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<span style="background-color: white; color: #3d85c6;"><span class="s2">〈</span><span class="s1">Californication〉裡面的聲音大多都是插電的樂器,但在〈This Velvet Glove〉和〈Road Trippin’〉這兩首歌裡你可以聽到木吉他。此外,還有一些前述有說到的鋼琴音軌。Scott描述到:「我錄木吉他通常是用一支Neumann U87和一隻AKG C452,又是好麥/壞麥的概念。你不想要麥克風靠得太近,因為聲音會太轟,所以我把它們架在兩呎之外。指向音孔之上或之下-除非你想要像〈Jumpin’ Jack Fish〉那樣的聲音,不然木吉他的聲音就是要漂亮。我會把兩隻麥克風併在一軌。我們是在洛杉磯的The Village混音時錄的鋼琴。我們想要像披頭四〈A Day in the Life〉那樣子的東西:一隻麥克風壓縮得很兇,讓聲音有穿透力。我用一隻U87,不會離鋼琴或風琴太近。我們想要有很多的鈴鳴聲,而且我們用EQ和壓縮器得到很多attack,實際上就是用一台Urei 1776,加很大的input gain,再加上非常慢的release time,這麼一來,甚至連延音都變得很大聲。</span></span></div>
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<span style="color: #666666; font-size: x-small;"><span class="s1"></span>原文網址:http://www.soundonsound.com/sos/dec99/articles/jim.htm</span></div>
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Anonymoushttp://www.blogger.com/profile/06377922510595008070noreply@blogger.com1tag:blogger.com,1999:blog-6021576624325993297.post-17228703644511599692013-07-27T03:08:00.000-07:002015-11-06T01:19:16.693-08:00雙重幻想曲:逆境驅使Mastodon的音樂創作到達嶄新的層次<span style="color: #666666; font-size: x-small;">By Ken Micallef</span><br />
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<span class="s1"><b>在南方毀滅金屬樂團<span style="font-family: "arial" , "helvetica" , sans-serif;"><a href="http://en.wikipedia.org/wiki/Mastodon_(band)" target="_blank">Mastodon</a></span>(大隻佬)完成他們2006年的<a href="http://en.wikipedia.org/wiki/Blood_Mountain_(album)" target="_blank">Blood Mountain</a>(血山怪獸)之後,這組來自亞特蘭大的四人團知道他們想要更多。鼓手Brann Dailor想要鼓聲能更大、更肥、更猛。吉他手Bill Kelliher希望Mastodon這第四張專輯的歌曲,能有更好的連貫性。Dailor夢想著有Bonham般的鼓聲。Kelliher想像,會有個魔法師能驅動樂團,保持著他們硬蕊前衛金屬的風格,進入他們音樂生涯的下一階段。</b></span></div>
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<span class="s1">對一般人而言,面對如此一連串的壞事,一定會想逃離一切現實,而同時身兼Mastodon的填詞人,Dailor,也是一樣。Crack the Skye的中心思想最後囊括了,靈魂出竅、時光旅行、蟲洞、十八世紀俄羅斯的帝國統治。Mastodon的新歌驅使了Dailor的幻想,進入到一個玄妙、未知的領域。再加上他們所受到的音樂影響-<a href="http://en.wikipedia.org/wiki/King_Crimson" target="_blank">King Crimson</a>、Metallica、<a href="http://en.wikipedia.org/wiki/Melvins" target="_blank">Melvins</a>、<a href="http://en.wikipedia.org/wiki/Frank_Zappa" target="_blank">Frank Zappa</a>-Mastodon(當然也包括貝斯手兼主唱的Troy Sanders)成功地創作出他們的指標性專輯,毫無疑問的,也是2009年最出色的唱片之一。</span></div>
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<iframe allowfullscreen='allowfullscreen' webkitallowfullscreen='webkitallowfullscreen' mozallowfullscreen='mozallowfullscreen' width='320' height='266' src='https://www.youtube.com/embed/po7bmJv7nvU?feature=player_embedded' frameborder='0'></iframe><span class="s1">結果,在現實中,製作人<span style="font-family: "arial" , "helvetica" , sans-serif;"><a href="http://en.wikipedia.org/wiki/Brendan_O'Brien_(music_producer)" target="_blank">Brendan O’Brien</a></span>成了 Kelliher想像中的魔法師,他在Mastodon怪物般猛烈的復古樂句中,找到了一點自己的影子。錄音是在亞特蘭大的<span style="font-family: "arial" , "helvetica" , sans-serif;"><a href="http://southerntracks.com/" target="_blank">Southern Tracks Recording</a></span>進行的,那裡有一貨車的類比器材,Mastodon因此而受惠良多,包含了一台Solid State Logic 4072 G+ console、成打的Telefunken和Neumann麥克風、一台<a href="http://www.uaudio.com/store/reverbs/emt-140.html" target="_blank">EMT 140 plate reverb</a>、Neve mic preamps及EQs、 <a href="http://www.historyofrecording.com/fairchild670.html" target="_blank">Fairchild 670 Stereo</a>、<a href="http://en.wikipedia.org/wiki/1176_Peak_Limiter" target="_blank">Urei 1176LN compressors</a>,還有更多的器材繁不及備載。加上了<span style="font-family: "arial" , "helvetica" , sans-serif;">O’Brien</span>製作多張白金唱片的功力,Southern Tracks的主要錄音間,成了Mastodon的音樂奇幻列車。 </span></div>
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<span class="s1">這四個促成Mastodon最新史詩般專輯的幕後功臣——<span style="font-family: "arial" , "helvetica" , sans-serif;">O’Brien</span>、Kelliher、Dailor,以及錄音師<a href="http://en.wikipedia.org/wiki/Nick_DiDia" target="_blank">Nick DiDia</a>- 用他們的精妙的手法、多樣的概念,還有豐富的技巧,讓Crack the Skye充滿生氣。</span></div>
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<span class="s1" style="background-color: #6aa84f;"><b><span style="color: white;">製作人:<span style="font-family: "arial" , "helvetica" , sans-serif;">Brendan O’Brien</span></span></b></span></h4>
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<span class="s1"><span style="color: #666666;"><span style="font-family: "arial" , "helvetica" , sans-serif;">O’Brien</span>說:「當一個製作人,你的主要工作就是,確保音樂和律動照著它該往的方向走。如果沒有的話,就要幫助大家去理解並達成這一點。Mastodon有個前衛搖滾的元素是我很喜歡的,但在他們的唱片中似乎沒有呈現出來。我覺得我可以幫他們把這個點做好。」</span></span></div>
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<span class="s1"><span style="color: purple;">你錄製的鼓聲幾乎是個傳奇。你在Crack the Skye的鼓聲是怎麼收的?</span></span></div>
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<span class="s1">對於這個團,我覺得聲音應該要更人性化一些。Brann想要站在樂器為音樂服務的角度來做,所以我們就照著他想要的方向調整。而且,我讓鼓件之間沒那麼多的獨立收音,而讓聲音多置中些-比較像單聲道的感覺,而不是那麼立體聲的樣子。</span></div>
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<span class="s1"><span style="color: purple;">你對於鼓的麥克風串音OK嗎?還是你比較喜歡獨立收音?</span></span></div>
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<span class="s1">我根本就不在意串音。如果有很多的銅鈸串進你的大鼓,那也是聲音的一部分。有時候,你的大鼓聽起來不優,是因為你把麥克風塞的太裡面,只消把麥克風往後擺一些就行了。如果有太多的銅鈸聲串進來,就去處理它。你會明白的。這也是聲音的一部分。</span></div>
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<span class="s1"><span style="color: purple;">你是不是喜歡用盤帶來錄鼓聲?這是鼓聲飽滿肥厚的原因嗎?</span></span></div>
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<span class="s1">部分是。而我們的確是用盤帶來錄鼓的。如果小鼓跟大鼓被敲得太用力時,有些attack會被消掉,而我正喜歡這一點。那也是我依然使用盤帶的其中一項主因——我喜歡盤帶對鼓聲的處理方式。盤帶還沒消失呢,我們愛死了。</span></div>
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<span class="s1"><span style="color: purple;">是非題,你是不是在鼓上面狂用<a href="http://www.empiricallabs.com/fatso-jr.html" target="_blank">Empirical Labs EL7 Fatso</a>?</span></span></div>
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<span class="s1">(笑)我的確是會用它來幫助我混音。它是被設計來讓不同的聲音順利融合在一起——讓混音聽起來更像盤帶。我把它用在鼓組上,結果就是「哇!」然而,它的作用會讓大鼓、小鼓漸漸地消失,所以你得小心謹慎使用。</span></div>
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<span class="s1"><span style="color: purple;">類似的問題,你偏好用<a href="http://spl.info/?id=1318" target="_blank">SPL Transient Designer</a>來做壓縮嗎?</span></span></div>
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<span class="s1">我愛它們。通常,我會在大鼓、小鼓、toms上面用它。這有點像作弊。如果你的toms不知道為什麼給你很多麻煩的話,把它放上去,toms就會聽起來棒呆了。我不知道它是怎麼辦到的,但是我是它的粉絲。</span></div>
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<span class="s1"><span style="color: purple;">在”Ghost of Karelia”的vocals有種詭異、濕潤的音調。</span></span></div>
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<span class="s1">有時候,我們會用個老技巧,把vocals送到一顆<a href="https://en.wikipedia.org/wiki/Leslie_speaker" target="_blank">Leslie cabinet</a>。我們不太常用plug-ins,我們通常用outboard analog effects。我們還有用一個<a href="http://www.ehx.com/products/holy-grail" target="_blank">Electro- Harmonix Holy Grail Reverb</a>-一顆一百美元的吉他效果器-拿來當outboard用在vocals上。</span></div>
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<span class="s1"><span style="color: purple;">你是怎麼做混音的?</span></span></div>
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<span class="s1">我們的工作方式從一開始的錄音,跟我們最後做後製處理時,其實也沒什麼兩樣。我總是處於一個混音模式,在作錄音和聆聽。當我們做疊錄時,我也在這個模式。當我做混音時,我只是希望聲音能融合得更好-這之間沒有什麼很大的差異,我只是去琢磨聲音而已。</span></div>
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<span class="s1"><span style="color: purple;">Nick Didia有暗示說你在混音時有用EQ改變些聲音。</span></span></div>
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<span class="s1">在混音時用EQ,只是為了讓音量保持在一個高亢的狀態。如果我必須去EQ個什麼,我不會去用我在錄音時用的同一台EQ。我會在混音時用SSL EQs,因為我們在錄音時完全沒用到它。</span></div>
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<span class="s1"><span style="color: purple;">鼓聲在混音時完全變了樣嗎?</span></span></div>
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<span class="s1">他們是個例外。鼓聲錄到盤帶上時做了很多EQ。我在盤帶上壓縮鼓聲時遇到了麻煩。我會去壓overheads還有room mics,但不常去壓大鼓、小鼓、toms。那些東西是我在混音時才會用Transient Designer、EQ之類的設備去處理。 </span></div>
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<span class="s1"><span style="color: purple;">Bill Kelliher說你很渴望幫樂團製作。是你在試聽帶中聽到了什麼中意的東西嗎?</span></span></div>
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<span class="s1">我在前面幾次的樂團練習中沒有聽到什麼東西,因為他們實在是太吵太瘋狂了。但在之後,我有找到一些東西是我們能夠掌握並讓它發生的,而我們也做到了。</span></div>
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<span class="s1" style="background-color: #6aa84f;"><b><span style="color: white;">錄音師:Nick Didia</span></b></span></h4>
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<span class="s1"><span style="color: #666666;">你可以說Nick Didia是Brendan O’Brien的左右手,他是不會否認的。Didia曾幫助超級製作人O’Brien做過Pearl Jam的 Vs.、Bruce Springsteen的Working on a Dream、Rage Against the Machine的Evil Empire,以及很多專輯。</span></span></div>
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<span class="s1">我們都是用盤帶錄,再轉到Pro Tools HD-用一台Apple Mac G4 933MHz-來做大多數的疊錄。</span></div>
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<span class="s1"><span style="color: purple;">Crack the Skye的錄音過程中,有樂團的現場同步錄音嗎?</span></span></div>
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<span class="s1">現場錄音都是用一台Studer A827 24-track 兩英吋盤帶機錄的。唱片的大部分都是Mastodon在錄音室裡做現場演出錄音的,我想應該聽起來就是那樣子的。這樣做會有種氛圍。當然,你可以晚些時間再來錄些吉他,或是讓樂手站在控制室監聽喇叭前錄音,通常,現場演出可以得到比讓樂手戴著耳機錄音更好的效果。</span></div>
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<span class="s1"><span style="color: purple;">錄鼓的訊號鏈是怎麼樣的?</span></span></div>
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<span class="s1">我在大鼓的外側擺了一隻舊的AKG D30,還有一隻Sennheiser MD421在音孔處。我應該是給大鼓用SSL preamps,接著一台<a href="http://en.audiofanzine.com/dynamic-processor/adr-audio-design-recording/Vocal-Stresser-F769X-R/user_reviews/r.5441.html" target="_blank">Audio Design Recording F769X-R Vocal Stresso</a>-一件有EQ跟limiter的老機器。我用它的EQ在大鼓上作用,因為它有我喜歡的扎實聲音。再錄到盤帶上。小鼓是用一隻SM57和一隻AKG C451 B纏在一起,在打擊面上收音,訊號在過到一台SSL preamp和一台<a href="http://www.uaudio.com/store/equalizers/pultec-eqp1a.html" target="_blank">Pultec EQP-1A</a>。</span></div>
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<span class="s1">你怎麼去平衡兩隻小鼓麥克風?</span></div>
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<span class="s1">是的。用一隻Sennheiser MD421收上面,一隻Shure SM57收下面。我們用一條phase cable來接上下兩隻麥克風,所以我們一顆tom只要用一台mic preamp就行了。Hi-hats都是用一隻Shure SM58,或一隻Neumann KM 84收音。如果我要比較多中頻的聲音,我就用58。而且我還用了一隻麥克風架在大、小鼓之間收音,我們稱作”kick-snare”麥克風——是<a href="http://www.amstudios.net/" target="_blank">A&M Studios</a>的<a href="http://en.wikipedia.org/wiki/Alex_Gibson_(music_producer)" target="_blank">Alex Gibson</a>秀給我看的技巧。它只是隻AKG C 414 B-XLS坐落在大鼓的打擊面。你把麥克風調成8字形指向,然後它就會捕捉小鼓的底部,以及大鼓的打擊面聲音,產生一個美妙的低頻。Room mics基本上會是一對Cole緞帶麥克風,或是一對立體聲的Neumann M49s。</span></div>
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<span class="s1"><span style="color: purple;">你怎麼收吉他的?</span></span></div>
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<span class="s1">收重的吉他,我會在一個單體上用兩隻SM57收。這個技巧是<a href="http://en.wikipedia.org/wiki/Andy_Johns" target="_blank">Andy Johns</a>展示給我看的。你把一隻麥克風正對著單體收音,另一隻麥克風傾斜四十五度也對著同一點收。然後,我會再架一隻Neumann KM 86對著箱體的另一個單體收音,有時,是會對著同一個單體。我們會聽哪一隻是我們最喜歡的。錄vocals、吉他、貝斯的mic preamps會是<a href="http://www.ams-neve.com/products/outboard/1081-mic-preamp-equalizer" target="_blank">Neve 1081</a>、1066、1079、1089,或1073。吉他不是用1073s就是1076s。我偶爾也會用room mic在吉他上——一隻AKG C414或是另一隻KM86。</span></div>
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<span class="s1"><span style="color: purple;">你貝斯會接DI嗎?</span></span></div>
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<span class="s1">我們用一個聲音超棒的<a href="http://www.dwfearn.com/vt-3_tube_di.html" target="_blank">D.W. Fearn VT-3 Dual Channel Vacuum Tube DI</a>。我們應該是用一台<a href="http://www.ampeg.com/products/classic/svtcl/" target="_blank">Ampeg SVT-CL Classic amp</a>接上一台8x10 cab。Troy有一台Mesa Boogie amp和cab,我們用他的設備來收失真貝斯。</span></div>
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<span class="s1"><span style="color: purple;">Crack the Skye裡有很豐富的和聲,是怎麼錄的?</span></span></div>
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<span class="s1">Troy的主要麥克風是Shure SM7——更高檔的SM57。通常,我們會在live room裡收和聲,而SM7聽起來效果很棒。Brent是用<a href="http://www.telefunken-elektroakustik.com/products/show_product.php?item=3" target="_blank">Telefunken ELA M251</a>。都只是看怎麼配合歌手,以及哪隻麥克風聽起來最好,來決定的。Vocals都是用Neve 1073 preamps。</span></div>
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<span class="s1" style="background-color: #6aa84f;"><b><span style="color: white;">節奏吉他手Bill Kelliher</span></b></span></div>
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<span class="s1"><span style="color: #666666;">Mastodon的節奏吉他手Bill Kelliher收集Gibson吉他,他的最愛——1979 Lea Paul Custom幾乎包辦了整張專輯。他的乾淨訊號使用Marshall JCM800 Reissue head,Marshall 2203KK Kerry King Signature JCM800 head和Ibanez TK999HT Tube King pedal則負責過載音色。兩台吉他前極都接Mills Acoustics Afterburner 4x12 cabs。</span></span></div>
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<iframe allowfullscreen='allowfullscreen' webkitallowfullscreen='webkitallowfullscreen' mozallowfullscreen='mozallowfullscreen' width='320' height='266' src='https://www.youtube.com/embed/uxelXPg961M?feature=player_embedded' frameborder='0'></iframe><span class="s1"><span style="color: purple;">我們跟錄音師Nick Didia談的時候,他提到,我們聽到專輯裡有很多的狂暴音色,都源自於你的效果器。</span></span></div>
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<span class="s1">我們用Electro-Harmonix Holy Grail、POG、MXR Custom Audio Electronics Boost/Overdrive MC-402,還有一些Moog Moogerfoogers—像是MF-103 12-Stage Phaser跟MF- 104Z Analog Delay。</span></div>
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<span class="s1"><b><span style="color: purple;">在“Divination”的吉他獨奏後面,有個榴彈炸裂般的效果聲音。</span></b></span></div>
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<span class="s1">那是Brent。他彈一把有加很多reverb的Telecaster ,做一些衝浪吉他的音色。他的基本設備是把Gibson Flying V ,和一把30th Anniversary Gibson Les Paul goldtop。 Brent的吉他幾乎都會過一顆Monster Effects Mastortion Overdrive效果器。他的主要音箱是一台Marshall JCM800和一台Marshall 2466 Vintage Modern head。</span></div>
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<span class="s1"><span style="color: purple;">“Ghost of Karelia”中間有一個螺旋般的聲音。</span></span></div>
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<span class="s1">那是Brendan的一台奇怪的鍵盤——像是五零年代的小孩玩具。它會發出些詭異的聲音。在”Ghost”裡,我彈一把<a href="http://en.wikipedia.org/wiki/Nine-string_guitar" target="_blank">First Act 9-string guitar </a>,搭配Moogerfooger delay。</span></div>
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<span class="s1"><span style="color: purple;">樂團和Brendan討論的整體制作方向是什麼?</span></span></div>
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<span class="s1">我們想要歌曲有連貫性,讓唱片有完整的結構。我們不想要有太多的效果,而且,Brendan他做的聲音超有穿透力。也讓我們有機會把玩他的千萬吉他收藏!</span></div>
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<span class="s1" style="background-color: #6aa84f;"><b><span style="color: white;">鼓手Brann Daillor</span></b></span></div>
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<span class="s1"><span style="color: #666666;">Mastodon的主要作詞人,Daillor,負責專輯的名稱(Skye是他已故的姊姊的名字)。同時,身為樂團的鼓手,Daillor以驅動Mastodon那高能量的前衛金屬節奏為使命。他敲擊Slingerland bastardized kit的大鼓(錄音師Nick Didia的)、<a href="http://www.fibes.com/tom.htm" target="_blank">Fibes toms</a>、 Tama Warlord和<a href="http://www.ludwig-drums.com/usasnares_blackbeauty.php" target="_blank">Ludwig Black Beauty</a>小鼓,Daillor知道他的目標,就是要讓鼓聲回到像從前雷神般的鼓手一樣。</span></span></div>
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<iframe allowfullscreen='allowfullscreen' webkitallowfullscreen='webkitallowfullscreen' mozallowfullscreen='mozallowfullscreen' width='320' height='266' src='https://www.youtube.com/embed/cRuTcnd8YLU?feature=player_embedded' frameborder='0'></iframe><span class="s1"><span style="color: purple;">你在Crack the Skye裡的鼓聲,有指標性的參考嗎?</span></span></div>
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<span class="s1">我想要我的鼓聲像是<a href="http://en.wikipedia.org/wiki/John_Bonham" target="_blank">John Bonham</a>和<a href="http://en.wikipedia.org/wiki/Alex_Van_Halen" target="_blank">Alex Van Helen</a>那樣——強壯的鼓聲。在過去,我的鼓聲一直聽起來很緊密在一起。我想要更多的空間感,更誇張的聲音——那種經典搖滾鼓聲。</span></div>
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<span class="s1"><span style="color: purple;">你有用click track嗎?</span></span></div>
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<iframe allowfullscreen='allowfullscreen' webkitallowfullscreen='webkitallowfullscreen' mozallowfullscreen='mozallowfullscreen' width='320' height='266' src='https://www.youtube.com/embed/7sJ6pFK5DOI?feature=player_embedded' frameborder='0'></iframe><span class="s1">是的——這是我第一次用。我過去總是把click看成是什麼可怕的東西。我把它跟正規學院訓練之類的聯想在一起,而那不是我。但Brendan說:「試著跟看看click,然後看你會怎麼做。」我照他的話做了,而且我很喜歡。很多新歌的中間,都有節奏變動的部分。如果沒有click,我可能會想「我應該做的到,但我不知道我等下打的節奏,是不是能跟一開始打的一樣。」那是我在錄Blood Mountain遇到的問題,所以click能減輕很多我在錄 Crack the Skye的壓力。</span></div>
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<span class="s1"><span style="color: purple;">Mastodon在錄這張唱片時,生活處於一片混亂之中。而所有的這些混亂,是怎麼影響這次的錄音過程的呢?</span></span></div>
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<span class="s1">你得把它擺到一邊去,然後往前看,去做你該做的事情。然後,等你離開錄音室的時候再去處理。但我真的覺得這些發生在我們身邊的事情,給了我們作吉他獨奏和歌詞創作的動力。幸好我們有足夠的經費去完成一張唱片。</span></div>
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<span class="s1"><span style="color: #666666; font-size: x-small;">原文網址:http://www.emusician.com/metal/0800/double-fantasy-adversity-drives-mastodon-to-new-heights-of-creative-escapism/139385</span></span></div>
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Anonymoushttp://www.blogger.com/profile/06377922510595008070noreply@blogger.com0tag:blogger.com,1999:blog-6021576624325993297.post-36177088876866390922013-07-25T18:44:00.003-07:002013-10-03T01:10:05.280-07:00挑選音色電容器〈下集〉<h3>
Auditioning Tone Capacitors Part 2 </h3>
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<span class="s1"><span style="color: #999999; font-size: x-small;">Dirk Wacker</span></span></div>
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<span class="s1"><b>將我們的音色電容之旅做結束,並介紹幾種常見的電容器類型。</b></span></h3>
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<span class="s1">歡迎回到尋找完美電容器的下集。希望大家都在上個月時,已經照著我的上集專欄,做了很多不同電容量的測試了。果真如此的話,你已經踏出重要的第一步了。別忘記了,你找到適合某一把吉他的電容量,不一定會適合另一把琴。如果,你想盡可能地找到適合你每一把吉他的電容器的話,你得一一照著流程試過才行。然而,我認為這是件值得花費時間的事情。</span></div>
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<span class="s1">一起來看看幾種不同的電容器,好讓你能簡單地做出正確的選擇。知道有關數值的正確觀念,讓整個過程更加簡單明瞭,也能節省開銷,因為你可以買同一種數值,但類型不同的電容器來作嘗試。試想像一下要買各種不同類型,加上不同數值的電容器-只要花點時間用我們的硬紙板圖示方法,便能省下你不少時間和金錢!</span></div>
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<span class="s1">選擇適合的電容器並沒有多艱深的道理,也沒有更快的捷徑-更沒有絕對的好與壞。「好」是你喜歡的樣子;如果有個超級便宜,才兩分錢的迷你陶瓷電容器是你的菜,那也沒什麼不對。我多年來一直在做吉他的改裝,十分有經驗。有一個通則是可以遵循的,那就是,使用標準的、非極性薄膜電容器和金屬薄膜電容器。極性電解電容器不適合拿來做音色電容器。</span></div>
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<span class="s1">有些電容器在市面上比較常見,所以我就準備用這些來做導覽。大多的資訊都是我實驗的結果,或是客戶的反應。如果你對電容器有什麼特殊的問題,請聯絡我,沒有關係。</span></div>
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<span class="s1"><b><span style="color: #e69138;">Sprague “Black Beauties”</span></b></span></h4>
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<a href="http://surplus.dreamhosters.com/catalog/images/Sprague.022BlackBeauty.gif" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="http://surplus.dreamhosters.com/catalog/images/Sprague.022BlackBeauty.gif" height="132" width="200" /></a></div>
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<span class="s1">因為有幾乎像是魔法般的音色,這些電容器以及”Bumblebee”,絕對是最常被拿來討論的。它們通常是從五零年代晚期和六零年代早期時製造的,你可以在那時候的吉他裡找到。它們之所以有名,是因為它們被使用在’58跟’59(Burst)Les Paul裡,而且有些人說它們是這些吉他擁有神奇音色的秘密。Black Beauties有紅色、黃色兩種印刷字,400跟600伏特的類型是最常裝在那時期的吉他裡的。</span></div>
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<span class="s1">這些電容器抑制了些高頻,讓音色變的柔和些、滑順些、更</span></div>
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暖、更甜。低頻也是很滑順,給你那古老唱片般的音色。這些電容器是給那些找尋老Les Paul音色的人的,而且你可以在eBay上找到庫存新品或是二手貨。我知道只有LUXE有在做它的複製品,但請記著,這些複製品的音色不會一樣,而是像新的Bumblebee電容器。如果你想用這些老電容器,請確認你是用舊的絲布銅線,以及Gibson五零年代的接線方式,否則你是無法完整體驗這些電容器的美好音色的。<br />
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<h4>
<span class="s1"><b><span style="color: #e69138;">“Bumblebee” 電容器</span></b></span></h4>
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<a href="http://www.mylespaul.com/forums/members/jonesy-albums-caps-pots-picture18095-01-bumble-bees.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="http://www.mylespaul.com/forums/members/jonesy-albums-caps-pots-picture18095-01-bumble-bees.jpg" height="200" width="191" /></a></div>
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<span class="s1">Bumblebee電容器跟Black Beauties非常類似,而它稱號的來由,明顯地可以從它外觀看出。你也可以在五零年代晚期的Les Paul找到它們,還有來自這個時期的其他吉他身上也可以,它們絕對是最享有盛名的電容器了。上述有關Black Beauties的敘述,在bumblebee身上如出一撤。LUXE、<a href="http://www.crazyparts.de/index.php" target="_blank">Crazy Parts</a>、<a href="http://singlecoil.com/">singlecoil.com</a>也有它的複製品。</span></div>
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<span class="s1">有一件事情要注意的是,Gibson的Historic系列出產的複製品,他們只有外觀是像bumblebees;我用X光掃過,也打開過其中一些,裡面是裝便宜的標準薄膜電容,再加上Bumblebee的外殼。</span></div>
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<span class="s1"><b><span style="color: #e69138;">“Tropical Fish”電容器</span></b></span></h4>
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<span class="s1">因為外殼上的彩色條紋,看起來有點像是熱帶魚,所以這些電容器被稱為”tropical fish”。”tropical fish”常被人跟”bumblebee”搞混,但這是個顯著的錯誤。你可以在大多數的老效果器、哇哇踏板、音箱上看到tropical fish電容器,也能在一些吉他上看到。我真的很喜歡這些電容器拿來當作音色電容器,因為它們能給你肥厚的音色,卻又不讓音色糊掉。這些電容器已經停產了,但你可以在eBay上的舊零件商家買到。<a href="http://visualsound.net/" target="_blank">Visual Sound</a>的R.G. Keen對這些電容器做了一番研究,發現它們不過就是標準薄膜電容,只是上了有趣的顏色-跟<a href="http://www.xicon.com/" target="_blank">Xicon</a>出產的便宜<a href="http://www.banzaimusic.com/Xicon-Greenies-0-068uF.html" target="_blank">"Greenies”</a>非常類似,所以,給它們一個機</span></div>
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會吧。<br />
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<span class="s1"><b><span style="color: #e69138;">“Flat Disc”(陶瓷)電容器</span></b></span></h4>
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<span class="s1">這些是Sprague或Erie出產的老「高伏特」陶瓷盤狀電容器,通常可以在每一把的老Fender吉他上找到。你也能在舊的效果器跟音箱裡找到。它們聽起來跟現代的陶瓷電容器很不一樣,為音色增添一種特殊的風味。如果你在找典型的六零年代老Fender音色,你應該試試這些電容器。每過一陣子,你都能在eBay上找到它的原型產品,也能在LUXE找到它的複製品。另一個選擇是去找一些那個時代的電器產品,像是舊電視、收音機⋯⋯等等,可以從中拆出這些電容器。大多時候你都能找到些免費的來用!</span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjrSo1648KZtdKe20oICHDDWr2mjuuHaefP7qIA2B_fMoW8hCG-rFhJlwzwddhau7ciD_2Bpa6Lle26VANnlCAdKLVmiwpFiVM49rW8sG_5UbTYqDydcgUe-94HLAdK1sypu5gGntbrvsl9/s320/orange+drop+caps.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjrSo1648KZtdKe20oICHDDWr2mjuuHaefP7qIA2B_fMoW8hCG-rFhJlwzwddhau7ciD_2Bpa6Lle26VANnlCAdKLVmiwpFiVM49rW8sG_5UbTYqDydcgUe-94HLAdK1sypu5gGntbrvsl9/s320/orange+drop+caps.jpg" height="200" width="200" /></a><span class="s1"><b><span style="color: #e69138;">Sprague “Orange Drop”電容器</span></b></span></h4>
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<span class="s1">直到現在,<a href="http://www.vishay.com/" target="_blank">Sprague/Vishay</a>都還在供應這些電容器,你也可以在一些高級的Gibson、PRS吉他上找到,還有很多老Fender吉他上也找得到舊Sprague Orange Drops。就像過去它被裝在老Fender音箱裡,現在也能在一些高級音箱裡,找到這些伏特較高的電容器。這是我真的也很喜歡的音色電容器;音色非常透明,中頻也突出些。有很多客人選擇這些電容器來裝在他們任何一把的Fender吉他上。eBay上有舊的款式可以買,新品的話,在幾乎當地的每一家電器行都能買到。別錯過嘗試這些電容器的機會。</span></div>
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<span class="s1"><b><span style="color: #e69138;">Mallory (馬洛裏合金)電容器</span></b></span></h4>
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<span class="s1">Mallory電容器有管狀、黃色的外形。你能在很多音箱裡找到,也常被來拿當作音色電容器。這些電容器有很棒、很肥厚、有力道的聲音,有良好的中頻反應,也讓保持高頻的表現。這是搖滾樂手們最理想的電容器,我們有很多客人都用來裝在他們的Les Paul和SG上。它們裝在Fender吉他上也很出色,Leo Fender也拿它裝在他的”Music Man”音箱裡,但他拿到的電容器是Plessi公司特別供貨給他的。這是在整體性上很出色的電容器,也是個改裝電容器的好出發點;它在雙線圈和單線圈上都作用的很好。輕易就可以買到這些電容器的新品,因為很多公司都有出。</span></div>
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<span class="s1"><b><span style="color: #e69138;">Silver Mica(銀雲母)電容器</span></b></span></h4>
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<span class="s1">這種電容器的外形,在中間有個典型的凹陷設計,可以在一些高級的音箱和效果器裡看到。它們也常被裝在音量鈕上當作hi-cut用,如果你能找到正確的數值,也能當作音色電容器用。高電容量的Silver Mica電容器通常不好找,又大顆又昂貴,但還是值得你一試。它們的聲音很出色,對聲音沒有任何的染色。</span></div>
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<span class="s1"><b><span style="color: #e69138;">Styroflex(聚苯乙烯)電容器</span></b></span></h4>
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<span class="s1">因為它們管狀、透明的外形, Styroflex電容器很輕易地就能辨別出來。這些電容器是五零年代的典型電容器,幾乎那時期的每一台電視及收音機裡面都有裝,有些公司現在還有在生產它們。它們是我最愛的音色電容器之一,因為它們有最透明的音色,完全沒有染色。我喜歡把Styroflex裝在半空心吉他和空心爵士吉他。你可以在eBay上找到它們,通常以數值來區分,配成一對販售;但有些公司也有提供,但不在正規產線上。</span></div>
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<span class="s1"><b><span style="color: #e69138;">Oil-Paper(油浸紙質)電容器</span></b></span></h4>
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<span class="s1">這些電容器由像<a href="http://www.jensencapacitors.com/" target="_blank">Jensen</a>這樣的公司生產,可以在一些高級音響器材裡看到,在高級的吉他音箱裡也可以找到。它們非常地昂貴,但有很多樂手對它們就是愛不釋手。如果你的吉他裏有足夠的空間的話,你就能裝上它們;我在不久前試過,它們聽起來跟Silver Mica和Styroflex電容器很相似-音色絕對不差就是了。</span></div>
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<span class="s1">市面上還有很多不同的電容器,像是Vitamin Q、Mustard電容器,以及其他繁不及備載。然而,我想這篇文章已經足夠幫助你去選擇電容器了。每種電容器的聲音都不相同,它們也的確能影響吉他的整體音色-即使是音色鈕全開的狀況下。請記得,這沒有絕對的好與壞,只是每個人的品味不同罷了。別害怕去試便宜的,或是使用有「錯誤」的電容量,從來沒人用過的電容器;當我發現原廠設定的電容量數值太大時,我再也沒使用過原廠設定值了。我偏好數值在3300到6800pF之間,能</span></div>
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讓音色鈕更有用處。你也可以在吉他裡裝不同的類型及電容量的電容器混合使用;我有一把Strato,在琴橋拾音器裝6800pF的Mallory,中段和琴頸拾音器共用一個3300pF的Mallory。盡情的實驗,並且用你的耳朵來做判斷吧!<br />
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<span style="color: #666666; font-size: x-small;"><span class="s1"></span>原文網址:http://www.premierguitar.com/articles/10099</span></div>
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Anonymoushttp://www.blogger.com/profile/06377922510595008070noreply@blogger.com0tag:blogger.com,1999:blog-6021576624325993297.post-54482530188340672132013-07-23T18:22:00.000-07:002013-10-03T01:10:20.366-07:00挑選音色電容器〈上集〉<h2>
<span style="color: red; font-size: large;">Auditioning Tone capacitors </span></h2>
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<span class="s1"><span style="color: #999999; font-size: x-small;">Dirk Wacker</span></span></div>
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<span class="s1"><b>破除音色電容器的迷思,並且幫助你找到最合適你音色的電容器。</b></span></h3>
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<span class="s1">如你所知,我們喜歡討論有關吉他的最微末的細節,想當然爾,我們不會把電容器漏掉。要找到一個對的電容器非常地花時間,也很花錢。而且,你永遠都會在網路上看到一些「都市傳說」——包括一些魔法般、超心理學的「事實」。相信我,電容器沒有什麼好神秘的。撇開神秘的層面,是時候該揭開這些小玩意的神秘面紗了。接下來的兩個月,我會告訴你該如何找尋你的音色電容——不需耗費你的時間和金錢!</span></div>
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<span class="s1">在小小的外殼下,電容器是個能利用兩個導體(稱作「金屬板」)之間的電場,來儲存能量的電氣/電子裝置。電容器儲存能量的過程,是利用兩邊電極的電荷相等,但相互反向,而建立起來的。</span></div>
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<span class="s1">電容器常用在電氣/電子電路板中作為能量儲存裝置。它們也常用來區別高頻和低頻的訊號。這項特性讓它們能在電子濾波器作用,這正是我們在吉他中使用它們的原因。基本上,我們的被動式音色控制,可以用來抑制高頻。當你把音色鈕關掉時,它會把高頻反應切掉,給你比較柔和的音色。調整這個控制鈕,會顯著地影響音色,但你依然很好辨識是同一把吉他。</span></div>
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<span class="s1">音色電容器的基本法則就是:電容器越大,音色越暗。取決於電容的值(電容量),它的影響可讓音色從微暖,到女人聲,直到完全黑暗和死透透。記住,音色電容器雖然也是吉他電路的一部分,但它甚至能在音色鈕全開的情況下影響音色。</span></div>
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<span class="s1">我常收到E-mails和電話,都是那些從來不用tone鈕的吉他手捎來的,大多都是在抱怨他們的音色太暗、沒有生氣,特別是把音色鈕關掉的時候,基本上,這個設定,在音色控制鈕中是個毫無用處的東西。我確信你一定有遇過以上的問題;無論是關掉音色鈕,或是從8至10之間的轉變,還是從8一路轉到0之間,你都感受不到音色的變化。別擔心,這是能解決的。我希望我能鼓勵到你,願意給你的音色鈕再一次的機會。不可思議的是,只要有適當的音色控制,你會驚訝,許多各種不同的音色,都能被輕易地調出來。</span></div>
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<span class="s1">我們會談論到兩個基本變數:電容器的數值(電容量)和額定電壓,再加上電容本身的類型。兩種變數都會影響音色很多;這個月,我們會從電容量和額定電壓開始。電容量是用來測量,因電位能作用而產生電荷儲存(或分離)的數值。額定電壓是指電容的電壓最大作用值(電位,以伏特為單位)。</span></div>
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<h4>
<span class="s1"><b>額定電壓</b></span></h4>
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<span class="s1">其中一個我最喜歡的都市傳說,就是跟額定電壓有關的。你會讀到有關額定電壓到四百伏特—甚至更高—的音色電容器,以及它是如何影響音色的。你曾談論過四百伏特的電壓從吉他輸出來嗎?當然沒有!那它是怎麼影響音色的呢?</span></div>
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<span class="s1">可以確定的是,每個在被動式吉他裡作用的電容器,基本的額定電壓是0.5伏特,或更高些,而更大顆的電容器,會有更高的額定電壓。而你發現有吉他用高伏特電容器的這件事也很好解釋。很多受歡迎的電容器,像是Sprague ”Orange Drops”,原本是給真空管音箱用的,它裡面有600V,或更高的電壓。不過,這電容器裝在吉他上很好聽;但,一個額定電壓10V的Orange Drop也聽起來很棒。一個有高電壓的電容器的聲音,跟一個款式相同,但電壓較低的電容器聽起來沒什麼兩樣。</span></div>
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<span class="s1">我花了很多時間做A/B測試、盲檢試驗、數值測量;我從未聽見任何不同。我並不是Eric Johnson,所以我用眼睛代替耳朵,觀察任何的風吹草動,不信的話,你可以自己做這些測試看看。Orange Drop電容器很適合用來做這些測驗,因為它的額定電壓,從100到680伏特都有。</span></div>
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<h4>
<span class="s1"><b>數值(電容量)</b></span></h4>
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<span class="s1">現在那些謠言的已經被揭穿了,讓我們專注在更重要的變數上-電容器的數值。記得我們的基本原則,好幫助你理解這項變數:電容量越高,音色越暗沈。</span></div>
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<span class="s1">在電吉他的「黃金年代」裡,Fender和Gibson都用電容量很高的電容器(0.1uf/0.05uF以及0.047uF/0.022uF,取決於出廠的時間)。在今天,0.022uF依然是標準的電容量。如果你需要比較暗、低頻較多的音色,這個數值正適合你。然而,對我們大多數人來說,這數值太大了,而影響效果過多或過少都對我們沒用。因為前面提及過的問題,音色作用只發生在10到8之間。而解決之道,就是換一個電容量小的多的電容器。這個小小的改變,將會大大地提升你音色鈕的可用性,能讓你的音色鈕平均地發揮作用,毫無任何死角,轉動的每一下,都能使音色產生變化。</span></div>
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<span class="s1">音色電容器的數值,取決於個人的喜好和需求。因為每個人都有其理想的音色,以及使用音色鈕的方法。我個人是使用3300pF到6800pF,這樣子很小的電容器,取決於吉他的款式,以及想要多亮的音色。用這樣的小電容量,我能調整著音色鈕,照我的意思來任意雕塑我的音色,每個小轉動,都會使音色變得更暖更甜-而不會鈍和暗沈。</span></div>
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<span class="s1"><b>找到完美的數值</b></span></h4>
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<span class="s1">要找到完美的電容量,我建議你拿張硬紙板、兩條十吋的銅線、兩個可焊接的金屬鱷魚夾,還有一些便宜的標準陶瓷電容器。在這個測驗中,從當地的電子材料行弄到的便宜電容就夠用了,而額定電壓在這裡一點都不重要。去拿1200pF到0.1uF之間的電容器,再加上你想試的任何數值的電容器。每一個數值拿一個就足夠了。將電容器對稱黏好在硬紙板上,讓接腳朝外。別忘了在紙板上做每一個電容器的數值提示!接著,把鱷魚夾焊到銅線上(一條銅線接一個鱷魚夾,接在銅線的末端)。</span></div>
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<span class="s1">現在,打開你的吉他,並把原本的電容器移除。將連接鱷魚夾銅線的另一端尾巴,跟原本連接電容器的接點焊接上,然後,蓋上你的吉他,讓銅線掛在外頭。現在你能夠簡單地使用鱷魚夾,來接上每一個電容器作測試了。彈奏你的吉他,並使用音色鈕來看哪一個數值作用得最好。</span></div>
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<span class="s1">希望你能藉著這個方法,找到你最愛的電容器。我的祕訣是,去試2200pF、3300pF、4700pF、6800pF,仔細聆聽它們跟音色鈕的互動。如此一來,你找到最愛的機率就很大了!</span></div>
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<span class="s1">這是個將你的音色鈕,從毫無用處,轉變成實用工具的重要步驟。下個月我們將討論不同的電容器類型,以及找尋哪一種會適合你。</span></div>
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<span class="s1">下個月見!</span></div>
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<span class="s1"><span style="color: #999999; font-size: x-small;">原文網址:<a href="http://www.premierguitar.com/magazine/issue/2008/mar/auditioning_tone_capacitors.aspx"><span class="s2">http://www.premierguitar.com/magazine/issue/2008/mar/auditioning_tone_capacitors.aspx</span></a></span></span></div>
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Anonymoushttp://www.blogger.com/profile/06377922510595008070noreply@blogger.com0tag:blogger.com,1999:blog-6021576624325993297.post-84046338216069577682013-07-05T01:27:00.000-07:002013-10-02T01:08:55.579-07:00混音師的祕訣: Robert Carranza <h2>
<span class="s1"><b><span style="color: red; font-size: x-large;">Secrets of the Mixing Engineers: Robert Carranza </span></b></span></h2>
<span class="s1"><span style="color: #999999; font-size: x-small;">Jack Johnson</span></span><br />
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<span class="s1"><span style="color: blue; font-size: x-small;">SOS 在2008五月出版</span></span></div>
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<span class="s1"><b><span style="font-size: large;">Jack Johnson是個能告訴你,你不需要Auto-Tune、Beat Detective、或是用大量的疊錄,來作出張暢銷專輯的活證明。實際上,據錄音工程師Robert Carranza所說,他甚至連市電都不需要⋯⋯</span></b></span></h3>
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<span class="s1"><span style="color: #666666;">Jack Johnson的專輯「夢想國度」已獲得商業上巨大的成功,在世界上每一個以白人為主的國家,銷售都排行第一,包含英國和美國。對於這樣類比製作,幾乎沒有加效果,不造作、自然、簡單的音樂來說,是相當不錯的。那些想成為暢銷歌手的人啊,真實範例就在這裡!</span></span></div>
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<span class="s1"><span style="color: #666666;">Robert Carranza,這張專輯的混音師、錄音師,在他洛杉磯的家中受訪。「做這張唱片的重點,就是要把所有事情簡化。就連錄製過程中的設備器材都非常的簡單,少之又少。我們相信直覺,而且我們有很好的觀念,不會被現今作唱片的潮流給影響。我們專心做我們的事,我們專注在感覺上。所以,如果有什麼讓我們覺得是對的,我們就放手去做。即使是到了母帶後期處理階段,我們還告訴<a href="http://www.berniegrundmanmastering.com/" target="_blank">Bernie Grundman</a>,這張唱片不需要做的很大聲,讓這些原音歌曲,聽起來是原音歌曲該有的樣子就好,不要像其他的唱片一樣的大聲。對人們來說這挺有趣的,他們可以看到一張暢銷專輯,竟然可以做得如此簡單。」</span></span></div>
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<span class="s1">Robert Carranza從2003年就跟著Jack Johnson工作了,他幫這位歌手錄製、混音他的第二張專輯「永不止息」。他在「仲夏夜之夢」(2005),也作了相同的工作,然後在2007年發行的「好奇喬治在唱歌」晉升到協力製作人(與Jack Johnson共同製作)。製作這張「夢想國度」,跟其他唱片比起來,是全然不同的體驗:有更多電吉他和鍵盤,而且是Johnson第一次在洛杉磯錄音,第一次用類比盤帶錄音。這也是第一次有製作人JP Plunier (Ben Harper、John Lee Hooker)參與製作。</span></div>
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<span class="s1">Carranza回憶道:「我跟Jack做上一張唱片時,是在他夏威夷的錄音室用Pro Tools錄的。Jack從未用過盤帶錄音,有天他問我:『兩者有什麼差別?』我回他說我不知道你會不會聽出差別,但我可以給你看有什麼不同。所以他就決定要用盤帶來錄,隨即我們就發現這真是個明智的抉擇。大致上,這樣做能強制我們必須專心一致。用Pro Tools,你會花上很多時間盯著螢幕看,並且開始用眼睛來『聽』。用盤帶工作,迫使我們只能坐好,聆聽每一段錄音,去感覺這是好或不好,也讓我們對於所發生的小錯誤比較寬容。這真是一種解放。」</span></div>
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<span class="s1">「Jack已經厭倦用眼睛去聆聽,而且他愛上這樣坐在後面,閉上眼睛,只用他的耳朵聆聽的方式。他也很享受我們只用有限的軌數,並且沒有把每首歌都填得很滿。我們用這樣的態度來做事:『不要那麼地看重它,如果這樣行得通,就讓它保持那樣。歌曲的感覺比技術層面來的更加重要。』另一個好處是,我們在每段錄音、每首歌之間會有空檔。用Pro Tools,檔案一叫就立即出現,但是盤帶機需要一些時間回朔,還需要一些時間去換帶子。在錄音過程中會有一點安靜的時刻,這樣能讓我們更專注。這些空檔時間能讓我去重新思考,將我的想法組織起來,以及專注在下一個要進行的事情。」</span></div>
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<span class="s1">「我個人是不在意用盤帶還是Pro Tools錄音,但我會說,因為做了Jack這一張唱片之後,我的看法有些改變。Pro Tools是個很棒的東西,但用一台二十四軌機工作,能強迫我們做一些優秀的抉擇,有時甚至是些不合理的決定!在做這張唱片的時候,你就是無法隨心所欲地快速操作,這真的對我們幫助很大。我們這麼認為的理由,並不是因為這樣做很老派,而是因為我們能有一個清晰的概念來解放我們。不僅是在心理層面上,它能幫助我們,在聲音方面也是。但我們並不會因此而多慮。我們反而是都這樣想:『就這樣幹吧!』到最後,機器層面的事也是多餘的了。如果歌不到位,你怎麼錄它也都不是那麼重要的事了。像以JP 為例,當你帶了一個外人進來錄音室,這會幫助你站穩你的腳步。JP提供了許多客觀的想法,有時候是很具有挑戰性的。</span></div>
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<span class="s1">「夢想國度」是在Jack Johnson與他的固定班底一起,在Solar Powered Plastic Plant Studios錄的。樂團成員有鼓手Adam Topol、貝斯手Merio Podlewski,以及鍵盤手Zach Gill。Carranza說:「在這張專輯的基本音軌,包含鋼琴、吉他、貝斯、爵士鼓,都是現場錄音的。對此,我感到非常驕傲。這就只是一群人玩在一起,還有朋友之間的情誼。Jack的想法是:『我只是想走進錄音室,讓一切就這樣發生。』以及『就讓它串音吧。』鋼琴音軌有串到鼓聲,這讓我想到舊的<a href="http://zh.wikipedia.org/wiki/%E6%91%A9%E5%9F%8E%E5%94%B1%E7%89%87" target="_blank">Motown</a>錄音。一開始我們沒有隔音屏風,所以我打了通電話去器材租賃公司租了一些,隔在鼓組的四周,避免影響太多鋼琴和吉他的聲音。整個錄音過程絕對是場考驗。我買了<a href="http://www.aviom.com/" target="_blank">Aviom</a>耳機系統,所以他們可以聽到彼此,也可以自己調整自己監聽的混音。但到了一個時間點,有人說:『我們別戴耳機錄吧!』所以往後的錄音過程,就在不戴耳機的情況下完成。我用了一些不錯的麥克風,每首歌都錄了幾個不同的take,再挑出最好的。有些時候,我會將兩個take接在一起。Jack錄音的時候總是會作導唱,而我們也用了一些在歌曲中。我們真的是用一個很簡單的方式在做唱片。</span></div>
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<span class="s1">Carranza說:『錄鼓的麥克風沒什麼特別的。』而他之前所提及的『不錯的麥克風』,明確地說就是:大鼓用Sennheiser MD421收音,小鼓用兩隻Shure SM57收(打擊面跟共振面),更多的421用來收Toms,Audio-Technica AT4050 收overheads,還有一個<a href="http://www.royerlabs.com/SF-12.html" target="_blank">Royer stereo ribbon mic</a>放在鼓組前一呎遠的地方。貝斯收音同時用DI,還有放在Ampeg B15音箱上的一隻421錄。直立式鋼琴用兩隻Neumann U87架在響板前收音。「Zahc起初直對著鼓組彈奏。為了避免太多串音,我將他移了四十五度,所以他面對著牆壁。我還幫鋼琴蓋上一些毯子。</span></div>
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<span class="s1">「錄電吉他的方式挺直接的,就用一隻57在音箱上收音。木吉他通常是把Gibson J45,有時候是把Cole Clark,我用AKG C451收音。我會將木吉他完全隔開來錄,才不會串到太多聲音。有些歌一開始是用木吉他錄的,但如果Jack說:『木吉他麥克風收到太多的串音了,試試看用電吉他錄吧。』突然間,歌曲的氣氛就全然改變。而我們就順勢而為。『If I Had Eyes』就是其中一首。」</span></div>
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<span class="s1">「我不想提及我們一開始錄這專輯所用的Vocal Mic。它是很好,但我的一個朋友告訴我<a href="http://www.telefunken-elektroakustik.com/products/show_product.php?item=20" target="_blank">Telefunken</a>在做U47的復刻版。所以Telefunken寄了一隻試用版的麥克風來,Jack試唱之後覺得很棒。我就打給他們公司,問他們說這玩意怎麼賣,他們就說要再寄一支新的來。但我就跟他們說:『不用拉!我想要這隻麥克風就好,它的聲音很棒,你們不用把它拿回去了!』我到現在都還擁有著它。我們用它重錄了一些Jack的vocal。它著實影響很大—它擁有我一直在找尋的聲音。」</span></div>
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<span class="s1"><b><span style="color: red;">相信直覺</span></b></span></h4>
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<span class="s1">Carranza說:「疊錄是戴著耳機進行的—很難不用—包括一些吉他、合聲 (Neumann U47)、Clavinet (SM57)、斑鳩琴、口風琴、簧風琴(全部都用復刻的<a href="http://www.telefunken-elektroakustik.com/products/show_product.php?item=3" target="_blank">Telefunken 251</a>收)、合成器、鈴鼓(AKG 451)、拍手聲(U47)。麥克風的選擇,都是看離我們最近有什麼就用什麼。當這麼做的時候,會產生一個很流暢的氛圍。如果有人有點子,他可以立即試試看。即使聲音不對勁,但至少點子會留下來。」</span></div>
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<span class="s1">講到訊號鏈,極簡主義又來了。錄唱歌是用U47過<a href="http://www.apiaudio.com/512c.html" target="_blank">API 512</a>再進到<a href="http://www.uaudio.com/hardware/compressors/la-2a.html" target="_blank">LA2A</a>(Universal Audio),最多只用它壓dB而已,再送進盤帶。我在過去的經驗學到,錄音時你最好不要用-或只用一點點的EQ,因為後來你在做混音時,會變得不好調整。整個鼓都是過一個API preamp。貝斯是過一個<a href="http://www.uaudio.com/hardware/channel-strips/la-610-mkii.html" target="_blank">Universal Audio 610</a>,吉他跟鋼琴都是過<a href="http://www.ams-neve.com/products/outboard/1073-mic-preamp-equaliser" target="_blank">Neve 1073</a>。訊號鏈就大概都是這樣子。</span></div>
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<span class="s1">「貝斯跟吉他我都沒有壓縮。我只有壓一點大鼓,我是指只有壓dB,讓它順一點。就這樣子而已了。所有的聲音都很平坦。因為他們有很棒的音樂修養,他們自己就做到很出色的平衡了。這樣子也太神奇了。我猜可能是因為他們在錄基本軌的時候沒有帶耳機,這樣幫助他們更仔細地聆聽對方。最後,我們沒有用click track,除了『Hope』這首歌用了一些。我們在這首歌的節奏速度上遇到了一點麻煩,當我們最後協調好速度時,我們一開始有放click track,但後來就把它淡出了。再一次的,我們相信我們的直覺,做我們覺得該做的事。如果感覺對了,就放手做下去。」</span></div>
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<span class="s1">錄音期間前前後後花了三個月時間,在2007年的晚春以及夏天。包括在Johnson夏威夷的錄音室花了十天時間。Carranza最後,還特別為了這一個案子買了另一台<a href="http://www.ebay.com/bhp/studer-a827" target="_blank">Studer A827</a>,還有<a href="http://www.toftaudio.com/atb32.html" target="_blank">Malcolm Toft console</a>。「我帶著我的這些麥克風去到夏威夷,也弄了一套我outboard跟preamp的複製機櫃,所以訊號鏈幾乎是一樣的。工作的時候是沒有壓力的。我們真的就只是跟著感覺走而已。唯一一個讓我們感到擔心的時刻,就是要將錄好的十八卷RMG900兩英吋帶子(Recorded without Dolby, at +6/185),寄回去洛杉磯作混音的時候。當然,Carranza在寄送之前,將音樂複製到Pro Tools上。</span></div>
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<span class="s1"><b><span style="color: red;">盤帶解放</span></b></span></h4>
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<span class="s1">Robert Carranza快樂地用著Studer A827跟<a href="http://www.soundonsound.com/sos/nov05/articles/sslaws900.htm" target="_blank">SSL AWS900</a>,在Solar Powered Planet Studios作整張專輯的混音。難道他沒打算把音源都輸入Pro Tools,並且用它做混音嗎?這位混音師回答:「我一點也不想改變我們一直以來所維持的心情以及氛圍。我可以在Pro Tools上做混音,但我想維持這個案子的美學概念,那種我們不需看著螢幕的感覺。當你在混音的時候,你會更傾向去盯著螢幕,通常會想『這裡發生了什麼問題?』然後zoom in去看。我想避免這樣做。我想要專注在聲音上,fader上,還有對於音樂的感覺。我想用盤帶做混音,Jack覺得沒有問題。這是種解放。所以我在自己的工作室作整張專輯的混音。因為那裡有我需要的設備器材。</span></div>
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<span class="s1">「唯一數位化的事,就是到了要mixdown的時候,我用<a href="http://www.benchmarkmedia.com/taxonomy/term/21" target="_blank">Benchmark A-D converter</a>過到<a href="http://tascam.com/product/dv-ra1000hd/" target="_blank">Tascam DVR 1000HD</a>,都是96/24跟DSD。我們之所以這麼做,是因為我們拿不到半英吋的帶子!供應商沒貨了,而且那時候剛好沒有人製造出貨。本來我們是真的挺擔心的,但當我們過完,播放混音出來聽的時候,所有的疑慮都消失了。我不是個頂級的狂熱發燒友,但當我沒有經過patchbay,從SSL過到Benchmark A-D converter,再直接進到Tascam;音樂聽起來棒呆了。」</span></div>
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<span class="s1"><b><i>“Sleep Through The Static” & “If I Had Eyes” </i></b></span></h3>
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<span class="s1"><span style="color: #666666; font-size: x-small;">Written by Jack Johnson</span></span></div>
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<span class="s1"><b><span style="color: red;">Jack Johnson & JP Plunier共同製作</span></b></span></h4>
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<span class="s1">Robert Carranza說:「要試著從你剛錄完的歌曲,作出新鮮的混音實在是件難事。你會以為你知道這歌是怎麼一回事,你知道怎麼去建構它,但也許你完全錯了。”Static”就是首那種你很難掌握它音樂起伏的歌。我開始做這首歌的混音時,又把它放到一邊去。我好像無法正確地去理解它。所以我就跳去做別的原音歌曲,因為它們比較直覺些 ,做完他們,我再回來做”Static”。我擔心我在這首歌迷失了。這是首非常特別的歌,我得把它弄成個樣子才行。我加了些壓縮到小鼓和其他東西上,然後我就發現我衝得太快了,最好把繮繩拉回來些。」</span></div>
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<span class="s1">「我學過最寶貴的一課就是在做<a href="http://en.wikipedia.org/wiki/Live_at_the_Fillmore_(Los_Lobos_album)" target="_blank">Los Lobos’ Live At Fillmore</a>的混音時(DVD 2004, CD 2005)。我人在錄音室,樂團在巡迴路上,我正把混音上傳給他們聽。有天我接到他們的電話,他們全都在會議室,他們說:「嘿!你聽過那些rough mixes了嗎?」我說:「沒啊,怎麼了?」他們回說:「去聽,你聽完之後再打給我們。」那些混音我做得很快,是我在卡車上做的rough live mixes。所以我聽了,非常的出色。根據這樣的結果,我打了通電話給我的工程師,叫他停止一切動作,我再重新做一遍混音。這是你從音樂家身上學到的東西,而不是從工程師。這就是我做Static遇到的問題,我開始做過頭了,而我意識到我又重蹈了一次在<a href="http://en.wikipedia.org/wiki/Los_Lobos" target="_blank">Los Lobos</a>的遭遇。」</span></div>
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<span class="s1">「當我重做這首歌時,我簡單地把fader通通歸零,從lead vocal(track 21,下方)還有live guitar(track 14)開始。隨後我將vocal double,再來處理其他的旋律樂器,最後做節奏部分。整首歌的混音大概花了才四個小時!做這張專輯而言,混音就只是把fader推到適當的位置,然後持續地聆聽。這首歌我聽四到五次,休息一下,再繼續聽。我怕帶子會越聽越磨損,壓力便隨之而來。”Static”是首很容易混音的歌。只動了一點點技術層面上的動作。我最主要的煩惱是怕感覺跑掉了,那是我花最多時間處理的事。」</span></div>
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<span class="s1"> 「Lead vocal我動得非常少。因為Jack唱的時候離麥克風很近,我必須做些de-essing,我用的是<a href="http://www.drawmer.com/products/mxpro-series/mx50-de-esser.php" target="_blank">Drawmer MX50</a>。我真的很愛這台機器。很多人喜歡<a href="http://vintageking.com/dbx-902-de-esser-module-vintage" target="_blank">DBX 902</a>,或是<a href="http://www.soundonsound.com/sos/oct98/articles/spltransient.html" target="_blank">SPL Transient Designer </a>。但房間裡只有MX50,它就是我在用的機器。我也讓vocal過<a href="http://www.atlasproaudio.com/tcl2.html" target="_blank">Tube-Tech TCL2 limiter</a>,用2:1 ratio大約壓個1dB。它能讓vocal更有肉一點,也更上來一些。大致就這樣子了。我有用<a href="http://www.tcelectronic.com/production/system-6000/" target="_blank">TC600 reverb</a>做個實驗,因為我想讓空間感更多些。但到了最後就像『你知道嗎?這根本是浪費時間!』效果用得很輕微,如果你可以聽出來的話,我給你一千元。」</span></div>
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<span class="s1">「在電吉他跟貝斯,還有鋼琴上我都沒加壓縮。我唯一對貝斯動的手腳就是,手動調整了幾個不太清楚的音符。大多的東西都沒有做automation。鋼琴上用了<a href="http://www.solid-state-logic.com/music/xlogic%20mynx/e_series_eq.asp" target="_blank">SSL EQ</a>把高中頻帶了出來。我想讓它多說一點。鼓組處理得非常直接,把fader推上去而已。我是<a href="http://www.empiricallabs.com/fatso-jr.html" target="_blank">Empirical Labs EL7 Fatso Jr</a>的愛用者,我用它加了一點點壓縮在drum bus上。它造成了一點變化,但不是巨大的改變。它只是讓鼓變得更大些。鼓組的ambience是從overheads及room mic收的。」</span></div>
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<iframe allowfullscreen='allowfullscreen' webkitallowfullscreen='webkitallowfullscreen' mozallowfullscreen='mozallowfullscreen' width='320' height='266' src='https://www.youtube.com/embed/xrsFqBUMDvM?feature=player_embedded' frameborder='0'></iframe><span class="s1">「Track 13和19是主歌的guitar lines,聽起來像是吉他solo。它們一定得跟track 14的處理方式不同。我在音箱上用close mic收這個guitar lines,而我也有一支Beta 58 talkback mic,離Jack的臉很近。我意外地忘了關掉我的talkback mic,但以作為一支ambient mic,它的效果聽起來很不錯。它讓吉他聲音聽起溫暖些。所以到了最後我反而只用了這一軌。前奏部分的track 17有Jack彈的簧風琴,上面還有Zack疊錄的口風琴。也有一些尾奏的雜音在track 17跟24。Jack想要一種像靜電般的聲音,但是他不想要使用sample CDs還是什麼的。所以Zack從Moog Voyager弄出些白色噪音,掃進來又掃出去。它像是電台停播後留在空氣中的聲音。我在前奏跟尾奏的聲音上都沒有加效果。」</span></div>
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<span class="s1">「這首歌是個簡單的混音,同時,它做起來又很複雜。我的首次混音幾乎是通過了。Jack有一些意見,像是斑鳩琴,就像是跳到你身上一般的出來。他想要它藏在底下些,而我說:『但是它只出現兩秒,如果這麼做的話,沒有人會聽到它的,我們花了那麼多時間,用那麼好的麥克風錄它。』這就是錄音師的我。當我把它藏的底下些時,效果很好。刻意讓它非常地低調,因為整首歌就該是呈現低調的感覺。」</span></div>
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<span class="s1"><b><span style="color: red;">“If I Had Eyes”</span></b></span></h4>
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<span class="s1">「這首歌有趣的地方在於,你會注意到有三軌電吉他,track 13、14、19,最後一軌是Jack最初錄的live track。在Track2跟20還有其他的吉他。所以這是我們做過最多的吉他疊錄!我們在這首歌弄得像AC/DC一樣!事情是這樣發生的,我們一開始有兩軌吉他,19跟14,但Jack覺得沒有很好。所以他再進了錄音室,帶了把不同的吉他,完全不同的聲音。他有問我會想讓吉他聲相似嗎?我回他:『沒有關係。』他做好了疊錄,我開始想,也許就讓這首歌聽起來有三把吉他吧。所以我就把吉他pan成左邊、右邊及中間。其實這沒什麼大不了的,每個人都這麼做,但對我們來說很不一樣。Jack聽了說:『哇!這真是太棒了!』」</span></div>
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<span class="s1">「這首曲子另一件厲害的事是,鼓組是單聲道的。我一開始錄鼓組是完整的設定,就像錄”Static”那樣。你可以看到Hi-hats在track 4,overheads一樣在track7-8。我還加了一支<a href="http://recordinghacks.com/microphones/Coles/4038" target="_blank">Coles 4038 mono mic</a>收整套鼓,給人一種感覺像舊Motown的聲音,當我聆聽這支麥克風的錄音,聽起來真是好極了。當Jack跟我要更多的音軌時,我把小鼓、大鼓、中鼓、落地鼓都拿掉,我們只用mono mic、overheads,還有hi-hats mic。當然,吉他疊錄填補了空間,讓音樂聽起來還是很開闊,儘管鼓組是單聲道的。」</span></div>
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<span class="s1">「因為單聲道的鼓組,於是我必須先開始混它。它們就在正中間,所以它們必須聽起來很棒才行。我先把track 21推起來,然後做跟”Static”一樣的訊號鏈,過到立體聲的bus上,Fatso compressor讓鼓更大些、更有重量。再來,我加上L-C-R吉他,讓它們保持很乾的狀態。如果電吉他有帶任何的reverb的話,那就是從音箱上出來的。然後我再加上木吉他,沒有做什麼處理。接著是鋼琴,只推了點高中頻。還有貝斯,一樣地,我只動了一些音符。Merlo是個很棒的樂手,我不需要加上任何的壓縮。我再用了一次MX50 de-essor來處理主唱,而且我加了點高頻,大約是12k,讓它多點空氣感。」</span></div>
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<span class="s1">「拍手聲和鈴鼓都是乾的。我想我把麥克風移得遠一些,可以讓鈴鼓有更多的空間感。我沒加任何東西到背景音樂裡。”oohs”都是用支<a href="http://www.royerlabs.com/SF-24.html" target="_blank">Royer SP24 stereo mic</a>唱的,那時候Jack對於背景部分有另一個主意,我們把它錄在track 22。其中一件最棒的事情是,我們請來Danny Riley唱和聲。他是Jack的表弟,他現在已經過世了。有他一起在錄音室裡,真是件令人感動的事情。」[Riley是個歌手/作曲家,如眾人所知,他是個非凡的人類—詳情請看<a href="http://www.dannyriley.com/"><span class="s2">www.dannyriley.com</span></a>)]</span></div>
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<span class="s1">「“If I Had Eyes”是這張專輯裡最容易混音的,即使它是用最多音軌的歌。一如這整張專輯的做法,這首歌沒有做pitch-shifting、沒有Auto-Tune、沒有ping-pong delays。我們真的是用一種自然的做法來錄音,但有著摩登的感覺。我希望我可以因為修飾這些傢伙的音樂,記上一筆功勞,但事實上,這些人創造了屬於自己的聲音。每一首歌都是一則獨一無二的故事,等著被訴說出來,而顯然地,唱片工業已經失去了對此的焦點。我不會去買一本字印出來模糊不清的書,但音量競賽以及其他諸如此類的現象,似乎把我們帶往了這樣的方向。但如果你拿到一本容易閱讀、有著好故事的書;歸根究底,你還是會覺得它很棒。所以我們做這樣子的唱片,而實際上,能有那麼多的人對唱片有很好的迴響,這真是件不可思議的事情。」</span></div>
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<span class="s1"><b><span style="color: #666666;">那裡總是陽光充足</span></b></span></h4>
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<span class="s1">在Johnson正計劃著錄Sleep Through The Static的時候,他跟他的經理人,Emmett Malloy,正在找尋他們的廠牌<a href="http://brushfirerecords.com/" target="_blank">Brushfire Records</a>的棲身之處。他們在洛杉磯找到一棟百年老建築,後頭有個巨大的房間,之前是個攝影師在使用的。這兩個人馬上就興起了把它變作錄音室的打算,並且找了Carranza去安排這件事。為了配合用類比盤帶錄音的這個決定,這位錄音師/混音師/製作人發現他得用不同以往的角度來安排規劃,這個屋頂用太陽能板搭建而成,百分之百自給自足電力,即將命名為Solar Powered Planet Studios的錄音室。</span></div>
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<span class="s1">Carranza解釋道:「錄音室設備都由我做決定,我並沒有前例可以追循。我已經擁有我們所需的所有器材設備,而且我也有一套完整的Pro Tools系統,所以,最主要的挑戰是去弄一台盤帶機、一台混音臺,還有一套監聽系統,可以在沒做室內隔音的環境下工作。我們最後從Harry Maslin那買了台Studer A827 24-track,他是個老工程師及製作人,曾經做過很多很棒的唱片。對於混音臺的條件,Jack想要它能夠又符合經濟效益,又不需常常維修。我是用API長大的,它們很棒,但是我知道它們有什麼樣的問題。Neve也是一樣。所以我買了SSL AWS900。我知道我可以從這台機器得到任何我想要的聲音,跟Neve相反,它只能給你Neve的聲音。更何況我有一櫃裝滿麥克風前極的機櫃,四台Neve 1073、八台API 512、十二台API L200,我只需要SSL AWS900拿來監聽和混音而已。」</span></div>
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<span class="s1">「我的一個朋友,<a href="http://www.soundonsound.com/sos/mar08/articles/insidetrack_0308.htm" target="_blank">Rich Costey</a>[請參閱SOS, March 2008]推薦我<a href="http://www.atcloudspeakers.co.uk/hi-fi/loudspeakers/classic-series/scm50/" target="_blank">ATC50</a>監聽喇叭,他們能把音樂詮釋得很出色。但它們對於我的控制室來說太大了,會造成過多的低頻殘留,所以我把它們放到辦公室的一邊。我有時候會 坐在控制室裡 ,把辦公室的門開著,用它們來播音樂,只是為了想從單聲道的角度來聆聽看看。在挑選監聽喇叭方面,我可是內行。我試了<a href="http://audioart.audionet.com.tw/154/PMC.htm" target="_blank">PMC AML1</a>監聽喇叭,但因為它們缺乏了某些頻率,我就棄之不用了。然後我試了一些<a href="http://www.soundonsound.com/sos/nov05/articles/mkmps1611.htm" target="_blank">M&K</a>監聽,但也不適用,儘管他們是很不錯的喇叭,所以到了最後,我放上經過我測試、挑選過的<a href="http://www.genelec.com/products/previous-models/1030a/" target="_blank">Genelec 1030s</a>。突然間,房間的音樂聲聽起來是如此地完美。我也總會用Circuit City上買來的便宜喇叭來做音樂的參考比照。這樣做能讓你從一個完全不同的角度來聆聽。</span></div>
Anonymoushttp://www.blogger.com/profile/06377922510595008070noreply@blogger.com0tag:blogger.com,1999:blog-6021576624325993297.post-38587919915601599512013-06-19T00:01:00.000-07:002013-10-22T19:00:01.099-07:00Buddy Guy : 讓藍調活下去!<h2>
<span style="color: #e06666;">Buddy Guy:Keepin' the Blues Alive!</span></h2>
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藍調與搖滾的先驅之一,Buddy Guy在年屆七十三歲之際,依然強大</h3>
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<span style="color: #666666;"><span class="s1" style="font-family: Arial, Helvetica, sans-serif;">在過去五十年來,Buddy已經做了很多令人吃驚、原始而富有靈魂和張力的音樂。蓋跟他的良師益友-B.B. King,以及其他的藍調先鋒們,創造了躁進的電吉他藍調和搖滾樂的原型——他們帶來的影響,潛移默化了許多的樂手,像是Eric Clapton、Jimi Hendrix、Jeff Beck、Jimmy Page,以及Stevie Ray Vaughan,更不用提還有其他成千上萬的吉他手們了。</span><span class="s1" style="font-family: Verdana, sans-serif;">Guy已經贏得五座葛萊美獎、藍調音樂奬、告示耪雜誌世紀大獎、美國總統親自頒發的國家榮譽藝術獎章、以及在2005年被他的長年好友Eric Clapton推薦成為搖滾名人堂的成員。他灌錄過無數張的唱片,表演給世界上數以萬計的人們看過;但是他依舊持續著他的音樂生涯,儘管他已經高齡七十三歲了,而大多數這年紀的人,早就在安養院裡玩著推圓盤遊戲了。</span><span class="s1" style="font-family: Verdana, sans-serif;">隨著歲月過去,藍調音樂受歡迎的程度不再,Buddy Guy卻是少數在這音樂類型中還能讓演唱會完售的佼佼者。毫無疑問的,他確實是當今世上最成功的藍調吉他手之一,緊追著B.B. King之後,他們才一起巡迴了這幾個月。他使著從Fender Bassman或新的<a href="http://www.customguitargear.com/cbluesbox.html" target="_blank">Chicago Blues Box</a>音箱發出的致命音色,大膽外放的嗓音,Guy的腳步從不為誰而停留。他的現場演出,是場緊繃與鬆弛、喧囂和柔順、甜美和狂暴,等對比的學問,全部都混合在他出類拔萃的表演能力。Buddy在他延長的吉他獨奏中漫步通過觀眾,並不是什麼不尋常的事。但不可避免地,觀眾都為之瘋狂。筆者已經一次又一次的看它發生過了。</span></span><br />
<span style="color: #666666;"><span class="s1" style="font-family: Verdana, sans-serif;"><br /></span><span class="s1" style="font-family: Verdana, sans-serif;">早年在Chess Records的日子裡,Guy做了很多次的錄音室樂手來賺取報酬。但一談到做他自己的音樂時,Chess Records的總裁Leonard Chess認為,Guy總是在彈奏些「噪音」,強迫他灌錄些小品歌曲、節奏藍調、演奏曲、流行情歌,都是些不能顯露Buddy真正本色的音樂。一直到Hendrix、Clapton、Beck等人對Guy的推崇,傳到了Chess的耳裡,他才允許Guy灌錄些他心中最想呈現的音樂。在十三年沒有合約的低潮期之後,Guy取得一紙Slivertone Records的合約,製作了他的回歸作品Damn Right I’ve Got the Blues,為他贏得了1991年的葛萊美獎。自此之後,他再也不回頭,大步向前邁進。</span></span></div>
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<span class="s1"><b><span style="color: blue;">是什麼激發你拿起吉他的?</span></b></span></div>
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<span class="s1">我從前聽鄉村樂和西部音樂,像是Hank Williams、Eddy Arnold、Roy Rogers,再加上 B.B. King、 Lightnin’ Hopkins,還有其他藍調音樂家,以及在教堂聽的福音音樂。我曾問過我祖父,有關我家族的音樂史,他說從來沒有人像我一樣,有音樂的天賦。我們沒有相機——我們甚至沒有電——但我們有台收音機可以聆聽。那時候,電台會在棒球賽因雨延遲的時候播放藍調音樂。我偷拿媽媽的髮簪,在家給自己做了一把二弦<a href="http://en.wikipedia.org/wiki/Diddley_bow" target="_blank">Diddley bow</a>。她老是在猜想她的髮簪到了哪去!我會把它帶著出門,大約一周我就會把弦彈斷一次,所以我就一直在重新修理它。這就是我怎麼開始彈吉他的。我的吉他啓蒙受到T-Bone Walker、John Lee Hooker、Little Walter,以及Les Paul的影響。</span></div>
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<span class="s1"><b><span style="color: blue;">在你身上可以找到Guitar Slim的影響。他是怎麼影響你的吉他演奏的?</span></b></span></div>
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<iframe allowfullscreen='allowfullscreen' webkitallowfullscreen='webkitallowfullscreen' mozallowfullscreen='mozallowfullscreen' width='320' height='266' src='https://www.youtube.com/embed/HCeb-28W26k?feature=player_embedded' frameborder='0'></iframe><span class="s1">我去看他在巴頓魯治(路易西安納州)的演出,他帶著一把金色的Les Paul,上面插著一條很長的導線出場,所以他可以盡情地縱橫全場。我之前還沒見過實心電吉他,我看到時,甚至不知道那是把吉他呢!他穿著亮紅色西裝。他彈奏的極好,又會很多舞台上的花招,觀眾都愛他。所以我從他身上學了幾招。我想要看起來像Slim但聽起來像B.B.。</span></div>
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<span class="s1"><b><span style="color: blue;">Muddy Waters在你剛到芝加哥時,曾幫了你一把,對嗎?</span></b></span></div>
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<span class="s1">那時我剛到芝加哥,在我沒東西吃的第三天,我被人介紹給Muddy。起初,我並不知道他是誰。但當他問我是不是肚子餓,給了我一個意大利香腸三明治。然後他把我引進Chess Records當錄音室樂手。</span></div>
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<span class="s1"><b><span style="color: blue;">來談談你早年的錄音吧。似乎Chess兄弟在一開始幫助了你,但並不讓你做你想做的音樂。他們為什麼這麼做呢?</span></b></span></div>
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<span class="s1">就像我說過的,我早年是幫Chess當錄音室樂手的。但我一開始其實是在Cobra Records,是家只有店面的小廠牌。Otis Rush也幫他們錄過音。在當時,如果你把45 轉唱片能賣個九萬張,就是一首金曲了。Chess他們讓我錄我不想錄的東西,是因為他們覺得我的吉他演奏方式是噪音。直到像Eric Clapton、Jimi Hendrix等人,也帶來像我一樣的強力吉他演奏方式。他們才意識到我不是在彈奏噪音,才放鬆對我的束縛。Leonard Chess聽到Jimi Hendrix才瞭解到,他在做的事,正是我一直在做的。</span></div>
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<span class="s1"><b><span style="color: blue;">你的第一把琴是哪一把?</span></b></span></div>
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<span class="s1">我的第一把好琴,是把Harmony Acoustic,為它我付了52塊錢。我用它來學習如何彈奏。我把它捐給了搖滾名人堂。</span></div>
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<span class="s1"><b><span style="color: blue;">早年時你彈奏Stratocasters,然後是把白色SG,還有Les Paul Custom,再來是Guild Starfire。現在你又回到了Strato的懷抱,而且還有你的專屬吉他型號。為什麼是Strato呢?</span></b></span></div>
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<span class="s1">我一開始有一把Les Paul,但是有人闖入我芝加哥的公寓偷走了它。我跟一位叫做Theresa的女士借了一筆錢——她擁有一個叫<span style="font-family: Arial, Helvetica, sans-serif;">Theresa’s Blues Lounge</span>的酒吧——買了一把旭日色Strato。她讓我用表演的方式償還欠款。我現在還擁有著它。那把白色SG ,我在很久之前就送給我的侄子了。它本來在我的吉他房,有一天我看到琴頭斷了,所以我就給了他。他應該拿去修理了吧。</span></div>
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<span class="s1">我彈Guild Starfire直到它停產為止。他們給我的第一把是把紅色的琴(作者筆記:那是把Guild Starfire </span><span class="s2">III</span><span class="s1">) 在差不多的時間 ,Eric Clapton也有一把一樣的。</span></div>
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<span class="s1"><b><span style="color: blue;">你有參與設計你的專屬型號stratocaster嗎?它有什麼特別的地方?</span></b></span></div>
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<span class="s1">我自己選擇我想要的性能,而且幫忙設計琴頸——軟V型——然後他們把原型寄給我看。我用Fender Noiseless Pickups。我選擇strato是因為它耐操耐磨。我沒辦法負擔為了吉他會不斷故障的關係,而總是在買吉他。你知道的,如果你把吉他放在地板上,總是會有人會去踩到它,讓某個部分壞掉。Strato可以承受撞擊的。</span></div>
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<span class="s1"><b><span style="color: blue;">我一定要問這題,你為什麼要用圓點的烤漆呢?有什麼原因嗎?</span></b></span></div>
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<span class="s1">當我離開路易西安納時,我告訴我媽媽我要去芝加哥⋯⋯找工作,賺些錢,然後會開著一台有圓點烤漆的凱迪拉克回家。她擔心我會惹上麻煩,把錢花光,而後來果真如此。我媽已經去世了。她在1968年死的,我想要記住我告訴她的這番話,所以我才要求Fender幫我做黑底白圓點的烤漆。我從未真的想過要一台,圓點烤漆的凱迪拉克。</span></div>
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<iframe allowfullscreen='allowfullscreen' webkitallowfullscreen='webkitallowfullscreen' mozallowfullscreen='mozallowfullscreen' width='320' height='266' src='https://www.youtube.com/embed/UccVUT8Q988?feature=player_embedded' frameborder='0'></iframe><span class="s1"><b><span style="color: blue;">我很驚訝看到你使用Jerry Jones電西塔琴。這是怎麼發生的?</span></b></span></div>
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<span class="s1">不久前,我在納許維爾看到一把,我覺得我一定要擁有它,並且我好奇它如果用在藍調裡會是怎麼樣。所以,我就告訴我的唱片公司,他們也同意我在唱片裡使用它。那首歌叫「Skin Deep 」,收錄在我的上一張唱片裡。</span></div>
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<span class="s1"><b><span style="color: blue;">說說看你使用的吉他音箱吧。你喜歡它們什麼地方?</span></b></span></div>
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<span class="s1">它們叫做Chicago Blue Box,是專門為我而設計的。他們所做的事是,盡可能地將原始的Fender Bassman音箱重製復刻出來。那時候沒有人這麼做過。它們在我的演出上表現得最出色。它們聽起來就像是我曾用過的老Bassman音箱。</span></div>
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<span class="s1" style="color: blue;"><b>我曾看過一張照片,是你彈著一把Gretsch去年發表的吉他。你常使用它嗎?</b></span></div>
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<span class="s1">我不記得我有彈過Gretsch。現在不是Fender在賣Gretsch的琴嗎?老弟阿,我有那麼多的吉他,我都無法記得我有什麼琴了。</span></div>
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<span class="s1"><b><span style="color: blue;">告訴我們你的Martin專屬型號木吉他吧。</span></b></span></div>
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<span class="s1">Martin聯絡我,說想為我做一把專屬琴。我同意了,但是除非收入的部分能捐給窮人,否則我不幹。這個國家現在的問題就是,窮人能得到的幫助實在太少。政府有一切的資源,卻為人們做的太少。所以我要求他們把部分的收入捐出去做慈善用途。我在舞台上用的是原始型號。</span></div>
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<span class="s1"><b><span style="color: blue;">我們有很多的讀者花很多時間和金錢,想獲得最棒、最合適的音色,並有時感到十分困擾。你對此有什麼看法?</span></b></span></div>
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<span class="s1">有老Fender Bassman的加持,我擁有最棒的音色。我也許是使用吉他回授的第一人。這發生在有天晚上,我人在俱樂部演出。我將吉他放下之後,有個女人誤觸了吉他上的G弦,它就開始回授。我坐在那聽著這個聲音,然後開始使用它。1968年,當我去到舊金山演出時。像是Grateful Dead,還有所有來看演出的吉他手們,好奇我做的回授聲音,並覺得它聽起來很棒。我當時用的是台老Fender Bassman。之後,他們全都開始使用吉他回授技巧了。</span></div>
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<span class="s1"><b><span style="color: blue;">我也對你不使用任何效果器感到驚訝,單靠將音箱音量推到最大,而得到自然過載音色。你曾試過任何的過載效果器嗎?</span></b></span></div>
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<span class="s1">老弟,音色全在手腕上阿!就全都是靠搖動你的手腕跟音符而已。我在所有的效果器發明出來之前就學會彈吉他了。我試過破音效果器沒錯,但我不需要任何一顆,就像你說的,我靠著把音箱開到最大聲,來獲得自然的破音。</span></div>
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<span class="s1">是的,我只有在台上談到Jimi Hendrix時會用到它,做一點Jimi的聲音。</span></div>
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<span class="s1"><b><span style="color: blue;">你對吉他手們,像是Eric Clapton、Jeff Beck、Jimi Hendrix、Stevie Ray Vaughan等人,都有著極大的影響。你能說說你跟這些人之間發生的有趣故事嗎?</span></b></span></div>
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<span class="s1">有天我跟Eric Clapton聊天,我跟他說我喜歡他在Cream作的那首歌「Strange Brew」。他說:「你應該喜歡的,因為那全都是從你那學來的樂句!」其他的傢伙,像是Jeff Beck還有Stevie Ray,也對我說過同樣的話,說我是如何影響他們的。Stevie Ray是我摯交好友的其中之一。</span></div>
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<span class="s1"><b><span style="color: blue;">七零年代和八零年代對你來說是什麼樣子的?對藍調藝人來說,那普遍是段艱難的日子。</span></b></span></div>
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<span class="s1">對我來說那是段苦日子阿,老弟。對我們所有人來說,那段日子都很苦。沒有人可以靠彈藍調賺到錢。架上有著迪斯可、長髮硬式搖滾,還有其他種類的音樂,但如果你是藍調音樂家的話,算了吧。直到八零晚期,九零年代早期,事情才慢慢的變好。</span></div>
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<span class="s1"><b><span style="color: blue;">看來潮流總是會不斷地重新歸來。你已經是個老牌紅星了,但其他鮮為人知的藍調音樂家是越來越難有場子唱了。俱樂部一家家的關門了,而喜歡藍調音樂的觀眾們也越來越少了。</span></b></span></div>
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<span class="s1">我在我自己芝加哥的俱樂部就有看到這現象。人們不像過往一樣的有錢了,再加上禁煙法規傷俱樂部很大。還有人們因為怕違反酒駕的法令,不敢喝上幾杯。如果我的店關門的話,那在芝加哥就只剩下三家藍調俱樂部了。說真的。過去,每個城市都有至少十至二十家藍調俱樂部——芝加哥、底特律、鳳凰城、洛杉磯、多倫多,但人事已非了。現在,存活下來的店家是越來越少了。</span></div>
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<span class="s1">音樂家要討生活本來就不是件易事,但對藍調音樂家來說更是難上加難,尤其是像現在那麼少地方可以唱。藍調音樂風行過,也沒落過。Stevie Ray做了很多事,讓年輕人喜歡上藍調,但是那風潮現在又不見了。當我沒有在巡迴時,我每晚都會在我店裡待上幾個小時,看看店的營運狀況。</span></div>
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<span class="s1"><b><span style="color: blue;">你常跟B.B. King一起巡演。現在這巡演進行得如何?</span></b></span></div>
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<span class="s1">進行得很好。我們是老相識了,也很享受一起工作的樂趣。我們明天會再做一場,然後休息到二月,到時會再開始巡迴。</span></div>
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<span class="s1">是這樣的,B.B.會比較晚到場,而我在我的演出結束後就會馬上離開,所以才難成行。觀眾都會要求我們一起合奏,我想我們會試著在這個冬天的巡迴讓它發生。觀眾永遠都愛這個戲碼。</span></div>
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<span class="s1"><b><span style="color: blue;">你有喜歡的年輕一輩藍調吉他手嗎?</span></b></span></div>
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<span class="s1">John Mayer跟我是好朋友。我知道他有很多暢銷的流行作品,但他心底是個藍調樂手。他有在我上一張作品裡跨刀演出,還有Derek Trucks跟Susan Tedeschi。有個十歲的小鬼叫Quinn Sullivan,他真的能彈。我們正在幫他做唱片。我有天晚上帶他上台,他坐在我還有B.B.旁邊,緊跟著我們的每一段樂句合奏。你一定要去聽這小子。</span></div>
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<span class="s1"><b><span style="color: blue;">對於那些追求藍調音樂生涯的年輕吉他手,你有任何建議嗎?</span></b></span></div>
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<span class="s1">不要放下你的吉他;繼續彈就對了。當彈吉他變得是件難事的時候,還是我有所困惑時,我曾把我的吉他放在角落,然後盯著它看。但很快地我就將它拿起,重新開始。絕不能放棄。如果你相信你自己還有音樂,就繼續彈下去,直到你成功的那天。</span></div>
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<span class="s1"><b><span style="color: blue;">在路易西安納長大,在芝加哥飢窮交迫,經過了許多年的風霜,但總算是苦盡甘來。你曾想過你的人生會是這樣子的嗎?</span></b></span></div>
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<span class="s1">當然沒有啊,老弟。我沒有那麼有遠見,我很幸運我能有今日。我不會讀也不會寫音樂。有人曾告訴我,我該去學音階還有所有的技巧,但我從來沒這麼做過。如果你有心,並且相信你自己做的事,那就繼續做下去。我只是覺得我得弄個彈吉他的工作,然後時候到了就退休。我並不覺得彈吉他會有什麼未來可言。但我所未料及的事情發生了,對我來說,這是場一輩子的賭局。直到現在,我還是不相信我有那麼好。</span></div>
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<span style="color: #666666; font-size: x-small;"><span class="s1"></span>出處:http://www.premierguitar.com/Magazine/Issue/2009/Nov/Buddy_Guy_Keepin_the_Blues_Alive.aspx</span></div>
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Anonymoushttp://www.blogger.com/profile/06377922510595008070noreply@blogger.com0tag:blogger.com,1999:blog-6021576624325993297.post-20216907247649057762013-02-20T19:28:00.000-08:002013-10-02T00:46:35.548-07:00Guitar Center專訪 – Dave Rat<h2>
<span style="color: #45818e;">Guitar Center Interviews - Dave Rat</span></h2>
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<span style="color: #666666;"><span lang="EN-US">2007</span><span style="font-family: 新細明體;">年一月:無論是談論到早期的<a href="http://en.wikipedia.org/wiki/Punk_rock_in_California" target="_blank">南加州龐克風潮</a>,還是嗆辣紅椒巡迴時所使用最先進的雙</span><span lang="EN-US">PA</span><span style="font-family: 新細明體;">系統,</span><span lang="EN-US">Dave Rat</span><span style="font-family: 新細明體;">很有他的一套。</span></span></h3>
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<span style="color: #134f5c;"><b><span lang="EN-US">GC: </span></b><b><span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-hansi-font-family: "Times New Roman";">你最初是怎麼進活動音響這一行的?</span><span lang="EN-US"><o:p></o:p></span></b></span></div>
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<b><span lang="EN-US">Dave
Rat:</span></b><span lang="EN-US"> </span><span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-hansi-font-family: "Times New Roman";">我那時候十六歲,在加州荷摩沙海灘</span><a href="file:///D:/%E7%9B%A7%E7%9B%A7%E7%9A%84%E6%9D%B1%E8%A5%BF/%E7%BF%BB%E8%AD%AF/Guitar%20Center%20Interviews%20Dave%20Rat%E7%BF%BB%E8%AD%AF.doc#_ftn1" name="_ftnref1" title=""><span class="MsoFootnoteReference"><span lang="EN-US"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-size: 12pt;">[1]</span></span><!--[endif]--></span></span></a><span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-hansi-font-family: "Times New Roman";">當地的一家甜甜圈店工作。有個我曾給他免費甜甜圈的流浪漢問我,要不要跟他買水煙壺。我那時不太確定那是什麼,但我同意了。結果他拿出一個美麗的手工雕刻的木製水煙壺,上頭還有黃銅刻花;整整花了我五美元。後來,我拿它跟其他流浪漢交換了一堆</span><span lang="EN-US">AKG</span><span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-hansi-font-family: "Times New Roman";">麥克風。回過頭來看,那似乎是我人生的轉捩點。</span></div>
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<span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-hansi-font-family: "Times New Roman";">我帶著我那堆麥克風,借了一台卡帶式錄音座。去跟本地的龐克樂團談,看能不能把我放在他們的賓客名單上,如果我幫他們做現場錄音,錄完會給他們一份錄音的拷貝作為交換。過了一陣子後,我遇到一個叫</span><span lang="EN-US">Tom</span><span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-hansi-font-family: "Times New Roman";">的人,他教我怎麼搭音響系統。我早期的</span><span lang="EN-US">PA</span><span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-hansi-font-family: "Times New Roman";">場子就是靠那堆</span><span lang="EN-US">AKG</span><span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-hansi-font-family: "Times New Roman";">麥克風,拿其中的兩支,進去卡帶式錄音座的麥克風前級,再透過一條</span><span lang="EN-US">Y-Cord</span><span style="font-family: 新細明體;">,輸出</span><span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-hansi-font-family: "Times New Roman";">到音箱還有喇叭上。最大的問題就是,我得按下錄音座上的錄音鍵,</span><span lang="EN-US">PA</span><span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-hansi-font-family: "Times New Roman";">系統才能作業。如果卡帶跑完的話,</span><span lang="EN-US">PA</span><span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-hansi-font-family: "Times New Roman";">系統就會關閉;所以我換帶子的速度必須非常地快。</span></div>
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<span style="color: #134f5c;"><b><span lang="EN-US">GC: </span></b><b><span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-hansi-font-family: "Times New Roman";">你的店開在哪裡?有多少員工?</span><span lang="EN-US"><o:p></o:p></span></b></span></div>
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<b><span lang="EN-US">Dave
Rat:</span></b><span lang="EN-US"> The Rat Shop </span><span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-hansi-font-family: "Times New Roman";">座落在美麗的加州奧克納斯市</span><a href="file:///D:/%E7%9B%A7%E7%9B%A7%E7%9A%84%E6%9D%B1%E8%A5%BF/%E7%BF%BB%E8%AD%AF/Guitar%20Center%20Interviews%20Dave%20Rat%E7%BF%BB%E8%AD%AF.doc#_ftn2" name="_ftnref2" title=""><span class="MsoFootnoteReference"><span lang="EN-US"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-size: 12pt;">[2]</span></span><!--[endif]--></span></span></a><span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-hansi-font-family: "Times New Roman";">。我們選擇這座城市是因為它動人的名字。我們員工的數量,要看我們的忙碌程度來決定。通常,我們有八到十人在經營門市;有案子的話,約有十到四十人左右會在巡迴旅途上,除了十二月,那時是活動音響的淡季。</span></div>
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<span style="color: #134f5c;"><b><span lang="EN-US">GC: </span></b><b><span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-hansi-font-family: "Times New Roman";">你從</span><span lang="EN-US">1979</span></b><b><span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-hansi-font-family: "Times New Roman";">年就開始作</span><span lang="EN-US">PA</span></b><b><span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-hansi-font-family: "Times New Roman";">了,你覺得什麼是延續你這麼多年來的職業生涯以及成功的秘訣?</span><span lang="EN-US"><o:p></o:p></span></b></span></div>
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<b><span lang="EN-US">Dave
Rat:</span></b><span lang="EN-US"> </span><span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-hansi-font-family: "Times New Roman";">我有一些概念和理想,但這些最後都殊途同歸到同一件事情。我相信如果你喜歡你所做的事,那你就會做的很好。如果你樂在其中,並做的不錯。那那些你想要跟著一起混的人們,就會希望有你在身邊,並且不介意付你錢去做你最喜歡做的事情。不要去佔人便宜,那麼人就會願意在你背後照應你,而不是在背後捅你。你如果想去做什麼,就去做!如果你晚一點發現人家少付你錢或是場子不是很好做,那都沒有關係。好好的把場子做好,並得到商業上的成功。你的名聲遠比鈔票還要重要。從錯誤中學習。試著避免犯下同樣的錯誤。堅持你所需要的工作品質,絕對不要妥協。絕對不要亂含扣,職場上的倫理,給予那些不能信賴的人有比你更大的權利。要有耐心,在你的選擇之下,有正面的壓力是很好的。抄捷徑是場賭局。如果你想贏的穩當,就要花時間。最重要的是,享受當下,到成功之前都不能輕易放棄。</span></div>
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<span style="color: #134f5c;"><b><span lang="EN-US">GC: </span></b><b><span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-hansi-font-family: "Times New Roman";">你這幾年跟著哪些樂團一起工作?</span><span lang="EN-US"><o:p></o:p></span></b></span></div>
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<b><span lang="EN-US">Dave
Rat:</span></b><span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-hansi-font-family: "Times New Roman";"> 我一開始是幫一些龐克團錄音,像是</span><span lang="EN-US" style="background: white; color: #333333;">Black Flag</span><span style="background: white; color: #333333; font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-hansi-font-family: "Times New Roman";">、</span><span lang="EN-US" style="background: white; color: #333333;">Redd Kross</span><span style="background: white; color: #333333; font-family: 新細明體;">,</span><span style="background: white; color: #333333; font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-hansi-font-family: "Times New Roman";">還有</span><span lang="EN-US" style="background: white; color: #333333;">the Descendents</span><span style="background: white; color: #333333; font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-hansi-font-family: "Times New Roman";">,在一個老教堂裡,靠近我長大的荷摩沙海灘。我有幫</span><span lang="EN-US" style="background: white; color: #333333;">Sonic Youth</span><span style="background: white; color: #333333; font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-hansi-font-family: "Times New Roman";">、</span><span lang="EN-US" style="background: white; color: #333333;"> Fugazi</span><span style="background: white; color: #333333; font-family: 新細明體;">,</span><span style="background: white; color: #333333; font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-hansi-font-family: "Times New Roman";">跟</span><span lang="EN-US" style="background: white; color: #333333;">Pearl Jam</span><span style="background: white; color: #333333; font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-hansi-font-family: "Times New Roman";">做PA系統規劃;以及幫</span><span lang="EN-US" style="background: white; color: #333333;">Offspring</span><span style="background: white; color: #333333; font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-hansi-font-family: "Times New Roman";">、</span><span lang="EN-US" style="background: white; color: #333333;">Blink 182</span><span style="background: white; color: #333333; font-family: 新細明體;">、</span><span lang="EN-US" style="background: white; color: #333333;">Beck</span><span style="background: white; color: #333333; font-family: 新細明體;">、</span><span lang="EN-US" style="background: white; color: #333333;">Rage Against the Machine</span><span style="background: white; color: #333333; font-family: 新細明體;">、</span><span lang="EN-US" style="background: white; color: #333333;">Foo Fighters</span><span style="background: white; color: #333333; font-family: 新細明體;">,</span><span style="background: white; color: #333333; font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-hansi-font-family: "Times New Roman";">還有</span><span lang="EN-US" style="background: white; color: #333333;">Red Hot Chili Peppers</span><span style="background: white; color: #333333; font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-hansi-font-family: "Times New Roman";">做外場音響工程師。</span><span lang="EN-US" style="background: white; color: #333333;"><o:p></o:p></span></div>
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<span style="color: #134f5c;"><b><span lang="EN-US">GC: </span></b><b><span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-hansi-font-family: "Times New Roman";">在</span><span lang="EN-US">2006</span></b><b><span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-hansi-font-family: "Times New Roman";">年,</span><span lang="EN-US">Rat Sound</span></b><b><span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-hansi-font-family: "Times New Roman";">作了哪些巡迴跟演出呢?</span><span lang="EN-US"><o:p></o:p></span></b></span></div>
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<b><span lang="EN-US">Dave
Rat: </span></b><span lang="EN-US">Red Hot Chili Peppers</span><span style="font-family: 新細明體;">、<span lang="EN-US">Pearl Jam</span>、<span lang="EN-US">Mars
Volta</span>、<span lang="EN-US">AFI</span>、<span lang="EN-US">Taste of Chaos Warped
Tour</span>、<span lang="EN-US">Toni Braxton</span>,還有<span lang="EN-US">Coachella
Festival</span>的某些舞台。</span></div>
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<span style="color: #134f5c;"><b><span lang="EN-US">GC: </span></b><b><span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-hansi-font-family: "Times New Roman";">那在</span><span lang="EN-US">2007</span></b><b><span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-hansi-font-family: "Times New Roman";">年有什麼目標嗎?</span><span lang="EN-US"><o:p></o:p></span></b></span></div>
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<b><span lang="EN-US">Dave
Rat:</span></b><span lang="EN-US"> </span><span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-hansi-font-family: "Times New Roman";">我們從不去預設什麼標的,也不會想說一定要去接到什麼場子。所以我們唯一要做的就只有努力工作,看我們做的如何。我從不會知道到底會有什麼事在等著我們。</span></div>
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<span style="color: #134f5c;"><b><span lang="EN-US">GC: </span></b><b><span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-hansi-font-family: "Times New Roman";">你可以談談在這些年來聲音系統設計以及喇叭上的革命</span></b><b><span style="font-family: 新細明體;">嗎?還有</span><span lang="EN-US">Rat Sound</span></b><b><span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-hansi-font-family: "Times New Roman";">是如何面對這些變動呢?</span><span lang="EN-US"><o:p></o:p></span></b></span></div>
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<b><span lang="EN-US">Dave
Rat:</span></b><span lang="EN-US"> </span><span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-hansi-font-family: "Times New Roman";">當我一開始進這一行的時候,那時的大型巡迴總是靠著巨大無比又笨重的喇叭以及聲音系統做成的。還有就是,我去參加的每一場現場演出聽起來都遭透了,我覺得我的家庭音響還有錄音室音響都要好聽多了。我心裡一直不停的問:「難道沒有人可以讓現場</span><span lang="EN-US">PA</span><span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-hansi-font-family: "Times New Roman";">聽起來像是很大聲的錄音室監聽喇叭嗎?」理所當然地,這就成了我的目標。建立一套巨大的</span><span lang="EN-US">PA</span><span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-hansi-font-family: "Times New Roman";">系統,卻聽起來像錄音室監聽。早些年的時候,我們看見很多人對我們「小而大聲」的系統很有意見,但時間過去,那些笨重的恐龍</span><span lang="EN-US">PA</span><span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-hansi-font-family: "Times New Roman";">設備已經變的落伍,並且被簡單而高效能的機器取代了。所以我不能說我們</span><span lang="EN-US">Rat Sound</span><span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-hansi-font-family: "Times New Roman";">的理念對這個革命有什麼貢獻;我能說嘴的是,我們是設計跟使用錄音試監聽型態的聲音系統來做大型體育館等級的世界巡迴。</span></div>
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<span lang="EN-US">Rat Sound</span><span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-hansi-font-family: "Times New Roman";">近來的設計是專注在建立</span><span lang="EN-US">MicroWedge</span><span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-hansi-font-family: "Times New Roman";">系列的生產上。雖然目前只有發表三件產品,但我們已經有一整套的</span><span lang="EN-US">Micro</span><span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-hansi-font-family: "Times New Roman";">系列可以應付不同的舞台環境,希望在過幾年就能在市場上發表。</span></div>
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<span style="color: #134f5c;"><b><span lang="EN-US">GC: </span></b><b><span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-hansi-font-family: "Times New Roman";">你也可以闡述你用在嗆辣紅椒巡迴上的雙</span><span lang="EN-US">PA</span></b><b><span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-hansi-font-family: "Times New Roman";">系統嗎?</span><span lang="EN-US"><o:p></o:p></span></b></span></div>
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<b><span lang="EN-US">Dave
Rat:</span></b><span lang="EN-US"> </span><span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-hansi-font-family: "Times New Roman";">雙</span><span lang="EN-US">PA</span><span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-hansi-font-family: "Times New Roman";">系統對我的</span><span lang="EN-US">PA</span><span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-hansi-font-family: "Times New Roman";">生涯來說,是最新最刺激的一場冒險。我真正做的是,用兩套並排的</span><span lang="EN-US">PA</span><span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-hansi-font-family: "Times New Roman";">系統來做世界性的大型體育館巡演。這整個概念是結合了</span><span lang="EN-US">Grateful
Dead</span><span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-hansi-font-family: "Times New Roman";">的</span><span lang="EN-US">”<a href="http://en.wikipedia.org/wiki/Wall_of_Sound" target="_blank">Wall ofSound</a>”</span><span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-hansi-font-family: "Times New Roman";">系統的基本概念,還有一個常見的監聽系統作法</span> <span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-hansi-font-family: "Times New Roman";">—</span> <span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-hansi-font-family: "Times New Roman";">把樂器和人聲的監聽分開來做。有一個常在樂器音箱上見到的規格說明,你並不會在揚聲器系統上見到:就是非線性失真率。為什麼咧?主要是因為它並不夠好!這樣子想好了,一顆喇叭在最大功率時,它中間的音圈會產生一個極小的破音。在這個情況下把貝斯送進去,將紙盆推到最極限;同時,再把人聲送進去,試著將紙盆推的更遠,再推回來一點,又推出去一些。喇叭紙盆的力學阻力會防止這樣的過度擴張;所以喇叭往內移動很簡單,但往外移動卻變很難。這樣的非線性運動是種聲音扭曲,而且不好聽。把低頻的聲音和人聲送進同一顆喇叭,就能輕易地為你示範這種現象,而且你會聽到人聲如顫音般模糊的樣子。如果你把兩者分別送到不同的喇叭,那低頻就不會去扭曲人聲了。</span></div>
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<span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-hansi-font-family: "Times New Roman";">我所做的只是把相同的理論搬到大型體育館用而已。第一位</span><span lang="EN-US">PA</span><span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-hansi-font-family: "Times New Roman";">負責吉他</span><span style="font-family: 新細明體;">、貝斯,還有中鼓、落地鼓;而第二位<span lang="EN-US">PA</span>負責人聲、大鼓、小鼓。這樣非線性失真率會降到最低,而且聲音會很清晰。還不需要吊上過高的陣列式喇叭,來影響場內的視野,就能讓聲音傳送到每個地方。更甚的是,我可以將任何一軌樂器及時地送到任一系統。我就能夠藉著把整個樂團擺到外場系統,或是內場系統、不同的樂器系統組合裡,來校正音場。這招真的刺激又好玩。<span lang="EN-US"><o:p></o:p></span></span></div>
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<iframe allowfullscreen='allowfullscreen' webkitallowfullscreen='webkitallowfullscreen' mozallowfullscreen='mozallowfullscreen' width='320' height='266' src='https://www.youtube.com/embed/MvUfXxalD7Q?feature=player_embedded' frameborder='0'></iframe><span style="color: #134f5c;"><b><span lang="EN-US">GC: </span></b><b><span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-hansi-font-family: "Times New Roman";">你有偏好的人聲麥克風嗎?</span><span lang="EN-US"><o:p></o:p></span></b></span></div>
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<b><span lang="EN-US">Dave
Rat: </span></b><span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-hansi-font-family: "Times New Roman";">我個人幾乎每一場演出都會使用</span><a href="http://www.audixusa.com/docs_12/units/OM7.shtml" target="_blank">AudixOM7</a><span style="font-family: 新細明體;">。我還沒在其他的麥克風找到像<span lang="EN-US">OM7</span>這樣有<span lang="EN-US">off-axis</span>跟排除背景聲<a href="file:///D:/%E7%9B%A7%E7%9B%A7%E7%9A%84%E6%9D%B1%E8%A5%BF/%E7%BF%BB%E8%AD%AF/Guitar%20Center%20Interviews%20Dave%20Rat%E7%BF%BB%E8%AD%AF.doc#_ftn3" name="_ftnref3" title=""><span class="MsoFootnoteReference"><span lang="EN-US"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-size: 12pt;">[3]</span></span><!--[endif]--></span></span></a>的功能。另外,它是支能貼得很近唱歌的麥克風,正是符合我所需求,特別在是我常工作的那種回響很大的場地。它絕對是那種嘴要貼在上面的麥克風類型,因為它有很強的背景聲消除功能。而對那些唱歌會離麥克風遠一點的歌手,我會使用<span lang="EN-US"><a href="http://www.sennheiserusa.com/professional-cardioid-vocal-microphones-condenser-microphones-evolution-900" target="_blank">Sennheiser 900 Series</a></span>麥克風。<span lang="EN-US"><o:p></o:p></span></span></div>
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<span style="color: #134f5c;"><b><span lang="EN-US" style="font-family: 新細明體;">GC: </span></b><b><span style="font-family: 新細明體;">還有哪些麥克風是你每場表演一定會用的?<span lang="EN-US"><o:p></o:p></span></span></b></span></div>
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<b><span lang="EN-US" style="font-family: 新細明體;">Dave Rat: </span></b><span style="font-family: 新細明體;">我很愛<span lang="EN-US">Shure SM 98</span>跟<span lang="EN-US"><a href="http://www.shure.com/americas/products/microphones/beta/beta98amp-miniature-cardioid-drum-microphone" target="_blank">Beta 98</a></span>,用它們來收小鼓敲擊面、中鼓及落地鼓。你有試過用<span lang="EN-US">Beta 98</span>收貝斯嗎?我從來都不明白,為什麼人們會把大振膜、聲音鬆散的麥克風拿來收聲音已經是鬆散的貝斯喇叭。<span lang="EN-US">98</span>剛上市,還不是很受歡迎的時候,我就開始用了。我配了一對<span lang="EN-US"><a href="http://www.shure.com/americas/products/microphones/beta/beta-91a-half-cardioid-condenser-microphone" target="_blank">Shure Beta 91</a></span>跟<span lang="EN-US"><a href="http://www.audixusa.com/docs_12/units/D6.shtml" target="_blank">Audix D6</a></span>來收大鼓,並且離那些型號的倍數是九的電容式麥克風遠遠地。</span></div>
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<span style="color: #134f5c;"><b><span lang="EN-US">GC: </span></b><b><span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-hansi-font-family: "Times New Roman";">當你在做訊號處理的時候是個極微主義者嗎?</span><span lang="EN-US"><o:p></o:p></span></b></span></div>
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<b><span lang="EN-US">Dave
Rat:</span></b><span lang="EN-US"> </span><span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-hansi-font-family: "Times New Roman";">哈!哈!你是從哪裡聽來的?我有一只很大的訊號處理機櫃,裡面有兩台效果器,七台</span><span lang="EN-US">gates</span><span style="font-family: 新細明體;">、跟十二台壓縮器,這就是我做大場子的所須設備了。除了對主<span lang="EN-US">PA</span>系統和超低音系統之外,通常,當談到機器時,我承認我是個極微主義者。我不會去用那種有華麗面板、大旋鈕、絢爛燈光、讓人自我膨脹的機器。我把我用的機器都熟記下來,我會在黑暗中,一邊看著樂團,一邊作混音。我要的機器是要夠直覺、快速、準確、耐操,又穩定。</span></div>
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<span style="color: #134f5c;"><b><span lang="EN-US">GC: </span></b><b><span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-hansi-font-family: "Times New Roman";">哪些是你最愛的壓縮器、頻率等化器,還有效果器?</span><span lang="EN-US"><o:p></o:p></span></b></span></div>
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<b><span lang="EN-US">Dave
Rat: </span></b><span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-hansi-font-family: "Times New Roman";">我最愛的壓縮器是</span><span lang="EN-US"><a href="http://www.bssaudio.com/discont_productpg.php?product_id=14" target="_blank">BSSDPR 404</a></span><span style="font-family: 新細明體;">。它是一<span lang="EN-US">U</span>,四組合一的壓縮器。它能測量得很精準,還有我從來都沒用過的<span lang="EN-US">de-esser</span>,但它的使用簡單。我對於壓縮器最重要的要求,就是要它能聽起來像是我在錶頭上看到的一樣。有些壓縮器在你看到之前就已經作用了;而有些壓縮器是你動了卻感覺不出來。我對<span lang="EN-US">EQ</span>也是一樣的,我最愛<span lang="EN-US"><a href="http://www.bssaudio.com/productpg.php?product_id=1" target="_blank">BSS 960</a></span>的<span lang="EN-US">1/3
graphics</span>,還有<span lang="EN-US"><a href="http://www.meyersound.com/products/processor_drive_systems/cp-10/" target="_blank">Meyer CP10</a></span>的<span lang="EN-US">parametric</span>。我真的很仰賴<span lang="EN-US">in house EQ</span>的高通濾波器來消除主系統的低頻,也能讓<span lang="EN-US">fader</span>可以推的毫無顧慮。因為我在黑暗中作混音,我處理<span lang="EN-US">1/3 octave graphics</span>的最好方法,就是拉掉一些<span lang="EN-US">250Hz</span>跟<span lang="EN-US">2.5kHz</span>。然後我就能盡情地照著<span lang="EN-US">octave</span>的算計來調整等化器,就像盲人點字一般。如果我只能帶一台效果器的話,那我會帶<span lang="EN-US">Lexicon PCM 60</span>。我喜歡它那種美妙的老式、清脆的殘響聲音,而且我只需按下按鈕就能改變設定。幾乎是很難再找到別的機器能有像它那樣的聲音。而至於其他我會用到的效果聲,在每台像樣的多功能效果器都能找的到。我另一台最愛的機器就是,<span lang="EN-US"><a href="http://www.primalgear.com/eventidefx007.html" target="_blank">Eventide H3500</a></span>。<span lang="EN-US">PCM 60</span>做所有的殘響效果;而<span lang="EN-US">H3500</span>做所有其他的事情,像是<span lang="EN-US">vox flanging</span>、<span lang="EN-US">delay cues</span>,或<span lang="EN-US"> guitar panning</span>。在多年以前,我曾使用四到五台的效果器;但我發現,在這麼大回響的場地使用那麼多效果,只是在堆積聲音,並讓聲音失去重心。我比較喜歡在一些特定的歌用上一、兩種效果。而且,我很愛<span lang="EN-US"><a href="http://www.dbxpro.com/en-US/products/120a" target="_blank">DBX 120 Xds</a> sub harmonics synth</span>的聲音。我不太常用它,但它有種令人費解的氣音低頻。<span lang="EN-US"><o:p></o:p></span></span></div>
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<iframe allowfullscreen='allowfullscreen' webkitallowfullscreen='webkitallowfullscreen' mozallowfullscreen='mozallowfullscreen' width='320' height='266' src='https://www.youtube.com/embed/MMMmR1u0CFk?feature=player_embedded' frameborder='0'></iframe><span style="color: #134f5c;"><b><span lang="EN-US" style="font-family: 新細明體;">GC: </span></b><b><span style="font-family: 新細明體;">你是怎麼使用壓縮的?<span lang="EN-US"><o:p></o:p></span></span></b></span></div>
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<b><span lang="EN-US" style="font-family: 新細明體;">Dave Rat: </span></b><span style="font-family: 新細明體;">我幾乎都拿來壓<span lang="EN-US">sub groups</span>。我覺得這麼做,給我一種很方便、又有邏輯性、又好管理的方式來控制各種樂器。我把所有的人聲集結起來,送到一對立體聲<span lang="EN-US">sub groups</span>,並壓縮它們。這樣一來,不管是一人唱或多人唱,整體的人聲音量都能保持不變。我也是用一樣的做法:吉他送成立體聲,貝斯送單聲道,再分別壓縮它們的<span lang="EN-US">sub groups</span>。我把大鼓跟小鼓混成一軌送進<span lang="EN-US">sub group</span>壓縮。中鼓及落地鼓組送進立體聲<span lang="EN-US">sub groups</span>壓縮,而銅鈸類也是一樣送成立體聲軌。另一個做<span lang="EN-US">sub groups</span>壓縮的好處就是,我可以不用離開混音台就能設定好壓縮的闕值。把<span lang="EN-US">VCA</span>通道也照我做<span lang="EN-US">sub groups</span>一樣分配,<span lang="EN-US">VCA</span>設<span lang="EN-US">pre-threshold </span>,<span lang="EN-US">Sub
groups</span>設<span lang="EN-US">post-threshold</span>。這樣子,我能一瞄眼壓縮器,就能迅速、完美的操作它們。最後,最酷的地方就是:我能藉著把所有的<span lang="EN-US">channel inputs</span>送到一軌<span lang="EN-US">master VCA</span>,還有把所有的<span lang="EN-US">subgroups</span>分配到另一軌<span lang="EN-US">master VCA</span>;我就能獲得一軌<span lang="EN-US">master pre compressor</span>和一軌<span lang="EN-US">master post
compressor</span>,讓我能夠將所有音軌壓縮,而得到較壓抑的聲音;或不壓縮,而得到動態較大的聲音。因為我獨立壓縮每件樂器,我就不會有那種,因為做整體的壓縮,而有惱人的副作用;就像有一個樂器音量變小了,但另一個樂器還在高音量的情況。<span lang="EN-US"><o:p></o:p></span></span></div>
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<span style="color: #134f5c;"><b><span lang="EN-US">GC: </span></b><b><span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-hansi-font-family: "Times New Roman";">你會在什麼音源上使用</span><span lang="EN-US">gate</span></b><b><span style="font-family: 新細明體;">?<span lang="EN-US"><o:p></o:p></span></span></b></span></div>
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<b><span lang="EN-US" style="font-family: 新細明體;">Dave Rat:</span></b><span lang="EN-US" style="font-family: 新細明體;"> </span><span style="font-family: 新細明體;">我喜歡在兩隻大鼓麥克風掛上立體聲<span lang="EN-US">gates</span>,但會讓一支的聲音比較起來;小鼓的敲擊面跟共振面也是一樣。以紅椒為例,還會在中鼓跟兩顆落地鼓掛上三組<span lang="EN-US">gates</span>,但就這樣了。我偏好<span lang="EN-US">Klark Teknik</span>的機器,而<span lang="EN-US">Drawmer</span>是我的第二選擇。對我來說,這兩種牌子工作都很出色,也像是壓縮器,我比較喜歡四合一的機器。我喜歡的<span lang="EN-US">gate</span>要是能用很少的旋鈕就能工作的。我喜歡先設好一組設定,再把設定拷貝到別的鼓組上。<span lang="EN-US"><o:p></o:p></span></span></div>
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<b><span lang="EN-US" style="font-family: 新細明體;">Dave Rat:</span></b><span style="font-family: 新細明體;"> </span><span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman";">我的概念是這樣:混音台上的</span><span lang="EN-US">channel EQ</span><span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman";">的工作,是修正麥克風跟樂器之間的聲音。</span><span lang="EN-US">House EQ</span><span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman";">的任務呢,是要修正系統和場館之間的聲音。而系統訊號處理器的</span><span lang="EN-US">EQ</span><span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman";">呢,是要修正</span><span lang="EN-US">speaker</span><span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman";">、</span><span lang="EN-US">cabinet</span><span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman";">、</span><span lang="EN-US">construction</span><span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman";">之間的聲音,以及</span><span lang="EN-US">cabinet</span><span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman";">和</span><span lang="EN-US">cabinet</span><span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman";">之間的互動。在對的地方用上對的</span><span lang="EN-US">EQ</span><span style="font-family: 新細明體;">,就能大大地減少設定的時間以及減少失誤。<span lang="EN-US"><o:p></o:p></span></span></div>
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<span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-hansi-font-family: "Times New Roman";">如果混音台</span><span lang="EN-US">EQ</span><span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-hansi-font-family: "Times New Roman";">弄得好,那你應該可以錄到從混音台上左右聲道出來的正確混音,並聽起來很棒。只要你每天都用同樣的麥克風,舞台上的聲音不動;那你就不應該去動你的</span><span lang="EN-US">Channel EQ</span><span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-hansi-font-family: "Times New Roman";">,無論是在任何場地。</span></div>
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<span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-hansi-font-family: "Times New Roman";">在每一個表演日,各種空間聲音不同的修正應該要從系統</span><span lang="EN-US">EQ</span><span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-hansi-font-family: "Times New Roman";">著手;而訊號處理器</span><span lang="EN-US">EQ</span><span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-hansi-font-family: "Times New Roman";">處理的是修正不同系統的改變。照著這計劃進行,應該每件事都能很有邏輯性的正確完成。</span></div>
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<span style="color: #134f5c;"><b><span lang="EN-US">GC: </span></b><b><span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-hansi-font-family: "Times New Roman";">你會用高通濾波器</span><a href="file:///D:/%E7%9B%A7%E7%9B%A7%E7%9A%84%E6%9D%B1%E8%A5%BF/%E7%BF%BB%E8%AD%AF/Guitar%20Center%20Interviews%20Dave%20Rat%E7%BF%BB%E8%AD%AF.doc#_ftn4" name="_ftnref4" title=""><span class="MsoFootnoteReference"><span lang="EN-US"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><b><span lang="EN-US" style="font-size: 12pt;">[4]</span></b></span><!--[endif]--></span></span></a></b><b><span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-hansi-font-family: "Times New Roman";">來讓你的混音變的清楚嗎?</span><span lang="EN-US"><o:p></o:p></span></b></span></div>
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<b><span lang="EN-US">Dave
Rat: </span></b><span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-hansi-font-family: "Times New Roman";">那是當然的囉!我用了很多的超低音喇叭。我最近用了四十四支雙十八吋超低音喇叭在紅椒的巡迴上,而且輸出頻率都在</span><span lang="EN-US">60Hz</span><span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-hansi-font-family: "Times New Roman";">以下。我得小心,不能讓這些頑皮的低頻到處亂跑。我不只用</span><span lang="EN-US">channel</span><span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-hansi-font-family: "Times New Roman";">上的濾波器,還用上</span><span lang="EN-US">subwoofer</span><span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-hansi-font-family: "Times New Roman";">在</span><span lang="EN-US">aux send</span><span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-hansi-font-family: "Times New Roman";">上的終極高通濾波器,讓低頻無法遁逃。低頻會從舞台上的任何一支麥克風或音源累積起來。雖然用高通濾波器會很有幫助,但他們只是削弱特定的音源所送出的低頻。既然只有送到超低頻喇叭的</span><span lang="EN-US">inputs</span><span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-hansi-font-family: "Times New Roman";">才會從超低頻出來,那麼改善低頻清晰度的方法就很明顯了。我會在超低頻喇叭關閉的情況下,根據訊號在系統中的頻率反應來判斷,什麼要送進超低頻喇叭。在大部分的系統上,我表演的混音中只會把大鼓跟貝斯</span><span lang="EN-US">DI</span><span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-hansi-font-family: "Times New Roman";">送進超低頻喇叭,雖然落地鼓跟部分的鍵盤也是有低頻的。</span></div>
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<span style="color: #134f5c;"><b><span lang="EN-US">GC: </span></b><b><span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-hansi-font-family: "Times New Roman";">你用什麼軟體跟技巧來做系統調音?</span><span lang="EN-US"><o:p></o:p></span></b></span></div>
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<b><span lang="EN-US">Dave
Rat: </span></b><span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-hansi-font-family: "Times New Roman";">我這幾年來一直在學習以及嘗試一些複雜的系統設備,但我還是保持使用最簡單的設備。除了用我的雙耳聆聽之外,我還會用三種參考方式:比較、視覺、機器。我的比較參考方式是用一對</span><span lang="EN-US">Sony MDR3000</span><span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-hansi-font-family: "Times New Roman";">耳機。我會反覆比對現場的聲音在耳機裡以及</span><span lang="EN-US">PA</span><span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-hansi-font-family: "Times New Roman";">系統裡的感覺。我發現我用</span><span lang="EN-US">house
EQ</span><span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-hansi-font-family: "Times New Roman";">去拷貝耳機的聲音用在</span><span lang="EN-US">PA</span><span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-hansi-font-family: "Times New Roman";">系統上,會得到很出色的結果。第二是視覺,我所用的舊</span><span lang="EN-US">1/3 octave
DBX RTA</span><span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-hansi-font-family: "Times New Roman";">提供我一個簡易上手的視覺參考。我知道一個好聲音該在機器上呈現的樣子,所以它可以在任何狀況下給我提醒。既然人的聽覺會因感冒、宿醉、飛行而受到影響,視覺的參考真的可以讓我知道我現在的聽覺狀態。機器的參考是根據我知道</span><span lang="EN-US">EQ</span><span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-hansi-font-family: "Times New Roman";">的位置該看起來是如何,就好像我知道在不同場館中典型系統</span><span lang="EN-US">EQ</span><span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-hansi-font-family: "Times New Roman";">的模樣。我發現</span><span lang="EN-US">EQ</span><span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-hansi-font-family: "Times New Roman";">並不會隨著時間過去而改變很多,所以如果我增益高頻卻還是得到很平的頻率反應時,我就能回過頭來嘗試並判斷原因。是我的耳朵變遲鈍了嗎?系統架設的正確嗎?也許是麥克風的問題?</span></div>
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<span style="color: #134f5c;"><b><span lang="EN-US">GC: </span></b><b><span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-hansi-font-family: "Times New Roman";">作現場混音時,什麼是一個好的聲音內容?</span><span lang="EN-US"><o:p></o:p></span></b></span></div>
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<b><span lang="EN-US">Dave
Rat:</span></b><span lang="EN-US"> </span><span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-hansi-font-family: "Times New Roman";">對有主唱的樂團來說,「你能聽見人聲嗎?」是最高的準則。大多的現場演出都是在聲響反應不好的地方辦的,完美的聲響反應是不可能發生的。完美的聲響反應是錄音師的工作;現場聲音工程師的任務是將聲音呈現好,好讓出席的觀眾可以帶著美好記憶,滿意地走回家的。我想讓每件樂器都能聽的清楚,並且確保聲音不會傷耳朵,不論是在音色上或音量上。最重要的事情,就是要把樂團所產生的衝擊以及刺激帶給觀眾。</span></div>
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<span style="color: #134f5c;"><b><span lang="EN-US">GC: </span></b><b><span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-hansi-font-family: "Times New Roman";">什麼是你最喜歡的混音台?</span><span lang="EN-US"><o:p></o:p></span></b></span></div>
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<b><span lang="EN-US">Dave
Rat: </span></b><span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-hansi-font-family: "Times New Roman";">最近是</span><span lang="EN-US"><a href="http://www.midasconsoles.com/h3000.php" target="_blank">Midas H3000</a></span><span style="font-family: 新細明體;">。我的雙<span lang="EN-US">PA</span>系統要用掉很多<span lang="EN-US">sub
groups</span>,<span lang="EN-US">24</span>路的<span lang="EN-US">sub groups</span>讓我可以工作的很順利。<span lang="EN-US"><o:p></o:p></span></span></div>
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<span style="color: #134f5c;"><b><span lang="EN-US" style="font-family: 新細明體;">GC: </span></b><b><span style="font-family: 新細明體;">你可以談一下為何在近來紅椒的場子,都用較小的混音台嗎?<span lang="EN-US"><o:p></o:p></span></span></b></span></div>
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<b><span lang="EN-US" style="font-family: 新細明體;">Dave Rat:</span></b><span lang="EN-US" style="font-family: 新細明體;"> </span><span style="font-family: 新細明體;">我有點像是在追求:用盡可能最小的混音台來做最大的場子。其實這是從一個玩笑開始的,有個我曾一起共事的監聽工程師不停地的在增加設備。然後我就決定,每次他一增加設備,我就減少我的設備。到了最後,他變成用<span lang="EN-US">Midas XL4</span>做,而我縮減成<span lang="EN-US">32</span>軌的<span lang="EN-US"><a href="http://www.midasconsoles.com/verona.php" target="_blank">MidasVerona</a></span>。然後我用了台<span lang="EN-US">32</span>軌的<span lang="EN-US"><a href="http://www.midasconsoles.com/siena-specs.php" target="_blank">Midas Siena</a> </span>去<span lang="EN-US">on</span>紅椒一萬兩千人的場子。我總是喜歡用我自己的巡迴設備做外場,但總是會有些時候,我會需要使用當地的設備。我希望有天能用<span lang="EN-US">Verona</span>或<span lang="EN-US">Siena</span>做五萬人以上的音樂祭,這只是遲早的事。<span lang="EN-US"><o:p></o:p></span></span></div>
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<span style="color: #134f5c;"><b><span lang="EN-US" style="font-family: 新細明體;">GC: </span></b><b><span style="font-family: 新細明體;">我有看到你在<span lang="EN-US">ebay</span>上賣你們和嗆辣紅椒的燈光師<span lang="EN-US">Scott</span>的<span lang="EN-US">T-shirt</span>,那是怎麼一回事?<span lang="EN-US"><o:p></o:p></span></span></b></span></div>
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<b><span lang="EN-US" style="font-family: 新細明體;">Dave Rat: </span></b><span style="font-family: 新細明體;">好的,我們只是在思考關於「隨行工作人員」的市場價值,而且因為器材市場上的供給及需求,讓拍賣價錢狂飆到四百零六美元,而我們將會捐百分之二十五的所得給沖浪者聯盟<a href="file:///D:/%E7%9B%A7%E7%9B%A7%E7%9A%84%E6%9D%B1%E8%A5%BF/%E7%BF%BB%E8%AD%AF/Guitar%20Center%20Interviews%20Dave%20Rat%E7%BF%BB%E8%AD%AF.doc#_ftn5" name="_ftnref5" title=""><span class="MsoFootnoteReference"><span lang="EN-US"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-size: 12pt;">[5]</span></span><!--[endif]--></span></span></a>。不僅如此,我還能很驕傲地說:我們讓這筆交易成了<span lang="EN-US">goofyauctions.com</span>上的熱門拍賣,還被北加州以及波特蘭的電台報導,甚至還出現在遙遠地方的網站上,像是以色列。<span lang="EN-US"><o:p></o:p></span></span></div>
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<span style="font-family: 新細明體;">為了那些錯過這個拍賣的人們,我們推出了別的活動。在紅椒的巡迴上,我們都會去裝飾控台區,好讓它不會成為一個醜陋的地方。既然我們在秋天時的裝飾主題玩的很愉快,那在換成冬季時應該要有新的玩意。為了尋找新的裝飾,以及在工作時能額外能賺點小錢;我們決定在<span lang="EN-US">ebay</span>上拍賣我們背上的廣告空間。贏家可以在世界上任何一場紅椒的演出,讓我們背上他的廣告。結果喬治成了贏家,他擁有一家位於加拿大安大略省<a href="file:///D:/%E7%9B%A7%E7%9B%A7%E7%9A%84%E6%9D%B1%E8%A5%BF/%E7%BF%BB%E8%AD%AF/Guitar%20Center%20Interviews%20Dave%20Rat%E7%BF%BB%E8%AD%AF.doc#_ftn6" name="_ftnref6" title=""><span class="MsoFootnoteReference"><span lang="EN-US"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-size: 12pt;">[6]</span></span><!--[endif]--></span></span></a>,叫做<span lang="EN-US">Crank Productions</span>的小家音響出租公司。他是個很酷的傢伙,而且我們很喜歡他的廣告。<span lang="EN-US"><o:p></o:p></span></span></div>
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<span style="font-family: 新細明體;">我們本想進行一個提基<a href="file:///D:/%E7%9B%A7%E7%9B%A7%E7%9A%84%E6%9D%B1%E8%A5%BF/%E7%BF%BB%E8%AD%AF/Guitar%20Center%20Interviews%20Dave%20Rat%E7%BF%BB%E8%AD%AF.doc#_ftn7" name="_ftnref7" title=""><span class="MsoFootnoteReference"><span lang="EN-US"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-size: 12pt;">[7]</span></span><!--[endif]--></span></span></a>主題,但是遲遲無法協調好問題。我們將在冬季的歐洲巡迴時,公開新的主題。因為我們已經把經費花完了,所以我們非常地期待。<span lang="EN-US"><o:p></o:p></span></span></div>
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<span style="color: #134f5c;"><b><span lang="EN-US" style="font-family: 新細明體;">GC: </span></b><b><span style="font-family: 新細明體;">你有最喜歡的場地嗎?<span lang="EN-US"><o:p></o:p></span></span></b></span></div>
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<iframe allowfullscreen='allowfullscreen' webkitallowfullscreen='webkitallowfullscreen' mozallowfullscreen='mozallowfullscreen' width='320' height='266' src='https://www.youtube.com/embed/Rm0USJt5ZdM?feature=player_embedded' frameborder='0'></iframe><b><span lang="EN-US" style="font-family: 新細明體;">Dave Rat:</span></b><span lang="EN-US" style="font-family: 新細明體;"> </span><span style="font-family: 新細明體;">在我的臥房聽<span lang="EN-US">MP3</span>算嗎?我在愛爾蘭的<a href="http://www.slanecastle.ie/" target="_blank">史蘭城堡</a><a href="file:///D:/%E7%9B%A7%E7%9B%A7%E7%9A%84%E6%9D%B1%E8%A5%BF/%E7%BF%BB%E8%AD%AF/Guitar%20Center%20Interviews%20Dave%20Rat%E7%BF%BB%E8%AD%AF.doc#_ftn8" name="_ftnref8" title=""><span class="MsoFootnoteReference"><span lang="EN-US"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-size: 12pt;">[8]</span></span><!--[endif]--></span></span></a>、丹佛的<a href="http://www.redrocksonline.com/" target="_blank">紅石露天劇場公園</a><a href="file:///D:/%E7%9B%A7%E7%9B%A7%E7%9A%84%E6%9D%B1%E8%A5%BF/%E7%BF%BB%E8%AD%AF/Guitar%20Center%20Interviews%20Dave%20Rat%E7%BF%BB%E8%AD%AF.doc#_ftn9" name="_ftnref9" title=""><span class="MsoFootnoteReference"><span lang="EN-US"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-size: 12pt;">[9]</span></span><!--[endif]--></span></span></a>、還有南西雅圖的<a href="http://www.gorgeamphitheatre.net/" target="_blank">葛治露天劇場</a><span class="MsoFootnoteReference"><span lang="EN-US"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-size: 12pt;">[<a href="file:///D:/%E7%9B%A7%E7%9B%A7%E7%9A%84%E6%9D%B1%E8%A5%BF/%E7%BF%BB%E8%AD%AF/Guitar%20Center%20Interviews%20Dave%20Rat%E7%BF%BB%E8%AD%AF.doc#_ftn10" name="_ftnref10" title="">10]</a></span></span><a href="file:///D:/%E7%9B%A7%E7%9B%A7%E7%9A%84%E6%9D%B1%E8%A5%BF/%E7%BF%BB%E8%AD%AF/Guitar%20Center%20Interviews%20Dave%20Rat%E7%BF%BB%E8%AD%AF.doc#_ftn10" name="_ftnref10" title=""><!--[endif]--></a></span></span>,都有美好的回憶。但事實上這都是因為人們的緣故。樂迷們因為興奮而展現出的活力,總會讓我感動得起雞皮疙瘩;那就是我最喜歡且享受的演出。就以聲響環境和器材搬運來說,這些場地都是很難做的滑雪場以及攀岩場地。但是挑戰總是帶來更甜美的成就感。<span lang="EN-US"><o:p></o:p></span></span></div>
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<span style="color: #134f5c;"><b><span lang="EN-US" style="font-family: 新細明體;">GC: </span></b><b><span style="font-family: 新細明體;">能維持和樂團之間良好工作關係的關鍵是?<span lang="EN-US"><o:p></o:p></span></span></b></span></div>
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<b><span lang="EN-US">Dave
Rat: </span></b><span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-hansi-font-family: "Times New Roman";">我想,身為一個現場聲響工程師,能夠給樂團最重要的東西,就是信賴。如果我能給樂團足夠的信心,讓他們知道,上舞台的時候聲音一定是盡善盡美,那我就成功了。不要有藉口、不要怨天尤人。我為這場表演的聲音負上最大的責任,句點。我願意竭盡我所能地去讓聲音變好。如果我搞砸了,我會負責,並保證不再犯同樣的錯誤。這是我對聲響工程師職責的認知,而這樣也能自然地讓工作關係保持良好。</span></div>
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<span style="color: #134f5c;"><b><span lang="EN-US">GC: </span></b><b><span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-hansi-font-family: "Times New Roman";">當你不巡迴的時候你喜歡做什麼?</span><span lang="EN-US"><o:p></o:p></span></b></span></div>
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<b><span lang="EN-US">Dave
Rat:</span></b><span lang="EN-US"> </span><span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-hansi-font-family: "Times New Roman";">不巡迴的時候?如果是我剛回家的時候,我會待在家裡,陪我的小孩。可能每天都去游泳、在附近騎摩托車。當我已經回家一陣子時,我冬天會去滑雪,或是去釣魚,還做些焊接。我生命中最重要的其中一件事,就是做</span><span lang="EN-US">Rat Sound</span><span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-hansi-font-family: "Times New Roman";">的一些規劃;還有盡可能地進去店裡。</span></div>
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<span style="color: #134f5c;"><b><span lang="EN-US">GC: </span></b><b><span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-hansi-font-family: "Times New Roman";">你有給想進音響圈的人任何建議嗎?</span><span lang="EN-US"><o:p></o:p></span></b></span></div>
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<b><span lang="EN-US">Dave
Rat: </span></b><span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-hansi-font-family: "Times New Roman";">學習任何事情。你知道的越多,你就越有價值。沒有什麼事情是輕如鴻毛的。學習怎麼裝車與焊線、聆聽、幫忙、自願去協助、去音響學校上課、去音響公司實習、閱讀訊息。幹這行是個苦差事,但樂觀、友善又誠實的人,只要肯苦幹實幹,在任何地方都會受到歡迎。如果你能保持專注,並願意投入你的時間;那成功就離你不遠了。</span></div>
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<span style="color: red; font-size: x-small;"><span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-hansi-font-family: "Times New Roman";">閱讀</span><span lang="EN-US">Dave</span><span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-hansi-font-family: "Times New Roman";">的巡迴記事部落格</span><span lang="EN-US"><a href="http://www.ratsound.com/blognav.htm">http://www.ratsound.com/blognav.htm</a></span></span></div>
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<span style="font-size: x-small;"><a href="file:///D:/%E7%9B%A7%E7%9B%A7%E7%9A%84%E6%9D%B1%E8%A5%BF/%E7%BF%BB%E8%AD%AF/Guitar%20Center%20Interviews%20Dave%20Rat%E7%BF%BB%E8%AD%AF.doc#_ftnref2" name="_ftn2" title=""><span class="MsoFootnoteReference"><span lang="EN-US"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US">[2]</span></span><!--[endif]--></span></span></a><span lang="EN-US"> Oxnard</span></span></div>
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<span style="font-size: x-small;"><a href="file:///D:/%E7%9B%A7%E7%9B%A7%E7%9A%84%E6%9D%B1%E8%A5%BF/%E7%BF%BB%E8%AD%AF/Guitar%20Center%20Interviews%20Dave%20Rat%E7%BF%BB%E8%AD%AF.doc#_ftnref5" name="_ftn5" title=""><span class="MsoFootnoteReference"><span lang="EN-US"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US">[5]</span></span><!--[endif]--></span></span></a><span lang="EN-US"> Surfrider Foundation</span></span></div>
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Anonymoushttp://www.blogger.com/profile/06377922510595008070noreply@blogger.com0tag:blogger.com,1999:blog-6021576624325993297.post-74829717313815962062013-01-16T22:49:00.000-08:002013-10-02T00:47:03.544-07:00錄製石器時代之后<h2>
<span style="color: #cc0000;">Recording Queens of the Stone Age</span></h2>
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<span lang="EN-US" style="color: #666666;"><a href="http://www.qotsa.com/" target="_blank">Queens of the Stone Age</a></span><span style="font-family: 新細明體;">(石器時代之后)的第四張專輯</span><em style="color: #666666;"><span lang="EN-US" style="background-color: white; background-position: initial initial; background-repeat: initial initial;"><a href="http://en.wikipedia.org/wiki/Lullabies_to_Paralyze" target="_blank">Lullabies To Paralyze</a></span></em><span style="font-family: 新細明體;">(著魔搖籃曲)奠定了他們成為世界上最大、最刺激的搖滾樂團地位。工程師兼共同製作人</span><span lang="EN-US" style="color: #666666;"><a href="http://www.joebarresi.com/" target="_blank">Joe Barresi</a></span><span style="font-family: 新細明體;">形容這張專輯的製作方式是復古技巧和瘋狂實驗的結合。</span></h3>
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<span style="background-color: white; background-position: initial initial; background-repeat: initial initial; font-family: 新細明體;">回朔到<span lang="EN-US">1960</span>年代,<span lang="EN-US">Phil Spector</span>的製作技巧在現今有了一個經典的名詞:「音牆<a href="file:///D:/%E7%9B%A7%E7%9B%A7%E7%9A%84%E6%9D%B1%E8%A5%BF/%E7%BF%BB%E8%AD%AF/%E7%BF%BB%E8%AD%AF%E5%AE%8C%E7%95%A2/Recording%20Queens%20of%20the%20Stone%20Age%20%E7%BF%BB%E8%AD%AF.doc#_ftn1" name="_ftnref1" title=""><span class="MsoFootnoteReference"><span lang="EN-US"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="background-position: initial initial; background-repeat: initial initial; color: black; font-size: 12pt;">[1]</span></span><!--[endif]--></span></span></a>」。四十年後,來自加州的工程師兼製作人<span lang="EN-US">Joe Barresi</span>,他想要更進一步,做出音量更大、更硬、更具衝擊性的聲音,而最好去形容那方式的名詞可能是:「搖滾牆<a href="file:///D:/%E7%9B%A7%E7%9B%A7%E7%9A%84%E6%9D%B1%E8%A5%BF/%E7%BF%BB%E8%AD%AF/%E7%BF%BB%E8%AD%AF%E5%AE%8C%E7%95%A2/Recording%20Queens%20of%20the%20Stone%20Age%20%E7%BF%BB%E8%AD%AF.doc#_ftn2" name="_ftnref2" title=""><span class="MsoFootnoteReference"><span lang="EN-US"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="background-position: initial initial; background-repeat: initial initial; color: black; font-size: 12pt;">[2]</span></span><!--[endif]--></span></span></a>」。<span lang="EN-US"><o:p></o:p></span></span></div>
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<span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-hansi-font-family: "Times New Roman";">身為一名音樂狂熱者,</span><span lang="EN-US">Barresi</span><span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-hansi-font-family: "Times New Roman";">無論醒著或睡著,都努力使他的錄音、製作技巧能更上一層樓。他是在七歲的時候開始彈吉他。後來他加入了當地的樂團,還去南佛羅里達大學學習古典吉他以及音樂理論課程。畢業之後他搬到加州,在那裡他成唯一個出色的錄音師、混音師和製作人。你可能有聽過他錄音、混音或製作的作品了,他曾和許多的樂團合作,包括</span><span lang="EN-US" style="background-color: white; background-position: initial initial; background-repeat: initial initial;">Skunk Anansie, Hole, Monster
Magnet, Anthrax, Bauhaus, Fu Manchu, The Melvins, Bad Religion, L7, The Jesus
Lizard</span><span style="background-color: white; background-position: initial initial; background-repeat: initial initial; font-family: 新細明體;">等等。</span><span lang="EN-US" style="background-color: white; background-position: initial initial; background-repeat: initial initial; font-family: Arial;"><o:p></o:p></span></div>
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<span style="background-color: white; background-position: initial initial; background-repeat: initial initial; font-family: 新細明體;">然而,</span><span lang="EN-US" style="background-color: white; background-position: initial initial; background-repeat: initial initial;">Barresi</span><span style="background-color: white; background-position: initial initial; background-repeat: initial initial; font-family: 新細明體;">最為著名的重裝範例,就是</span><span lang="EN-US" style="background-color: white; background-position: initial initial; background-repeat: initial initial;">Queens of the Stone Age</span><span style="background-color: white; background-position: initial initial; background-repeat: initial initial; font-family: 新細明體;">:他錄音、混音、共同製作,在</span><span lang="EN-US" style="background-color: white; background-position: initial initial; background-repeat: initial initial;">1998</span><span style="background-color: white; background-position: initial initial; background-repeat: initial initial; font-family: 新細明體;">年發行的樂團首張同名專輯,就像他們最近發行的第四張專輯</span><i><span lang="EN-US" style="font-family: 新細明體; mso-bidi-font-family: 新細明體; mso-font-kerning: 0pt;">Lullabies To Paralyze</span></i><span style="background-color: white; background-position: initial initial; background-repeat: initial initial; font-family: 新細明體;">一樣。共同的製作人是</span><span lang="EN-US" style="background-color: white; background-position: initial initial; background-repeat: initial initial;">Josh Homme</span><span style="background-color: white; background-position: initial initial; background-repeat: initial initial; font-family: 新細明體;">,樂團的領袖、吉他手、主唱及詞曲創作者。</span><span lang="EN-US" style="background-color: white; background-position: initial initial; background-repeat: initial initial;">Barresi</span><span style="background-color: white; background-position: initial initial; background-repeat: initial initial; font-family: 新細明體;">說:「我和</span><span lang="EN-US" style="background-color: white; background-position: initial initial; background-repeat: initial initial;">Josh</span><span style="background-color: white; background-position: initial initial; background-repeat: initial initial; font-family: 新細明體;">是老相識了,我做過三張</span><span lang="EN-US" style="background-color: white; background-position: initial initial; background-repeat: initial initial;"><a href="http://en.wikipedia.org/wiki/Kyuss" target="_blank">Kyuss</a></span><span style="background-color: white; background-position: initial initial; background-repeat: initial initial; font-family: 新細明體;">的專輯。而樂團解散後,</span><span lang="EN-US" style="background-color: white; background-position: initial initial; background-repeat: initial initial;">Josh</span><span style="background-color: white; background-position: initial initial; background-repeat: initial initial; font-family: 新細明體;">搬到西雅圖找別的事情做。他寄給我一些試聽帶,是他正在進行的專輯,那音樂大大地震撼了我!他自己掏腰包要做這張專輯,所以我們就去了沙漠,在三週內完成了錄音。那是張純粹的藍領專輯。而那就成為了<span lang="EN-US">QOTSA</span>的第一張專輯。</span><span lang="EN-US" style="background-color: white; background-position: initial initial; background-repeat: initial initial;">Josh</span><span style="background-color: white; background-position: initial initial; background-repeat: initial initial; font-family: 新細明體;">有問過我要不要做</span><i><span lang="EN-US" style="background-color: white; background-position: initial initial; background-repeat: initial initial;"><a href="http://en.wikipedia.org/wiki/Songs_for_the_Deaf" target="_blank">Songs for theDeaf</a></span></i><span style="background-color: white; background-position: initial initial; background-repeat: initial initial; font-family: 新細明體;">(心靈之歌,樂團</span><span lang="EN-US" style="background-color: white; background-position: initial initial; background-repeat: initial initial;">2002</span><span style="background-color: white; background-position: initial initial; background-repeat: initial initial; font-family: 新細明體;">年發行的第三張專輯),但</span><span lang="EN-US" style="background-color: white; background-position: initial initial; background-repeat: initial initial;">Interscope</span><span style="background-color: white; background-position: initial initial; background-repeat: initial initial; font-family: 新細明體;">唱片公司</span><span style="background-color: white; background-position: initial initial; background-repeat: initial initial; font-family: 新細明體;">想要一個『有名』的製作人。那樣的狀況很令人不悅,理所當然地</span><span lang="EN-US" style="background-color: white; background-position: initial initial; background-repeat: initial initial;">Josh</span><span style="background-color: white; background-position: initial initial; background-repeat: initial initial; font-family: 新細明體;">比誰都還了解自己的音樂,所以當要做</span><em><span lang="EN-US" style="background-color: white; background-position: initial initial; background-repeat: initial initial;">Lullabies To Paralyze</span></em><span style="background-color: white; background-position: initial initial; background-repeat: initial initial; font-family: 新細明體;">的時候,他就叫我來參與。」<span lang="EN-US"><o:p></o:p></span></span></div>
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<span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-hansi-font-family: "Times New Roman";">所以,擁有全然的控制權,還有比做第一張專輯時更多的預算;</span><span lang="EN-US">Homme</span><span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-hansi-font-family: "Times New Roman";">跟</span><span lang="EN-US">Barresi</span><span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-hansi-font-family: "Times New Roman";">要做比以前更多的實驗,就像他說的:「創造出獨特的東西。」</span></div>
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<span lang="EN-US" style="background-color: white; background-position: initial initial; background-repeat: initial initial;">Barresi</span><span style="background-color: white; background-position: initial initial; background-repeat: initial initial; font-family: 新細明體;">說:「樂團已經去過</span><span lang="EN-US" style="background-color: white; background-position: initial initial; background-repeat: initial initial;"><a href="http://www.ranchodelaluna.com/" target="_blank">Rancho de la Luna studios</a></span><span style="background-color: white; background-position: initial initial; background-repeat: initial initial; font-family: 新細明體;">(在<em><span style="font-style: normal;">約書亞樹國家公園</span></em></span><a href="file:///D:/%E7%9B%A7%E7%9B%A7%E7%9A%84%E6%9D%B1%E8%A5%BF/%E7%BF%BB%E8%AD%AF/%E7%BF%BB%E8%AD%AF%E5%AE%8C%E7%95%A2/Recording%20Queens%20of%20the%20Stone%20Age%20%E7%BF%BB%E8%AD%AF.doc#_ftn3" name="_ftnref3" title=""><span class="MsoFootnoteReference"><span lang="EN-US" style="background: white; color: black; font-family: "Modern No\. 20"; mso-bidi-font-family: Arial;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="background-position: initial initial; background-repeat: initial initial; font-size: 12pt;">[3]</span></span><!--[endif]--></span></span></a><span style="background-color: white; background-position: initial initial; background-repeat: initial initial; font-family: 新細明體;">)排練歌曲了。當他們回到加州的時候,已經對歌和編曲都很熟了。我有去參與幾次在加州的練習,這是我學習音樂,還有探索製作方法的方式。然後我們就把一些設備帶進</span><span lang="EN-US" style="background-color: white; background-position: initial initial; background-repeat: initial initial;"><a href="http://soundcitystudios.net/" target="_blank">Sound City studios</a></span><span style="background-color: white; background-position: initial initial; background-repeat: initial initial; font-family: 新細明體;">,用第一天來進行各種測試,並決定什麼聲音很適合哪些部分。我們有一大堆的音箱、吉他、鼓組,其中有一些是我自己的東西。」</span><span style="font-family: 新細明體;">當</span><span lang="EN-US">Barresi</span><span style="font-family: 新細明體;">談到「一些自己的東西」時,他展現了大師級藝</span><span style="font-family: 新細明體;">術般</span><span style="font-family: 新細明體;">的輕描淡寫</span><span style="font-family: 新細明體;">,事實上他是個奢侈的收藏家,囊括了大量的效果器、吉他,還有音箱</span><span style="font-family: 新細明體;">。他說:「我有</span><span lang="EN-US">250</span><span style="font-family: 新細明體;">顆吉他效果器、接近</span><span lang="EN-US">45</span><span style="font-family: 新細明體;">把的吉他、</span><span lang="EN-US">75</span><span style="font-family: 新細明體;">台吉他音箱(</span><span lang="EN-US" style="background-color: white;">35</span><span style="background-color: white; font-family: 新細明體;">台</span><span lang="EN-US" style="background-color: white;">combos</span><span style="background-color: white; font-family: 新細明體;">跟</span><span lang="EN-US" style="background-color: white;">40</span><span style="background-color: white; font-family: 新細明體;">台</span><span lang="EN-US" style="background-color: white;">heads</span><span style="font-family: 新細明體;">)、數不清的</span><span lang="EN-US" style="background-color: white;">outboard gears</span><span style="background-color: white; font-family: 新細明體;">。全部加起來可以塞爆一個車庫。</span><span style="font-family: 新細明體;">」</span></div>
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<span lang="EN-US">Barresi</span><span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-hansi-font-family: "Times New Roman";">的設備也包括超過</span><span lang="EN-US">30</span><span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-hansi-font-family: "Times New Roman";">隻的麥克風,像是</span><span lang="EN-US" style="background-color: white; background-position: initial initial; background-repeat: initial initial;">Royer</span><span style="background-color: white; background-position: initial initial; background-repeat: initial initial; font-family: 新細明體;">、</span><span lang="EN-US" style="background-color: white; background-position: initial initial; background-repeat: initial initial;">Neumann</span><span style="background-color: white; background-position: initial initial; background-repeat: initial initial; font-family: 新細明體;">、</span><span lang="EN-US" style="background-color: white; background-position: initial initial; background-repeat: initial initial;">Shure</span><span lang="EN-US" style="background-color: white; background-position: initial initial; background-repeat: initial initial; font-family: 'Modern No. 20';"> </span><span style="background-color: white; background-position: initial initial; background-repeat: initial initial; font-family: 新細明體; font-size: 9pt;">跟</span><span lang="EN-US" style="background-color: white; background-position: initial initial; background-repeat: initial initial;">Sennheiser</span><span style="background-color: white; background-position: initial initial; background-repeat: initial initial; font-family: 新細明體; font-size: 9pt;">。</span><span style="background-color: white; background-position: initial initial; background-repeat: initial initial; font-family: 新細明體;">有</span><span lang="EN-US" style="background-color: white; background-position: initial initial; background-repeat: initial initial;">Tube-tech</span><span style="background-color: white; background-position: initial initial; background-repeat: initial initial; font-family: 新細明體;">、</span><span lang="EN-US" style="background-color: white; background-position: initial initial; background-repeat: initial initial;">
Focusrite</span><span style="background-color: white; background-position: initial initial; background-repeat: initial initial; font-family: 新細明體;">、</span><span lang="EN-US" style="background-color: white; background-position: initial initial; background-repeat: initial initial;">EMI</span><span style="background-color: white; background-position: initial initial; background-repeat: initial initial; font-family: 新細明體;">、</span><span lang="EN-US" style="background-color: white; background-position: initial initial; background-repeat: initial initial;">Neve</span><span style="background-color: white; background-position: initial initial; background-repeat: initial initial; font-family: 新細明體;">、</span><span lang="EN-US" style="background-color: white; background-position: initial initial; background-repeat: initial initial;">Trident</span><span style="background-color: white; background-position: initial initial; background-repeat: initial initial; font-family: 新細明體;">、</span><span lang="EN-US" style="background-color: white; background-position: initial initial; background-repeat: initial initial;">Urei</span><span style="background-color: white; background-position: initial initial; background-repeat: initial initial; font-family: 新細明體;">…</span><span style="background-color: white; background-position: initial initial; background-repeat: initial initial; font-family: 新細明體;">等品牌,幾乎</span><span lang="EN-US" style="background-color: white; background-position: initial initial; background-repeat: initial initial;">40</span><span style="background-color: white; background-position: initial initial; background-repeat: initial initial; font-family: 新細明體;">台的</span><span lang="EN-US" style="background-color: white; background-position: initial initial; background-repeat: initial initial;">compressors</span><span style="background-color: white; background-position: initial initial; background-repeat: initial initial; font-family: 新細明體;">;</span><span lang="EN-US" style="background-color: white; background-position: initial initial; background-repeat: initial initial;">30</span><span style="background-color: white; background-position: initial initial; background-repeat: initial initial; font-family: 新細明體;">台的</span><span lang="EN-US" style="background-color: white; background-position: initial initial; background-repeat: initial initial;">mic
preamps</span><span style="background-color: white; background-position: initial initial; background-repeat: initial initial; font-family: 新細明體;">,</span><span style="background-color: white; background-position: initial initial; background-repeat: initial initial; font-family: 新細明體;">像是</span><span style="background-color: white; background-position: initial initial; background-repeat: initial initial; font-family: Arial;"> </span><span lang="EN-US" style="background-color: white; background-position: initial initial; background-repeat: initial initial;">Studer</span><span style="background-color: white; background-position: initial initial; background-repeat: initial initial; font-family: 新細明體;">、</span><span lang="EN-US" style="background-color: white; background-position: initial initial; background-repeat: initial initial;">
Sontec</span><span style="background-color: white; background-position: initial initial; background-repeat: initial initial; font-family: 新細明體;">、</span><span lang="EN-US" style="background-color: white; background-position: initial initial; background-repeat: initial initial;"> Pultec</span><span style="background-color: white; background-position: initial initial; background-repeat: initial initial; font-family: 新細明體;">、</span><span lang="EN-US" style="background-color: white; background-position: initial initial; background-repeat: initial initial;">API</span><span style="background-color: white; background-position: initial initial; background-repeat: initial initial; font-family: 新細明體;">、</span><span lang="EN-US" style="background-color: white; background-position: initial initial; background-repeat: initial initial;">Urei</span><span style="background-color: white; background-position: initial initial; background-repeat: initial initial; font-family: 新細明體;">、</span><span lang="EN-US" style="background-color: white; background-position: initial initial; background-repeat: initial initial;">Joe
Meek</span><span style="background-color: white; background-position: initial initial; background-repeat: initial initial; font-family: 新細明體;">、</span><span lang="EN-US" style="background-color: white; background-position: initial initial; background-repeat: initial initial;">Quad
Eight</span><span style="background-color: white; background-position: initial initial; background-repeat: initial initial; font-family: 新細明體;">…,</span><span style="background-color: white; background-position: initial initial; background-repeat: initial initial; font-family: 新細明體;">還有更多一些他不願多說的秘密武器</span><span style="background-color: white; background-position: initial initial; background-repeat: initial initial; font-family: 新細明體; font-size: 9pt;">。</span><span style="background-color: white; background-position: initial initial; background-repeat: initial initial; font-family: 新細明體;">這些收藏顯示了</span><span lang="EN-US" style="background-color: white; background-position: initial initial; background-repeat: initial initial;">Barresi</span><span style="background-color: white; background-position: initial initial; background-repeat: initial initial; font-family: 新細明體;">的錄音風格:</span><span style="background-color: white; background-position: initial initial; background-repeat: initial initial; font-family: 新細明體;">對於錄音前置作業的重視,還有這些機器大多是類比的、老式的。</span><span lang="EN-US" style="background-color: white; background-position: initial initial; background-repeat: initial initial;"><o:p></o:p></span></div>
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<span lang="EN-US">Barresi</span><span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-hansi-font-family: "Times New Roman";">闡述道:「我喜歡注重在事情像是,這個部份怎麼演奏、用什麼吉他演奏、收音的位置、使用的鼓組、如何去唱、用什麼混音台錄音,還有用什麼麥克風跟前級…等等。之前的幾個晚上我都花時間在做</span><span lang="EN-US" style="background-color: white; background-position: initial initial; background-repeat: initial initial;">Neve</span><span style="background-color: white; background-position: initial initial; background-repeat: initial initial; font-family: 新細明體;">和</span><span lang="EN-US" style="background-color: white; background-position: initial initial; background-repeat: initial initial;">Quad Eight mic preamps</span><span style="background-color: white; background-position: initial initial; background-repeat: initial initial; font-family: 新細明體;">的</span><span lang="EN-US" style="background-color: white; background-position: initial initial; background-repeat: initial initial;">AB</span><span style="background-color: white; background-position: initial initial; background-repeat: initial initial; font-family: 新細明體;">測試</span><span style="background-color: white; background-position: initial initial; background-repeat: initial initial; font-family: 新細明體; font-size: 9pt;">。</span><span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-hansi-font-family: "Times New Roman";">像這樣的事情對我而言非常重要。有個性是很必要的。每一件小事情都很有幫助。類比的器材讓我能夠盡情地去實驗,而且聲音都有其獨特性。如果我很懶的話,我就只會掛上</span><span lang="EN-US">plug-in</span><span style="font-family: 新細明體;">就好,但我喜歡去選擇對的</span><span lang="EN-US">compressor</span><span style="font-family: 新細明體;">、對的麥克風、麥克風收音位置。這都是做唱片的藝術,但在現今已經慢慢地消失了。</span><span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-hansi-font-family: "Times New Roman";">」</span></div>
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<b style="background-color: white;"><span style="color: red;"><span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-hansi-font-family: "Times New Roman";">一個錄音夢</span></span></b></h4>
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<iframe allowfullscreen='allowfullscreen' webkitallowfullscreen='webkitallowfullscreen' mozallowfullscreen='mozallowfullscreen' width='320' height='266' src='https://www.youtube.com/embed/3GyuVxgNhlk?feature=player_embedded' frameborder='0'></iframe><span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-hansi-font-family: "Times New Roman";">身為一個熱心追求錄音藝術的學生,</span><span lang="EN-US">Barresi</span><span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-hansi-font-family: "Times New Roman";">貪婪地閱讀錄音書籍和雜誌,是個熱切的讀者,他還很喜愛看所有的專輯製作紀錄片。他解釋他為什麼這麼重視錄音過程的前端作業:「我看了製作專輯「</span><span lang="EN-US">Who’s Next</span><span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-hansi-font-family: "Times New Roman";">」(</span><span lang="EN-US">The Who</span><span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-hansi-font-family: "Times New Roman";">)的紀錄片,那讓我十分地震憾。看</span><span lang="EN-US">Glyn Johns</span><span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-hansi-font-family: "Times New Roman";">推著只有四軌的</span><span lang="EN-US">fade</span><span lang="EN-US" style="font-family: 新細明體;">r</span><span style="font-family: 新細明體;">,並聆聽那些我已經聽了有我人生四分之三時間的音樂。現在,每件事都要要求十分完美,要有最適當的音量,還有完全隔離獨立的麥克風收音,等等。這簡直太荒謬了!我錄音時喜歡不對<span lang="EN-US">click</span>,直接錄到類比盤帶上,並且不去在意哪個拍子是快了還掉了;這就是我們在錄</span><em><span lang="EN-US" style="background-color: white; background-position: initial initial; background-repeat: initial initial;">Lullabies To Paralyze</span></em><span style="font-family: 新細明體;">的做事方式。</span><span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-hansi-font-family: "Times New Roman";">」</span></div>
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<span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-hansi-font-family: "Times New Roman";">在詢問</span><span lang="EN-US">QOTSA</span><span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-hansi-font-family: "Times New Roman";">錄他們新專輯的細節時,在某些問題上遭到</span><span lang="EN-US">Barresi</span><span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-hansi-font-family: "Times New Roman";">方面的拒絕回應。很顯然地,這麼做會顯得不尊重</span><span lang="EN-US">Homme</span><span lang="EN-US" style="font-family: 新細明體;"> </span><span style="font-family: 新細明體;">,他不喜歡將錄音過程公諸於世,並把它當成是一個秘密。但幸運的是,<span lang="EN-US">Barresi</span>很願意將他自己的技術以及方法與我們分享。<span lang="EN-US"><o:p></o:p></span></span></div>
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<span style="font-family: 新細明體;">「有這麼多的器材,我試著不去使用同樣的東西。如果我在<span lang="EN-US">QOTSA</span>的第一章專輯用了<span lang="EN-US">Echoplex</span>,在第二次合作的時候我就不會帶它去了。錄</span><em><span lang="EN-US" style="background-color: white; background-position: initial initial; background-repeat: initial initial;">Lullabies To Paralyze</span></em><span style="font-family: 新細明體;">就好像是在做實驗一樣。我們為每一首歌找尋不同的聲音,甚至是同一首歌的不同段也這麼做。而且會用我不常使用的麥克風,也試著用不同的麥克風來收音。這就像個錄音室美夢,不只是因為歌曲很棒、樂手都很出色,這也是個有趣的製作案;最棒的是,這簡直像回到錄音學校一般!」<span lang="EN-US"><o:p></o:p></span></span></div>
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<span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-hansi-font-family: "Times New Roman";">在錄每一軌聲音時,</span><span lang="EN-US">Barresi</span><span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-hansi-font-family: "Times New Roman";">跟樂團都會盡可能地去嘗試樂器、音箱、效果器、麥克風、還有麥克風的擺放位置之間的最佳組合,直到他們滿意為止。然後,</span><span lang="EN-US">Barresi</span><span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-hansi-font-family: "Times New Roman";">說:「我們盡全力地去錄每首歌。所有的歌曲,都是將爵士鼓、貝斯、還有兩把吉他的同步現場錄音剪進去的。</span><span lang="EN-US" style="font-family: 新細明體; mso-bidi-font-family: 新細明體; mso-font-kerning: 0pt;">'Medication'</span><span style="font-family: 新細明體; mso-bidi-font-family: 新細明體; mso-font-kerning: 0pt;">、<span lang="EN-US">'Little Sister'</span>、<span lang="EN-US">'Long Slow Goodbye' </span>還有<span lang="EN-US">'Tangled Up In Plaid'</span>都是在一個<span lang="EN-US">take</span>完成的。至於其他的歌曲,我們只有用不同<span lang="EN-US">takes</span>,做了極少的<span lang="EN-US">editing</span>。然後我們用<span lang="EN-US">punch in</span>來修一些必須要修飾的聲音。這麼做的美妙之處就是,我們就這樣有了完整的基本音軌,而且我想我們並沒有做太多的疊錄<a href="file:///D:/%E7%9B%A7%E7%9B%A7%E7%9A%84%E6%9D%B1%E8%A5%BF/%E7%BF%BB%E8%AD%AF/%E7%BF%BB%E8%AD%AF%E5%AE%8C%E7%95%A2/Recording%20Queens%20of%20the%20Stone%20Age%20%E7%BF%BB%E8%AD%AF.doc#_ftn4" name="_ftnref4" title=""><span class="MsoFootnoteReference"><span lang="EN-US"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-size: 12pt;">[4]</span></span><!--[endif]--></span></span></a>。</span><span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-hansi-font-family: "Times New Roman";">」</span></div>
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<b><span style="color: red;"><span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-hansi-font-family: "Times New Roman";">家庭寫實劇</span></span></b></h4>
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<span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-hansi-font-family: "Times New Roman";">為了捕捉</span><span lang="EN-US">QOTSA</span><span style="font-family: 新細明體;">,<span lang="EN-US">Barresi</span>使用了比他自己的標準程序要更多的組合,還有一些狂野的方法,來錄吉他、貝斯跟鼓(詳情請見</span><span lang="EN-US" style="font-family: 新細明體; mso-bidi-font-family: 新細明體; mso-font-kerning: 0pt;">'Joe Barresi's Mic Guide'</span><span style="font-family: 新細明體;">)。他舉了一些例子,從專輯的偽紳士開場曲</span><span lang="EN-US" style="font-family: 新細明體; mso-bidi-font-family: 新細明體; mso-font-kerning: 0pt;">'This Lullaby'</span><span style="font-family: 新細明體; mso-bidi-font-family: 新細明體; mso-font-kerning: 0pt;">開始。這首歌只有<span lang="EN-US">Homme</span>彈吉他,還有<span lang="EN-US">Mark Lanegan</span>唱歌。「我們千方百計地想要捕捉到最好的時刻,最後,終於在我已經著手混音的時候找到了。<span lang="EN-US">Josh</span>跟<span lang="EN-US">Mark</span>在錄音室的休息室裡,坐在沙發上鬼混。我便拿支麥克風湊到<span lang="EN-US">Mark</span>面前,再將<span lang="EN-US">Josh</span>的半空心電吉他的直接音錄下,同時也收擺在浴室的吉他音箱。<span lang="EN-US">Josh</span>也低聲唱了點合聲,他唱歌的那隻麥克風是經過類比的吉他<span lang="EN-US">reverb</span>效果器來收音的。實際上,這張專輯<span lang="EN-US">90</span>%都是用半空心吉他錄的,所以會有很多關於『洞』的笑話。」<span lang="EN-US"><o:p></o:p></span></span><br />
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<iframe allowfullscreen='allowfullscreen' webkitallowfullscreen='webkitallowfullscreen' mozallowfullscreen='mozallowfullscreen' width='320' height='266' src='https://www.youtube.com/embed/NVasCdyXcZw?feature=player_embedded' frameborder='0'></iframe><span style="font-family: 新細明體; mso-bidi-font-family: 新細明體; mso-font-kerning: 0pt;">接在<span lang="EN-US">'This Lullaby'</span>之後是火力全開的<span lang="EN-US">'Medication' </span>,這樣的轉變就好像從瞌睡中被驚醒一樣。據<span lang="EN-US">Barresi</span>說:「這首歌被刻意做的像是聽第一張專輯那樣,這好像在對聽眾說:「歡迎回來!」在此之後,還有很多歌的段落都做了不同的實驗。像我們也許會更換鼓組,讓觸感不太一樣。還讓樂手站成一圈,彼此互看的到,再將吉他音箱放在圈內。我們也許還會將一支麥克風放在中間,就這樣子有很多串音的錄完整首歌。」<span lang="EN-US"><o:p></o:p></span></span></div>
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<iframe allowfullscreen='allowfullscreen' webkitallowfullscreen='webkitallowfullscreen' mozallowfullscreen='mozallowfullscreen' width='320' height='266' src='https://www.youtube.com/embed/KT60tUIdLfQ?feature=player_embedded' frameborder='0'></iframe><span style="font-family: 新細明體; mso-bidi-font-family: 新細明體; mso-font-kerning: 0pt;">有一首歌裡可以看到許多的實驗,那就是在專輯中間的歌曲<span lang="EN-US">'Someone's In
The Wolf'</span>。它令人印象深刻的歌曲中段,幾乎就像是七零年代的前衛搖滾穿越時空而來。<span lang="EN-US">Barresi</span>透露:「這整首歌都是用現場收音的,再把歌曲中段的空間留下來,然後我們再把所有錄音室所實驗出的聲響都疊錄上去。<span lang="EN-US">Josh</span>讀了很多的格林童話,所以他希望歌曲可以變得像個童話一般;有兩個小孩緊鎖著房門,就像<span lang="EN-US">Hansel </span>和<span lang="EN-US">Gretel</span>(</span><span style="background: white; color: #222222; font-family: 新細明體; mso-ascii-font-family: Arial; mso-bidi-font-family: Arial; mso-hansi-font-family: Arial;">韓賽爾與葛麗特</span><span style="font-family: 新細明體; mso-bidi-font-family: 新細明體; mso-font-kerning: 0pt;">),而門外站著虎視眈眈的大野狼。」<span lang="EN-US"><o:p></o:p></span></span><br />
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<span style="font-family: 新細明體; mso-bidi-font-family: 新細明體; mso-font-kerning: 0pt;">「所以我們找了<span lang="EN-US"><a href="http://en.wikipedia.org/wiki/Chris_Goss" target="_blank">Chris Goss</a></span>來,他做了各式各樣的廚房噪音;像是茶壺的汽鳴聲、刀子的砍切聲,還有快速翻閱食譜的的紙張聲。在<span lang="EN-US">DVD</span>裡有他做這些事情的片段。這些聲音都是各別錄進不同音軌,然後再併入同一軌裡。所以這首歌的中段就有這些這蒙太奇式的聲響、多段的吉他部分,還加上<span lang="EN-US">Alain Johannes</span>來演奏<span lang="EN-US"> Marxophone</span>。它是個奇怪的小樂器,你彈一次它就會震動數回。它製造出一種很金屬感,帶有顫動的音色。它在音樂裡有一段小小的旋律,跟著一些吉他漩渦一起。同時還有一些滑奏吉他的聲音。所有的<span lang="EN-US">slide lap-steel</span>聲音都是進了一顆小的<span lang="EN-US">Rivera amp</span>,再加上些弔詭的<span lang="EN-US">tape echo</span>。」<span lang="EN-US"><o:p></o:p></span></span></div>
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<b><span style="color: red;"><span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-hansi-font-family: "Times New Roman";">搖滾馬戲團</span></span></b></h4>
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<span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-hansi-font-family: "Times New Roman";">當</span><span lang="EN-US">Josh Homme</span><span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-hansi-font-family: "Times New Roman";">堅持</span><span lang="EN-US">Queens of the Stone Age</span><span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-hansi-font-family: "Times New Roman";">不是一個重金屬樂團時,這樣子就為</span><i><span lang="EN-US" style="font-family: 新細明體; mso-bidi-font-family: 新細明體; mso-font-kerning: 0pt;">Lullabies To Paralyze</span></i><span style="font-family: 新細明體; mso-bidi-font-family: 新細明體; mso-bidi-font-style: italic; mso-font-kerning: 0pt;">這張唱片的聲音帶來更多的可能性。對<span lang="EN-US">Barresi</span>來說,這張唱片是呈現他搖滾牆式錄音的完美助力。雖然他已和<span lang="EN-US">QOTSA</span>共事過了,但這錄音過程還是處處充滿驚奇。就拿</span><span lang="EN-US" style="font-family: 新細明體; mso-bidi-font-family: 新細明體; mso-font-kerning: 0pt;">'The
Blood Is Love'</span><span style="font-family: 新細明體; mso-bidi-font-family: 新細明體; mso-font-kerning: 0pt;">的開頭來說:三拍子的節奏,配上<span lang="EN-US">clean guitars</span>、詭異的效果聲,還有遜遜的鼓聲,聽起來像是從另一個音樂世界來的。<span lang="EN-US"><o:p></o:p></span></span></div>
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<span lang="EN-US">Barresi</span><span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-hansi-font-family: "Times New Roman";">表示:「我們想要一個馬戲團的氛圍,但不是那種搖滾大馬戲團的感覺。所以我們把它做得像旋轉木馬類型的音樂,有著迴旋的感覺。那個『馬戲團吉他』是一把半空心吉他,接進一個奇怪的小</span><span lang="EN-US">combo</span><span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-hansi-font-family: "Times New Roman";">,用不尋常的麥克風收音的。在樂團演奏時也有一支麥克風放在中間收音。我想那段前奏應該只有三、四支麥克風而已。我們本來想把前奏的那些聲音剪進整首歌,但後來覺得不合適,就又回到了強大的搖滾模式。從前奏到強力搖滾演奏的轉變,是一個類比盤帶剪輯的技巧:</span><span lang="EN-US">hard cut</span><span style="font-family: 新細明體;">。在這張唱片裡做了許多強烈的對比:剛和柔、毫無效果和加上大量效果的段落、無多修飾的主唱和效果強烈的合聲,反之亦然。</span><span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-hansi-font-family: "Times New Roman";">」</span></div>
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<object class="BLOGGER-youtube-video" classid="clsid:D27CDB6E-AE6D-11cf-96B8-444553540000" codebase="http://download.macromedia.com/pub/shockwave/cabs/flash/swflash.cab#version=6,0,40,0" data-thumbnail-src="https://ytimg.googleusercontent.com/vi/H_f0vSeSIF4/0.jpg" height="266" style="clear: right; float: right;" width="320"><param name="movie" value="https://www.youtube.com/v/H_f0vSeSIF4&fs=1&source=uds" /><param name="bgcolor" value="#FFFFFF" /><param name="allowFullScreen" value="true" /><embed width="320" height="266" src="https://www.youtube.com/v/H_f0vSeSIF4&fs=1&source=uds" type="application/x-shockwave-flash" allowfullscreen="true"></embed></object><span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-hansi-font-family: "Times New Roman";">「另一個強烈對比是在</span><span lang="EN-US" style="font-family: 新細明體; mso-bidi-font-family: 新細明體; mso-font-kerning: 0pt;">bonus
track 'Like A Drug' (</span><span style="font-family: 新細明體; mso-bidi-font-family: 新細明體; mso-font-kerning: 0pt;">只收錄在專輯的特別版<span lang="EN-US">CD/DVD)</span>裡,它聽起來像六零年代的迷幻歌曲,籠罩在一片朦朧;有著充滿渴望的歌聲、刺耳的金屬感吉他、拖拍的節奏,還有和緩、開放的製作方式。更不可思議的是,這是<span lang="EN-US"><a href="http://www.zztop.com/" target="_blank">ZZ Top</a> </span>的吉他手<span lang="EN-US"><a href="http://www.billygibbons.com/" target="_blank">Billy Gibbons</a></span>所參錄製的其中一首歌。對他來說,要做強勁有力、搖滾音牆般的音樂,並不會感到陌生。</span><span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-hansi-font-family: "Times New Roman";">」</span><span lang="EN-US" style="font-family: 新細明體; mso-bidi-font-family: 新細明體; mso-font-kerning: 0pt;"><o:p></o:p></span></div>
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<span lang="EN-US">Barresi</span><span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-hansi-font-family: "Times New Roman";">說:「這有點瘋狂。樂團的四個傢伙跟</span><span lang="EN-US">Billy</span><span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-hansi-font-family: "Times New Roman";">一起演奏,讓</span><span lang="EN-US">Josh</span><span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-hansi-font-family: "Times New Roman";">的歌聲收進一個音箱裡,房間裡的每一支麥克風都是開放的。音樂裡的空間感就是從那來的。我飛快地用類比方式做了兩個混音,再把這兩個混音輸進</span><span lang="EN-US">Pro Tools</span><span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-hansi-font-family: "Times New Roman";">裡。我將它們排在一起,看我會不會想要把其中一個混音的段落,剪進另一個混音。然後我開始把其中一個混音稍稍往前推、或向後拉,當我播放的時候,音樂就產生一點相位問題。我欣喜若狂,這正是我們所尋求的效果。最後,我就像這樣子把兩個混音擺在一起。真的很有味道。」</span><br />
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<b><span style="color: red;"><span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-hansi-font-family: "Times New Roman";">承諾是好的</span></span></b></h4>
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<span style="font-family: 新細明體; mso-bidi-font-family: 新細明體; mso-font-kerning: 0pt;">幾乎整張<i><span lang="EN-US">Lullabies To Paralyze</span></i><span lang="EN-US"> </span>都是用<span lang="EN-US">Sound City</span>的<span lang="EN-US">Neve
8028 desk</span>錄的<span lang="EN-US">, </span>通常會接上<span lang="EN-US">Barresi</span>自己的<span lang="EN-US">mic preamps</span>,再錄進<span lang="EN-US">Studer 24-track tape</span>還有<span lang="EN-US">Pro Tools HD</span>。<span lang="EN-US">Barresi</span>解釋道:「我帶了一些<span lang="EN-US">Helios</span>還有<span lang="EN-US">Telefunken V76 preamps</span>。就是些讓聲音變肥厚的東西。在某一階段,這張專輯的聲音沒有什麼是沒通過<span lang="EN-US">Neve</span>的。還有,所有的聲音都是錄進盤帶的,但有些時候,當我把二十四軌都錄滿的話,我會把剩下的東西錄進<span lang="EN-US">Pro Tools</span>裡。管樂都錄進<span lang="EN-US">Pro Tools</span>,還有一些瘋狂的東西也是。」<span lang="EN-US"><o:p></o:p></span></span></div>
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<span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-hansi-font-family: "Times New Roman";">「大部分的</span><span lang="EN-US">vocals</span><span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-hansi-font-family: "Times New Roman";">都是透過幾個</span><span lang="EN-US">preamps</span><span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-hansi-font-family: "Times New Roman";">直接錄進</span><span lang="EN-US">Pro Tools</span><span style="font-family: 新細明體;">。有些<span lang="EN-US">vocals</span>聽起來很複雜:有時候我會加上一支微微過載的麥克風收音,或者是讓<span lang="EN-US">vocals</span>送進吉他音箱或是</span><span lang="EN-US" style="font-family: 新細明體; mso-bidi-font-family: 新細明體; mso-font-kerning: 0pt;">Leslie cabinet</span><span style="font-family: 新細明體; mso-bidi-font-family: 新細明體; mso-font-kerning: 0pt;">,諸如此類的事情。我也許會用上兩到三支麥克風來收一個<span lang="EN-US">vocal</span>,大多時候我都會把收到的音軌分開放置,這麼一來,我晚點就能<span lang="EN-US">re-balance</span>,看歌曲的段落會需要怎麼的聲音。當然這麼做會吃掉很多音軌。</span><span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-hansi-font-family: "Times New Roman";">」</span><span lang="EN-US" style="font-family: 新細明體; mso-bidi-font-family: 新細明體; mso-font-kerning: 0pt;"><o:p></o:p></span></div>
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<span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-hansi-font-family: "Times New Roman";">當我們詢問</span><span lang="EN-US">Basrresi</span><span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-hansi-font-family: "Times New Roman";">類比和數位錄音各自的優勝劣敗時,關於他對類比的喜好,以及他為何認為數位是破壞錄音藝術的一個指標;他有很多的話要說。他說:「我愛類比盤帶機器的聲音,而且我不用杜比音效,從不!對於我所從事的音樂類型來說實在沒有必要。我不做超高品質的錄音。我還覺得那樣的噪音是好的。那嘶聲</span><a href="file:///D:/%E7%9B%A7%E7%9B%A7%E7%9A%84%E6%9D%B1%E8%A5%BF/%E7%BF%BB%E8%AD%AF/%E7%BF%BB%E8%AD%AF%E5%AE%8C%E7%95%A2/Recording%20Queens%20of%20the%20Stone%20Age%20%E7%BF%BB%E8%AD%AF.doc#_ftn5" name="_ftnref5" title=""><span class="MsoFootnoteReference"><span lang="EN-US"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-size: 12pt;">[5]</span></span><!--[endif]--></span></span></a><span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-hansi-font-family: "Times New Roman";">對我來說是很真實的。」</span></div>
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<span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-hansi-font-family: "Times New Roman";">「另一件我愛類比盤帶的原因就是,它會強迫你早點作決定。比如說,有把吉他在一道音軌上,相對於在音箱前放了十五支麥克風收音,並將它們分別錄在不同音軌上。我不認為你可以事先想好歌曲聲音的走向將會如何。對我來說,錄歌就像蓋房子一樣。有樓梯、有牆、有天花板,還有屋頂。如果你還不知道你的牆要怎麼建,你怎麼會知道你的屋頂該是怎樣的?」</span></div>
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<span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-hansi-font-family: "Times New Roman";">「</span><span lang="EN-US">HD</span><span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-hansi-font-family: "Times New Roman";">聽起來真的很棒。但我不認為你會需要</span><span lang="EN-US">96k</span><span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-hansi-font-family: "Times New Roman";">的音質,因為到了最後,</span><span lang="EN-US">CD</span><span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-hansi-font-family: "Times New Roman";">只有</span><span lang="EN-US" style="font-family: 新細明體; mso-bidi-font-family: 新細明體; mso-font-kerning: 0pt;">16/44.1</span><span style="font-family: 新細明體; mso-bidi-font-family: 新細明體; mso-font-kerning: 0pt;">。怎麼說。如果使用得當的話,數位是很好的,雖然有很多人不願去花時間了解東西如何緊密的結合並一起作用。最簡單的一項爭議就是,你該用數位當你的母帶<a href="file:///D:/%E7%9B%A7%E7%9B%A7%E7%9A%84%E6%9D%B1%E8%A5%BF/%E7%BF%BB%E8%AD%AF/%E7%BF%BB%E8%AD%AF%E5%AE%8C%E7%95%A2/Recording%20Queens%20of%20the%20Stone%20Age%20%E7%BF%BB%E8%AD%AF.doc#_ftn6" name="_ftnref6" title=""><span class="MsoFootnoteReference"><span lang="EN-US"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-size: 12pt;">[6]</span></span><!--[endif]--></span></span></a>還是子帶<a href="file:///D:/%E7%9B%A7%E7%9B%A7%E7%9A%84%E6%9D%B1%E8%A5%BF/%E7%BF%BB%E8%AD%AF/%E7%BF%BB%E8%AD%AF%E5%AE%8C%E7%95%A2/Recording%20Queens%20of%20the%20Stone%20Age%20%E7%BF%BB%E8%AD%AF.doc#_ftn7" name="_ftnref7" title=""><span class="MsoFootnoteReference"><span lang="EN-US"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-size: 12pt;">[7]</span></span><!--[endif]--></span></span></a>。如果你用<span lang="EN-US">Pro Tools</span>當母帶,盤帶當子帶,音樂會聽起來很好。但如果你用<span lang="EN-US">Pro Tools</span>當子帶,聲音會位移,而且對我來說解析度降低了。類比在聲音的加速或減速上,比較有寬容的空間。</span><span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-hansi-font-family: "Times New Roman";">」</span></div>
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<span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-hansi-font-family: "Times New Roman";">「</span><span lang="EN-US">Pro Tools</span><span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-hansi-font-family: "Times New Roman";">另一個使錄音變複雜的原因是,很多人會因太多的不確定因素而遲遲下決定。他們會將大鼓收上兩軌,內側和外側,然後把音軌分別擺置。但有些時候你就得做好抉擇:這就是我要的鼓聲。不管你用二十軌還四軌收鼓聲,你都必須在某些點作好決定。因為鼓的聲音將會影響到之後,吉他和貝斯該聽起來如何。但是人們現在買一套電腦錄音設備,所以他們從不用做任何決定,因為他們有</span><i><span lang="EN-US" style="font-family: 新細明體; mso-bidi-font-family: 新細明體; mso-font-kerning: 0pt;">Mic Modeler</span></i><span lang="EN-US" style="font-family: 新細明體; mso-bidi-font-family: 新細明體; mso-font-kerning: 0pt;"> </span><span style="font-family: 新細明體; mso-bidi-font-family: 新細明體; mso-font-kerning: 0pt;">跟<i><span lang="EN-US">Sound Replacer</span></i>,</span><span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-hansi-font-family: "Times New Roman";">還有無限制的音軌數可用。當我在幫一些用</span><span lang="EN-US">Pro Tools</span><span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-hansi-font-family: "Times New Roman";">錄音的的案子混音時,總是花我很多時間在找尋,什麼是對的吉他聲跟鼓聲,這讓我很不爽。」</span></div>
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<b><span style="color: red;"><span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-hansi-font-family: "Times New Roman";">視覺不是一切</span></span></b></h4>
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<span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-hansi-font-family: "Times New Roman";">據</span><span lang="EN-US">Barresi</span><span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-hansi-font-family: "Times New Roman";">說,另一項用電腦錄音的問題,就是焦點從聽覺轉移到用視覺。我有一個朋友</span><span lang="EN-US" style="font-family: 新細明體; mso-bidi-font-family: 新細明體; mso-font-kerning: 0pt;"><a href="http://www.dearnley.com/" target="_blank">MarkDearnley</a></span><span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-hansi-font-family: "Times New Roman";">,他是個很出色的工程師,也是個</span><span lang="EN-US" style="font-family: 新細明體; mso-bidi-font-family: 新細明體; mso-font-kerning: 0pt;">avid Pro Tools</span><span style="font-family: 新細明體; mso-bidi-font-family: 新細明體; mso-font-kerning: 0pt;">的迷。做過四張<span lang="EN-US">AC/DC</span>的專輯。有次他刻意離設備三十英呎遠,並說:</span><span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-hansi-font-family: "Times New Roman";">「你不應該去『看』音樂!</span><span style="font-family: 新細明體; mso-bidi-font-family: 新細明體; mso-font-kerning: 0pt;">想像這裡有一捲盤帶。大鼓就在中間,貝斯在後面一點的位置,這裡。然後吉他手在有點前面的位置,落在強拍的右邊;最後你音樂的強拍會聽起來很龐大!</span><span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-hansi-font-family: "Times New Roman";">」當你開始用看的做音樂,還有你開始將音軌排好的時候,你的強拍就會變小。將音軌推前拉近,並不會使音樂變活。</span></div>
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<span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-hansi-font-family: "Times New Roman";">「將音樂做的完美,這件事對我來說是極其荒謬的。除非你做舞曲,而且你想要催眠的效果。跟著</span><span lang="EN-US">click</span><span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-hansi-font-family: "Times New Roman";">彈奏,把聲音對整齊,這簡直是瘋了。你會發現你是在修正事情,而不是在聽音樂。在下一次的錄音把歌彈快了一點,也許會讓依竊都變的不一樣。我跟</span><span lang="EN-US">QOTSA</span><span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-hansi-font-family: "Times New Roman";">從不使用</span><span lang="EN-US">click track</span><span style="font-family: 新細明體;">。</span><span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-hansi-font-family: "Times New Roman";">」</span></div>
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<span style="font-family: 新細明體; mso-bidi-font-family: 新細明體; mso-font-kerning: 0pt;">「用<i><span lang="EN-US">Vocalign</span></i>或<i><span lang="EN-US">Auto-Tune</span></i><span lang="EN-US"> </span>來<span lang="EN-US">doubling
vocal</span>,也一樣荒謬。<span lang="EN-US">Double track</span>的概念是你運用耳朵,再把聲音<span lang="EN-US">double</span>在一起,直到它們聽起來很好。聽聽那些老唱片。我想,在現在的日子裡,有些人覺得他只要確保音樂的音準和拍子準確,他就算是盡了製作人的責任了。同時他們也讓生命力從音樂中消失,完全失去音樂性。到底什麼才是重點阿?」<span lang="EN-US"><o:p></o:p></span></span></div>
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<span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-hansi-font-family: "Times New Roman";">然而,</span><span lang="EN-US">Barresi</span><span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-hansi-font-family: "Times New Roman";">並不是激進的反數位人士。在我撰寫這篇專欄時,</span><span style="font-family: 新細明體; mso-bidi-font-family: 新細明體; mso-font-kerning: 0pt;">他才剛買一套<span lang="EN-US">Pro
Tools HD2</span>系統,來搭配他的<span lang="EN-US">M Box</span>、筆記型電腦、還有<span lang="EN-US">Firewire
drive</span>,這些他已經在他的控制室裡用了好幾年的器材。他說:「就做些編輯,移動聲音之類的。」<span lang="EN-US"><o:p></o:p></span></span></div>
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<span lang="EN-US" style="font-family: 新細明體; mso-bidi-font-family: 新細明體; mso-font-kerning: 0pt;">Barresi</span><span style="font-family: 新細明體; mso-bidi-font-family: 新細明體; mso-font-kerning: 0pt;">認為:「<span lang="EN-US">M box</span>真是太超值了。因為你可以用它做好多事,而且他又這麼小一台。我買新的<span lang="EN-US">HD2</span>是因為,現在的錄音預算不斷縮減,我接的大多數案子,都已經先用電腦做好一部分了。而且現在當一個錄音師,也必須學會如何操作<span lang="EN-US">Pro Tools </span>。某些時候,<span lang="EN-US">QOTSA</span>新專輯的所有素材都有存進<span lang="EN-US">Pro Tools</span>過。有些歌有些很複雜的部份,所以我必須要用到<span lang="EN-US">Pro Tools</span>。而且如果有超過二十四軌的聲音的話,我就得把其他的聲音錄進<span lang="EN-US">Pro Tools </span>。通常來說,把聲音送進<span lang="EN-US">Pro Tools</span>,再從那邊做混音是比較簡單的。雖然有時候我會在<span lang="EN-US">Pro Tools</span>把聲音併軌,到少於二十四軌之後,再拿到類比多軌盤帶那作混音。」<span lang="EN-US"><o:p></o:p></span></span></div>
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<b><span style="color: red;"><span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-hansi-font-family: "Times New Roman";">防範未然</span></span></b></h4>
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<i><span lang="EN-US" style="font-family: 新細明體; mso-bidi-font-family: 新細明體; mso-font-kerning: 0pt;">Lullabies</span></i><span lang="EN-US" style="font-family: 新細明體; mso-bidi-font-family: 新細明體; mso-font-kerning: 0pt;"> </span><span style="font-family: 新細明體; mso-bidi-font-family: 新細明體; mso-font-kerning: 0pt;">的<span lang="EN-US">Mixdown</span>有儲存成這些格式:半英吋類比盤帶、<span lang="EN-US">Pro Tools</span>、<span lang="EN-US">DAT</span>,還有<span lang="EN-US">CD</span>,他用半英吋盤帶當主要的母帶。儲存成這麼多格式,反映出<span lang="EN-US">Barresi</span>對於數位媒體保存的不確定性。「我擔心在五年內,你就無法在<span lang="EN-US">G5</span>上打開<span lang="EN-US">Firewire 400 drive</span>。我在兩年前就有一個打不開的<span lang="EN-US">9GB</span>硬碟的問題。我只知道,不管過了多久,所有的東西還是會在盤帶裡存在著。也許帶子還需要再被烤過,也許有人得修理盤帶機的零件,但它還是能被播放。所以,我還幫未混音過的錄音備份到二十四軌盤帶上,還拷貝了兩捲,防範萬一歌曲用超過二十四軌的話。」<span lang="EN-US"><o:p></o:p></span></span></div>
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<span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-hansi-font-family: "Times New Roman";">在這裡,討論到了混音的階段,</span><span lang="EN-US">Barresi</span><span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-hansi-font-family: "Times New Roman";">將他個人的隱藏秘訣拿出來與大家分享。類比的</span><span lang="EN-US">outboard gear</span><span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-hansi-font-family: "Times New Roman";">和吉他效果器在這裡也扮演了決定性的角色,也解釋了他為什麼要選擇用類比的混音台來混音。</span><span lang="EN-US">Barresi</span><span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-hansi-font-family: "Times New Roman";">他解釋:「我整張唱片</span><span style="font-family: 新細明體; mso-bidi-font-family: 新細明體; mso-font-kerning: 0pt;">的混音</span><span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-hansi-font-family: "Times New Roman";">都是在洛杉磯的</span><span lang="EN-US" style="font-family: 新細明體; mso-bidi-font-family: 新細明體; mso-font-kerning: 0pt;"><a href="http://www.studioexpresso.com/spotlight%20archive/spotlight%20bay7.htm" target="_blank">Bay 7 Studios</a></span><span style="font-family: 新細明體; mso-bidi-font-family: 新細明體; mso-font-kerning: 0pt;">做的,因為他們有<span lang="EN-US">G-plus-series SSL</span>。他們也有很多的<span lang="EN-US"> vintage outboard
gear</span>,還有兩台超棒的<span lang="EN-US">Studer</span>二十四軌盤帶機。我為了要將多軌訊號傳送、複製多軌訊號、或改變不同段落的聲音,而需要<span lang="EN-US">automation</span>。我還用了一台叫<span lang="EN-US"><a href="http://www.littlelabs.com/pcp.html" target="_blank">PCP Instrument Distro</a></span>的機器,由<span lang="EN-US">Little Labs</span>的<span lang="EN-US">Jonathan Little</span>製作的。 它讓我能把三路<span lang="EN-US">XLR</span>訊號轉換成四分之一英吋盤帶。這樣一來我可以串上三顆效果器,並把它們當成三個<span lang="EN-US">mono
outboard boxes</span>。</span><span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-hansi-font-family: "Times New Roman";">」</span></div>
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<span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-hansi-font-family: "Times New Roman";">「我們使用的</span><span lang="EN-US">Pro
Tools</span><span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-hansi-font-family: "Times New Roman";">系統並沒有很多的</span><span lang="EN-US">plug-ins</span><span style="font-family: 新細明體;">,這樣非常理想。我有兩個覺得不錯的<span lang="EN-US">plug-ins</span>,但整體來說,我並不喜歡用<span lang="EN-US">plug-ins</span>。因為它們聽起來不好。當我旁邊有真正的</span><span lang="EN-US" style="font-family: 新細明體; mso-bidi-font-family: 新細明體; mso-font-kerning: 0pt;">1176s </span><span style="font-family: 新細明體; mso-bidi-font-family: 新細明體; mso-font-kerning: 0pt;">我並不會需要<span lang="EN-US">Bomb Factory's</span>的<span lang="EN-US">1176</span>模擬器。如果我使用任何一個<span lang="EN-US">plug-in</span>,十之八九,它都會變成一個<span lang="EN-US">de-esser</span>,因為它運作得太快,控制性又佳。我必須說我愛<i><span lang="EN-US">Altiverb</span></i>,它聲音聽起來很好。但我不認為有任何一個<span lang="EN-US">plug-in</span>能擁有相當獨特的音色。</span><span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-hansi-font-family: "Times New Roman";">」</span></div>
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<span style="font-family: 新細明體; mso-bidi-font-family: 新細明體; mso-font-kerning: 0pt;">「每一個想要波浪般的聲音的人就會去用<i><span lang="EN-US">Meta Flanger</span></i>,所以它們聽起來都一個樣。<i><span lang="EN-US">Sansamp</span></i><span lang="EN-US"> plug-in</span>並不差,但其實有四、五顆的<span lang="EN-US">Sansamp</span>效果器可以用,而且它們全都聽起來不一樣。補充,還有兩款<span lang="EN-US">rackmounted</span>的版本。我自己的<span lang="EN-US">rackmounted Sansamp</span>已經調成能有比較多的低頻,而且你不能真正的去調整那些<span lang="EN-US">plug-ins</span>的設定。我有三顆<span lang="EN-US">Boss overdrive</span>效果器,他們全都聽起來不同。所以類比效果器會有更多的個性。再說,用手去調整旋鈕,要比打開目錄,再把他媽的原廠設定輸入,然後再去調整音色來的簡單的多了吧!我想有很多人都直接用<span lang="EN-US">presets</span>。現在要這麼做實在是太簡單了。」<span lang="EN-US"><o:p></o:p></span></span></div>
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<span style="font-family: 新細明體; mso-bidi-font-family: 新細明體; mso-font-kerning: 0pt;">「當我們不停煩<span lang="EN-US">Barresi</span>,要他提供他做『搖滾牆』所使用的器材時,他很快地把他不是那麼是秘密的器材列出來。很顯然地,我用了很多<span lang="EN-US">compressors</span>,像是<span lang="EN-US">EMI TG12413</span>、<span lang="EN-US">Focusrite Red 3</span>、<span lang="EN-US">Tube-tech LCA 2B</span>、<span lang="EN-US">Dbx 160</span>、<span lang="EN-US">Neve 33609</span>或<span lang="EN-US">2254</span>之類的。當我在混音的時候,我還花很多工夫推<span lang="EN-US">faders</span>,所以我可以維持一些動態,聲音的分隔<a href="file:///D:/%E7%9B%A7%E7%9B%A7%E7%9A%84%E6%9D%B1%E8%A5%BF/%E7%BF%BB%E8%AD%AF/%E7%BF%BB%E8%AD%AF%E5%AE%8C%E7%95%A2/Recording%20Queens%20of%20the%20Stone%20Age%20%E7%BF%BB%E8%AD%AF.doc#_ftn8" name="_ftnref8" title=""><span class="MsoFootnoteReference"><span lang="EN-US"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-size: 12pt;">[8]</span></span><!--[endif]--></span></span></a>,還有讓一些聲音依然具有辨識度跟強度。當你壓縮的太兇,你就會失去你的所有的動態。我非常愛用並行壓縮技巧,所以我通常會將一次沒壓縮的混音,加上一次壓縮過的混音,合在一起保持透明感。或者,我會用<span lang="EN-US">SSL console</span>上每一軌獨立的壓縮器,再把整套鼓<span lang="EN-US">buss</span>到<span lang="EN-US">Tube-tech compressor</span>,或其他機器。還有,我都會盡量不去過度<span lang="EN-US">EQ</span>聲音,除非是為了獲得一個特別的音色。我寧願調整麥克風來得到我想要的聲音。因為聲音是從那開始的。所有一切都是從源頭開始的。」<span lang="EN-US"><o:p></o:p></span></span></div>
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<span style="background-color: #cc0000; color: white;"><b><span lang="EN-US">Joe Barresi</span></b><b><span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-hansi-font-family: "Times New Roman";">的麥克風指南</span></b></span></h3>
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<span lang="EN-US">VOCALS</span></h4>
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<span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-hansi-font-family: "Times New Roman";">我從來都不會去預設我要用什麼麥克風收音。在錄基本音軌的時候,我就會拿幾支麥克風給歌手試,看聽起來如何。在</span><span lang="EN-US">vocal day</span><span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-hansi-font-family: "Times New Roman";">的時候,我就再把那幾支麥克風拿出來,聽看看,做個比較。有時候你整張唱片都會用同一支麥克風收音,但</span><span lang="EN-US">QOTSA</span><span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-hansi-font-family: "Times New Roman";">這張專輯,我們都用不同的麥克風來錄不同的歌。我租了一支</span><span lang="EN-US" style="font-family: 新細明體; mso-bidi-font-family: 新細明體; mso-font-kerning: 0pt;">Brauner VM1</span><span style="font-family: 新細明體; mso-bidi-font-family: 新細明體; mso-font-kerning: 0pt;">,它用來錄原音<span lang="EN-US">vocal</span>的效果很出色。它是支漂亮、聲音清晰的麥克風。我也用<span lang="EN-US">Neumann</span><span lang="EN-US">
M49</span>錄了幾軌, 還有用<span lang="EN-US">Shure</span><span lang="EN-US"> SM57 </span>錄一些,也試了<span lang="EN-US">BLUE</span><span lang="EN-US"> Ball</span>還用了<span lang="EN-US">Shure KSM44</span>,非常的棒。<span lang="EN-US"><o:p></o:p></span></span></div>
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<span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-hansi-font-family: "Times New Roman";">「我傾向在盤帶上做壓縮。我最愛拿來壓縮</span><span lang="EN-US">vocals</span><span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-hansi-font-family: "Times New Roman";">的是</span><span lang="EN-US" style="font-family: 新細明體; mso-bidi-font-family: 新細明體; mso-font-kerning: 0pt;">1176</span><span style="font-family: 新細明體; mso-bidi-font-family: 新細明體; mso-font-kerning: 0pt;">,但有時候用<span lang="EN-US">LA2A</span>的效果很好。如果你想要音色髒一些,你可以讓真空管壓縮器壓的多一點。我並不喜歡將<span lang="EN-US">dirty signal</span>和<span lang="EN-US">original signal</span>混在一起用。我不是一個透明壓縮的愛好者。我也許會把一台壓縮器的訊號再送到另一台去。如果你想要一個非常近的<span lang="EN-US">vocal</span>的話,這樣子做的效果很好。我作混音的時候,喜歡把<span lang="EN-US">vocal</span>壓的遠一點。可能會再用一次<span lang="EN-US">1176</span>,也可能是其他比較乾淨一點、準確點的機器,像是<span lang="EN-US">Distressor</span>,或是<span lang="EN-US"> SSL console compressor</span>。</span><span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-hansi-font-family: "Times New Roman";">」</span></div>
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<span lang="EN-US">GUITARS</span></h4>
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<span style="font-family: 新細明體; mso-bidi-font-family: 新細明體; mso-font-kerning: 0pt;">「我會把吉他訊號分開,用<span lang="EN-US">PCP Instrument Distro</span>,或大多是<span lang="EN-US">Systematic Systems
guitar splitter</span>,它可以把訊號分送到六個音箱 。我不傾向同時使用全部<span lang="EN-US">— </span>有時只用三到四個<span lang="EN-US">outputs </span>,一個訊號也許是送到<span lang="EN-US">tuner</span>,另一個到<span lang="EN-US">DI box</span>。一次用六顆音箱太過頭了,真的!在選擇音箱和喇叭的時候,有一點很重要的事要記得。用大的喇叭會有比較緊的聲音。用小的音箱,將音量開到最大,會獲得一個很『噴』的聲音。這樣的效果在貝斯音箱和喇叭上也一樣適用。」<span lang="EN-US"><o:p></o:p></span></span></div>
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<span style="font-family: 新細明體; mso-bidi-font-family: 新細明體; mso-font-kerning: 0pt;">「我兩個最常用來錄電吉他的麥克風,是<span lang="EN-US">Shure SM57</span>,還有<span lang="EN-US">Sennheiser MD421</span>。通常是兩支同時近收,放在喇叭單體的邊緣,就是可動線圈和紙盆連接的地方。如果我想要比較亮的聲音,我就架在正中間。如果我想要多點低頻,我就改用<span lang="EN-US">AKG 414 </span>。當我覺得聲音太有個性的時候,我會在一英呎遠的地方架一支<span lang="EN-US">Neumann
87</span>,或是支<span lang="EN-US">ribbon mic — </span>像是<span lang="EN-US"> Royer 122</span>、<span lang="EN-US"> RCA BK5</span>或<span lang="EN-US">77</span>。我常會讓麥克風過一些<span lang="EN-US">Neve 1272 preamps</span>,再進到混音台,然後再過一個<span lang="EN-US">API 550</span>或<span lang="EN-US">Quad Eight EQ</span>,再進到盤帶機。」<span lang="EN-US"><o:p></o:p></span></span></div>
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<span style="font-family: 新細明體;">BASS</span></h4>
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<span style="font-family: 新細明體; mso-bidi-font-family: 新細明體; mso-font-kerning: 0pt;">「我都把貝斯收進<span lang="EN-US">DI</span>還有音箱,有時候會把兩個音箱混成一軌。我通常不會去用<span lang="EN-US">splitter</span>,就只是過<span lang="EN-US">DI</span>進到音箱。用在貝斯收音的麥克風會是<span lang="EN-US">SM57</span>、<span lang="EN-US">SM7</span>,或<span lang="EN-US">Neumann
47FET</span>。樂團裡的人驅使我嘗試使用<span lang="EN-US">BLUE</span>的麥克風。<span lang="EN-US">BLUE
Mouse</span>、<span lang="EN-US"> Blue Ball</span>,或<span lang="EN-US"> Red Ball</span>用來收貝斯都表現的很好。如果我尋求一個非常飽滿的聲音,我就會把麥克風向後移個五或六呎,幾乎是當成<span lang="EN-US">room mic</span>在用了。永遠都要用你的耳朵去仔細聆聽聲音的變化。在混音時,如果我需要在貝斯訊號加上一點破音的話,我會<span lang="EN-US">re-amp </span>貝斯的<span lang="EN-US">DI</span>音軌。」<span lang="EN-US"> <o:p></o:p></span></span></div>
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<span lang="EN-US" style="font-family: 新細明體; mso-bidi-font-family: 新細明體; mso-font-kerning: 0pt;">DRUMS<o:p></o:p></span></h4>
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<span style="font-family: 新細明體; mso-bidi-font-family: 新細明體; mso-font-kerning: 0pt;">「我總是喜歡做內側和外側的大鼓收音。內側收音的麥克風我偏好<span lang="EN-US">Sennheiser MD421— </span>我不是個<span lang="EN-US"> [<i>AKG</i>] D112</span>的擁護者。如果用<span lang="EN-US">421</span>的效果不好,我的下個選擇會是<span lang="EN-US"> [<i>Shure</i>] Beta 52</span>。外側收音可以是用任何的麥克風,<span lang="EN-US">NS10 speaker</span>、<span lang="EN-US">47 FET</span>,或是一支擺在三呎遠的<span lang="EN-US">Beyer 160</span>。小鼓的話,就會是<span lang="EN-US">SM57</span>收敲擊面,共振面用<span lang="EN-US">57</span>或 <span lang="EN-US">[<i>Sennheiser</i>] 441</span>收音。我也可能會用 <span lang="EN-US">[<i>Neumann</i>] KM86</span>或 <span lang="EN-US">[<i>AKG</i>] 452</span>跟<span lang="EN-US">57</span>捆在一起收音。我也可能會用<span lang="EN-US">414</span>收敲擊面。<span lang="EN-US">Toms</span>會用<span lang="EN-US">421</span>收,如果我想要多一點低頻的話,我會用<span lang="EN-US">87</span>。」<span lang="EN-US"><o:p></o:p></span></span></div>
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<span style="font-family: 新細明體; mso-bidi-font-family: 新細明體; mso-font-kerning: 0pt;">「我會看錄音室的情況做<span lang="EN-US">Overheads</span>的選擇。<span lang="EN-US">Sound City</span>有一對很棒的<span lang="EN-US">U67s </span>。我也可能會用<span lang="EN-US">414</span>、<span lang="EN-US">Sony
C37</span>,或是<span lang="EN-US">47FET</span>。<span lang="EN-US">Hi-hat</span>跟<span lang="EN-US">ride</span>的部份,如果我想要清脆的聲音的話,我會用電容式的麥克風;如果我想要聲音鬆一點、粗一點的話,我會用<span lang="EN-US">SM57</span>或<span lang="EN-US">SM7</span>。我通常會把鼓壓到某個程度,把所有的大鼓麥克風併成一軌,所有的小鼓麥克風也是併成一軌。我喜歡能用一個<span lang="EN-US">fader</span>控制大鼓,對小鼓也是。」<span lang="EN-US"><o:p></o:p></span></span></div>
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<span style="font-family: 新細明體; mso-bidi-font-family: 新細明體; mso-font-kerning: 0pt;">「我愛使用立體聲和單聲道<span lang="EN-US">room mic</span>的組合。十之八九我會用三支麥克風來收環境音。也可能用一對<span lang="EN-US"> 87s</span>、<span lang="EN-US">PZM</span>、<span lang="EN-US">414</span>,或是<span lang="EN-US">Coles
ribbon mic</span>。我喜歡把一支<span lang="EN-US">441</span>靠近鼓組,再用力的壓縮,沒錯!是我學<span lang="EN-US">Tchad Blake</span>的技巧。而且我是<span lang="EN-US">M-S</span>和<span lang="EN-US">Blumlein</span>立體聲收音方式的愛好者。比如說,當你無法得到一個平均的大鼓內外側聲音時,我最後就會在房間的中間做<span lang="EN-US">Blumlein</span>收音,那樣總是能行的通。」<span lang="EN-US"><o:p></o:p></span></span></div>
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<span style="font-family: 新細明體; mso-bidi-font-family: 新細明體; mso-font-kerning: 0pt;">「十之八九<span lang="EN-US">room sound</span>會被壓縮到某種程度。有時候它會被狠狠地壓縮,那樣子我叫它『<span lang="EN-US">Full Canadian' setting</span>』,把所有的旋鈕都開到最大。我喜歡<span lang="EN-US">EMI
compressor</span>,因為它的<span lang="EN-US">attack</span>很快。我通常會把<span lang="EN-US">room
mics</span>加上<span lang="EN-US">reverb </span>,而不是從數位介面上加。我可能會把音箱或讓歌手在浴室裡收音,或是用些吸音擋板<a href="file:///D:/%E7%9B%A7%E7%9B%A7%E7%9A%84%E6%9D%B1%E8%A5%BF/%E7%BF%BB%E8%AD%AF/%E7%BF%BB%E8%AD%AF%E5%AE%8C%E7%95%A2/Recording%20Queens%20of%20the%20Stone%20Age%20%E7%BF%BB%E8%AD%AF.doc#_ftn9" name="_ftnref9" title=""><span class="MsoFootnoteReference"><span lang="EN-US"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-size: 12pt;">[9]</span></span><!--[endif]--></span></span></a>。在<span lang="EN-US">Sound City</span>他們有一間<span lang="EN-US"><a href="http://en.wikipedia.org/wiki/Echo_chamber" target="_blank">echo chamber</a></span>,但是已經沒有它的喇叭在裡面了。所以,如果我們想要有個充滿回聲<a href="file:///D:/%E7%9B%A7%E7%9B%A7%E7%9A%84%E6%9D%B1%E8%A5%BF/%E7%BF%BB%E8%AD%AF/%E7%BF%BB%E8%AD%AF%E5%AE%8C%E7%95%A2/Recording%20Queens%20of%20the%20Stone%20Age%20%E7%BF%BB%E8%AD%AF.doc#_ftn10" name="_ftnref10" title=""><span class="MsoFootnoteReference"><span lang="EN-US"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-size: 12pt;">[10]</span></span><!--[endif]--></span></span></a>或環境音<a href="file:///D:/%E7%9B%A7%E7%9B%A7%E7%9A%84%E6%9D%B1%E8%A5%BF/%E7%BF%BB%E8%AD%AF/%E7%BF%BB%E8%AD%AF%E5%AE%8C%E7%95%A2/Recording%20Queens%20of%20the%20Stone%20Age%20%E7%BF%BB%E8%AD%AF.doc#_ftn11" name="_ftnref11" title=""><span class="MsoFootnoteReference"><span lang="EN-US"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-size: 12pt;">[11]</span></span><!--[endif]--></span></span></a>效果的聲音的話,我們就把音箱或鼓組放在那收音,也利用那邊收拍手的聲音,或者是收<span lang="EN-US">vocals</span>。沒有什麼效果會比這個還要來的更類比了!」 <span lang="EN-US"><o:p></o:p></span></span></div>
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<span style="color: #999999; font-family: 新細明體; font-size: x-small; mso-bidi-font-family: 新細明體; mso-font-kerning: 0pt;">原文刊於<span lang="EN-US">http://www.soundonsound.com/sos/jul05/articles/qotsa.htm<o:p></o:p></span></span></div>
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<span style="font-size: x-small;"><a href="file:///D:/%E7%9B%A7%E7%9B%A7%E7%9A%84%E6%9D%B1%E8%A5%BF/%E7%BF%BB%E8%AD%AF/%E7%BF%BB%E8%AD%AF%E5%AE%8C%E7%95%A2/Recording%20Queens%20of%20the%20Stone%20Age%20%E7%BF%BB%E8%AD%AF.doc#_ftnref1" name="_ftn1" title=""><span class="MsoFootnoteReference"><span lang="EN-US"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US">[1]</span></span><!--[endif]--></span></span></a><span lang="EN-US"> Wall of sound</span></span></div>
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<span style="font-size: x-small;"><a href="file:///D:/%E7%9B%A7%E7%9B%A7%E7%9A%84%E6%9D%B1%E8%A5%BF/%E7%BF%BB%E8%AD%AF/%E7%BF%BB%E8%AD%AF%E5%AE%8C%E7%95%A2/Recording%20Queens%20of%20the%20Stone%20Age%20%E7%BF%BB%E8%AD%AF.doc#_ftnref2" name="_ftn2" title=""><span class="MsoFootnoteReference"><span lang="EN-US"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US">[2]</span></span><!--[endif]--></span></span></a><span lang="EN-US"> Wall of rock </span></span></div>
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<span style="font-size: x-small;"><a href="file:///D:/%E7%9B%A7%E7%9B%A7%E7%9A%84%E6%9D%B1%E8%A5%BF/%E7%BF%BB%E8%AD%AF/%E7%BF%BB%E8%AD%AF%E5%AE%8C%E7%95%A2/Recording%20Queens%20of%20the%20Stone%20Age%20%E7%BF%BB%E8%AD%AF.doc#_ftnref3" name="_ftn3" title=""><span class="MsoFootnoteReference"><span lang="EN-US"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US">[3]</span></span><!--[endif]--></span></span></a><span lang="EN-US"> </span><span lang="EN-US" style="font-family: 新細明體; mso-bidi-font-family: 新細明體; mso-bidi-font-size: 12.0pt; mso-bidi-font-style: italic; mso-font-kerning: 0pt;">Joshua Tree National Park</span></span></div>
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Anonymoushttp://www.blogger.com/profile/06377922510595008070noreply@blogger.com0tag:blogger.com,1999:blog-6021576624325993297.post-79287172784069468922012-09-21T02:23:00.000-07:002013-10-03T01:28:44.903-07:00Flea Association 翻譯<br />
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<a href="http://www.celebritytattoodesign.com/wp-content/uploads/2011/designs-f/flea/1239118549-flea%5B1%5D.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="http://www.celebritytattoodesign.com/wp-content/uploads/2011/designs-f/flea/1239118549-flea%5B1%5D.jpg" height="320" width="237" /></a><span style="color: #666666;"><span style="font-family: 新細明體; mso-ascii-font-family: Calibri; mso-hansi-font-family: Calibri;">如果你想像<a href="http://redhotchilipeppers.com/">嗆辣紅椒</a>的</span><span lang="EN-US">Flea</span><span style="font-family: 新細明體; mso-ascii-font-family: Calibri; mso-hansi-font-family: Calibri;">是個充滿熱情</span><span style="font-family: 新細明體;">、個性強烈、富有活力的人的話,從某個觀點來說<span lang="EN-US">—</span>那就對了。當然,任何人看過他在舞台上的表現可以證明。這個男人,用他龐克放克狂熱者的熱情彈奏,不停地甩頭,就如同他的名號(跳蚤)般跳來跳去。但坐著跟</span><span lang="EN-US">Flea</span><span style="font-family: 新細明體;">談話的情形<span lang="EN-US">—</span>這個於</span><span lang="EN-US">1962</span><span style="font-family: 新細明體;">年出生在澳洲墨爾本,本名為</span><span lang="EN-US">Michael Balzary</span><span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt; mso-font-kerning: 0pt; mso-hansi-font-family: "Times New Roman";">的人</span><span lang="EN-US" style="font-family: 新細明體; mso-bidi-font-size: 12.0pt; mso-font-kerning: 0pt;">—</span><span style="font-family: 新細明體; mso-bidi-font-size: 12.0pt; mso-font-kerning: 0pt;">就像是滾燙的沸湯轉成文火慢熬,張狂的目光軟化成溫和、深遠的凝視。</span><span lang="EN-US" style="font-family: 新細明體; mso-hansi-font-family: Calibri;"><o:p></o:p></span></span></div>
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<span style="color: #666666;"><span style="font-family: 新細明體;">距離嗆辣紅椒先前在<span lang="EN-US">1984</span>年,帶來他們結合龐克和放克的融合音樂所推出的首張同名專輯,已經<span lang="EN-US">27</span>個年頭了。所以,如果我們去懷疑,</span><span lang="EN-US">Flea</span><span style="font-family: 新細明體;">失去了他在嗆辣紅椒招牌唱片裡所發揮的特色-像是<span lang="EN-US">1985</span>年的</span><span lang="EN-US">Freaky
Stlyely</span><span style="font-family: 新細明體;">和<span lang="EN-US">1991</span>年的</span><span lang="EN-US">Blood Sugar Sex Magik</span><span style="font-family: 新細明體;">-是很合理的。但他卻沒有。另一個疑問是,樂團如潮汐般來去的吉他手們-</span><span lang="EN-US">Hillel Slovak, John Frusciante, Dave Navarro, Josh
Klinghoffer</span><span style="font-family: 新細明體; mso-bidi-font-size: 12.0pt; mso-font-kerning: 0pt;">-可曾壞了南加州人們衝浪的興致?答案是:沒有!</span><i><span lang="EN-US">I’m With You</span></i><span style="font-family: 新細明體; mso-bidi-font-size: 12.0pt; mso-bidi-font-style: italic; mso-font-kerning: 0pt;">,是</span><span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt; mso-bidi-font-style: italic; mso-font-kerning: 0pt; mso-hansi-font-family: "Times New Roman";">自</span><span lang="EN-US">2005</span><span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt; mso-bidi-font-style: italic; mso-font-kerning: 0pt; mso-hansi-font-family: "Times New Roman";">年發行的雙碟專輯</span><i><span lang="EN-US">Stadium Arcadium</span></i><span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt; mso-bidi-font-style: italic; mso-font-kerning: 0pt; mso-hansi-font-family: "Times New Roman";">後的第一張專輯,也是新吉他手</span><span lang="EN-US">Josh Klinghoffer</span><span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt; mso-font-kerning: 0pt; mso-hansi-font-family: "Times New Roman";">加入後所發行的首張唱片。依舊保持著經典紅椒所擁有的熱力和風味。</span></span><span lang="EN-US" style="font-family: 新細明體; mso-hansi-font-family: Calibri;"><o:p></o:p></span></div>
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<span style="color: #38761d;"><b><span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt; mso-font-kerning: 0pt; mso-hansi-font-family: "Times New Roman";">在</span></b><b><span lang="EN-US">Josh Klinghoffer</span></b><b><span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt; mso-font-kerning: 0pt; mso-hansi-font-family: "Times New Roman";">加入之後,樂團有多少的變化?</span></b><b><span lang="EN-US"><o:p></o:p></span></b></span><br />
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<span style="font-family: 新細明體; mso-ascii-font-family: Calibri; mso-hansi-font-family: Calibri;">很多</span><span style="font-family: 新細明體;">!我跟</span><span lang="EN-US">John</span><span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman";">(</span><span lang="EN-US">Frusciante</span><span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman";">)</span><span style="font-family: 新細明體;">一起建立了一種語言:如果我跟</span><span lang="EN-US">John</span><span style="font-family: 新細明體;">開始彈起貝斯來,我們會做出超正點的節奏,我們甚至不需交談或思考。跟</span><span lang="EN-US">Josh</span><span style="font-family: 新細明體;">的話,當我們一起彈奏的時候,我會這樣想:「好的!他什麼時候要做些神奇的事情,好讓我們做出個完美的宇宙節奏來?」但他就是不願這麼做。然後我發現,我只是坐在那等,等著一件我很習慣的事情出現,我應該讓</span><span lang="EN-US">Josh</span><span style="font-family: 新細明體;">當他自己。當我這麼做的時候,很快的,事情自然而然地呈現它該有的樣子了。最後音樂變的超棒,以一種美麗又完整的姿態。</span><span lang="EN-US">Josh</span><span style="font-family: 新細明體;">對於和弦如何合在一起,有他獨特的見解。他對合聲、旋律、和弦進行的理解力源自於傳統訓練,卻又很獨特。因此,他改變了我們所做的一切。</span><span lang="EN-US" style="font-family: 新細明體; mso-hansi-font-family: Calibri;"><o:p></o:p></span></div>
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<span style="color: #38761d;"><b><span style="font-family: 新細明體; mso-ascii-font-family: Calibri; mso-hansi-font-family: Calibri;">他對你的彈奏有什麼影響</span></b><b><span style="font-family: 新細明體;">?</span></b><b><span lang="EN-US" style="font-family: 新細明體; mso-hansi-font-family: Calibri;"><o:p></o:p></span></b></span><br />
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<span style="font-family: 新細明體; mso-ascii-font-family: Calibri; mso-hansi-font-family: Calibri;">當他彈得很有質感的時候</span><span style="font-family: 新細明體;">,我會想往反方向走,我會彈得很用力、很硬。另外,他弄的和弦結構很獨特,會讓我用不同的角度來思考旋律、作曲和即興。</span><span lang="EN-US" style="font-family: 新細明體; mso-hansi-font-family: Calibri;"><o:p></o:p></span></div>
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<span style="color: #38761d;"><b><span style="font-family: 新細明體; mso-ascii-font-family: Calibri; mso-hansi-font-family: Calibri;">準備做這張唱片時</span></b><b><span style="font-family: 新細明體;">,</span></b><b><span style="font-family: 新細明體; mso-ascii-font-family: Calibri; mso-hansi-font-family: Calibri;">你有設下任何目標嗎</span></b><b><span style="font-family: 新細明體;">?</span></b><b><span lang="EN-US" style="font-family: 新細明體; mso-hansi-font-family: Calibri;"><o:p></o:p></span></b></span></div>
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<span style="font-family: 新細明體; mso-ascii-font-family: Calibri; mso-hansi-font-family: Calibri;">我只是想做出好音樂</span><span style="font-family: 新細明體;">。我想更深地探索創作的過程,培養我和音樂神聖的源頭之間的關係。為了做這張專輯,我開始大量地用鋼琴寫歌,這是我從來都沒做過的事。我到學校上了一年的課,分析巴哈的合聲學。學習和弦的變化,和弦之間拉扯的收與放。我坐在鋼琴前面本是為了做學校的作業,而我就開始用它來寫歌了。這些東西真的改變了我的彈貝斯的方式。讓我看到不同的方式來移動和弦-垂直地、平行地、旋律性地、陪襯地,還有用延音踏板讓和弦走在底下地。我一向都是靠直覺在做這件事的。但有了更好的理解力,對於我身為貝斯手能做什麼,還有如何提供我獨特的美學,提供了一個更清楚的視野。</span><span lang="EN-US" style="font-family: 新細明體; mso-hansi-font-family: Calibri;"><o:p></o:p></span></div>
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<span style="font-family: 新細明體; mso-ascii-font-family: Calibri; mso-hansi-font-family: Calibri;">學習鋼琴改變了我創作的風格,可以讓我把一些想法帶到樂團裡並說:「這些是和弦,而這是節奏。」然後樂團就會跟著這些想法來彈奏,而我就用貝斯來彈奏它-這是我在創作的過程中還沒到達的階段。在過去,寫歌都是從吉他或貝斯開始的。用鋼琴來重新詮釋一首歌,是我們創作過程中的一個全新元素。</span></div>
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<iframe allowfullscreen='allowfullscreen' webkitallowfullscreen='webkitallowfullscreen' mozallowfullscreen='mozallowfullscreen' width='320' height='266' src='https://www.youtube.com/embed/Dhknq6332go?feature=player_embedded' frameborder='0'></iframe><span style="color: #38761d;"><b><span style="font-family: 新細明體; mso-ascii-font-family: Calibri; mso-hansi-font-family: Calibri;">你在</span></b><b><span lang="EN-US">“Happiness Loves Company”</span></b><b><span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt; mso-font-kerning: 0pt; mso-hansi-font-family: "Times New Roman";">這首曲子裡彈鋼琴,這歌是怎麼兜起來的?</span></b></span><b><span lang="EN-US"><o:p></o:p></span></b><br />
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<span style="font-family: 新細明體; mso-ascii-font-family: Calibri; mso-hansi-font-family: Calibri;">那首歌阿!我之所以彈鋼琴,是因為</span><span lang="EN-US">Josh</span><span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-hansi-font-family: "Times New Roman";">可以</span><span style="font-family: 新細明體; mso-ascii-font-family: Calibri; mso-hansi-font-family: Calibri;">用他的</span><a href="http://en.wikipedia.org/wiki/Fender_Bass_VI"><span lang="EN-US">Fender Bass VI</span></a><span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt; mso-font-kerning: 0pt; mso-hansi-font-family: "Times New Roman";">來彈貝斯的部份。對我們來說,最重要的就是要能一起做現場錄音,和找到那神奇的感覺;那種當你和別人一起彈奏時,才能獲得的那樣難以言喻的質感-而這事怪的可以,幾乎已快變成一種失落的藝術了。人們已不再這麼做了,不只是在年輕文化的音樂裡才這樣。大家都只是把狗屎湊在一起罷了!那是做音樂的一個很完美的方式,但做音樂的目標已經轉移了-為了追求聲音的完美。只要整體的感覺很不賴,我們情願作品上有些瑕疵。</span><span lang="EN-US"><o:p></o:p></span></div>
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<b><span style="color: #38761d; font-family: 新細明體; mso-ascii-font-family: Calibri; mso-hansi-font-family: Calibri;">你提到學習。那你是去哪裡上學?還有你從那學到了什麼?</span></b><br />
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<span style="font-family: 新細明體; mso-ascii-font-family: Calibri; mso-hansi-font-family: Calibri;">我在南加大修音樂理論、作曲和爵士小號。我主要學到的東西都是從理論課上得來的。最重要的影響就是巴哈,他大大地震撼了我;就像我還小的時候,聽到</span><span lang="EN-US">Hendrix</span><span style="font-family: 新細明體; mso-ascii-font-family: Calibri; mso-hansi-font-family: Calibri;">或</span><span lang="EN-US">Charlie Parker</span><span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt; mso-font-kerning: 0pt; mso-hansi-font-family: "Times New Roman";">的那樣驚人。我一直都很欣賞古典樂,但那不是我深入研究的原因。我選修一個理論教授開的一些課程-</span><span lang="EN-US">Neal Desby</span><span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt; mso-font-kerning: 0pt; mso-hansi-font-family: "Times New Roman";">教授-我也私底下跟著他學習。我真的很迷巴哈。那傢伙做的事情,是以人類的經驗、智慧及能力所及的最高峰。是那麼的令人嚮往。那麼的令人驚奇。</span><span lang="EN-US"><o:p></o:p></span></div>
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<span style="font-family: 新細明體; mso-ascii-font-family: Calibri; mso-hansi-font-family: Calibri;">我花了很多時間只是去看著音樂-閱讀巴哈的樂章,彈奏它,並且分析到底發生了什麼事,還有這些和弦在做什麼。那真的很有趣,我還想再多做一些。這真的很具有啟發性,我才只懂了他的一點皮毛而已,但我覺得我正成為一個更出色的音樂家、藝術家。我真的很愛待在那樣的環境,跟著人們一同學習,而老師們很有料。</span></div>
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<b><span style="color: #38761d;"><span style="font-family: 新細明體; mso-ascii-font-family: Calibri; mso-hansi-font-family: Calibri;">你還做了什麼以擴展你對音樂的了解?</span><span lang="EN-US"><o:p></o:p></span></span></b><br />
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<span style="font-family: 新細明體; mso-ascii-font-family: Calibri; mso-hansi-font-family: Calibri;">前兩年我去了衣索比亞跟奈及利亞去學習音樂-並非學術上的學習,只是每晚都出去看音樂演出,盡我所能地和當地的人們一起演奏。</span></div>
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<span style="font-family: 新細明體; mso-ascii-font-family: Calibri; mso-hansi-font-family: Calibri;">那時我人在衣索比亞,我跑去看俱樂部裡的樂團表演,我坐在那,試圖去理解他們在做些什麼。同時,所有的人都跑出來跳舞,玩的很瘋。這件事讓我的感受很深刻。有天早上我起床,拿起貝斯,就彈起了這首歌。那雖然不是衣索比亞的節奏,但它被當地所發生的每件事影響著。</span></div>
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<b><span style="color: #38761d; font-family: 新細明體; mso-ascii-font-family: Calibri; mso-hansi-font-family: Calibri;">在這批新的歌曲裡,什麼是你在現場演出時最期待的?</span></b><br />
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<span style="font-family: 新細明體; mso-ascii-font-family: Calibri; mso-hansi-font-family: Calibri;">全部!新專輯讓我最興奮的地方就是它真的很帶勁!此外,所有的歌都很適合做現場,我們會用即興演奏的方式來把玩這些曲子一番。</span></div>
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<iframe allowfullscreen='allowfullscreen' webkitallowfullscreen='webkitallowfullscreen' mozallowfullscreen='mozallowfullscreen' width='320' height='266' src='https://www.youtube.com/embed/9pDHpGXwld4?feature=player_embedded' frameborder='0'></iframe><span style="color: #38761d;"><b><span lang="EN-US">“Monarchy of Roses”</span></b><b><span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt; mso-font-kerning: 0pt; mso-hansi-font-family: "Times New Roman";">有種很酷的</span></b><b><span lang="EN-US">Bernard Edwards/Chic</span></b><b><span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt; mso-font-kerning: 0pt; mso-hansi-font-family: "Times New Roman";">(一支美國的</span></b><b><span lang="EN-US">Disco, R&B</span></b><b><span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt; mso-font-kerning: 0pt; mso-hansi-font-family: "Times New Roman";">樂團)類型的感覺。這個貝斯編曲背後的故事是什麼?</span></b></span><b><span lang="EN-US"><o:p></o:p></span></b><br />
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<span style="font-family: 新細明體; mso-ascii-font-family: Calibri; mso-hansi-font-family: Calibri;">當</span><span lang="EN-US">Josh</span><span style="font-family: 新細明體; mso-ascii-font-family: Calibri; mso-hansi-font-family: Calibri;">剛加入的時候,我們兩個在我家地下室彈奏了幾次。我們彈了一段</span><span lang="EN-US">Psychedelic</span><span style="font-family: 新細明體; mso-ascii-font-family: Calibri; mso-hansi-font-family: Calibri;">、</span><span lang="EN-US">Hard
Rock</span><span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-hansi-font-family: "Times New Roman";">風格</span><span style="font-family: 新細明體; mso-ascii-font-family: Calibri; mso-hansi-font-family: Calibri;">的樂句,然後突然轉入歡樂的</span><span lang="EN-US">Disco</span><span style="font-family: 新細明體; mso-ascii-font-family: Calibri; mso-hansi-font-family: Calibri;">節奏。我跟他就聊到,如果有人配著</span><span lang="EN-US">Michael
Jackson</span><span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-hansi-font-family: "Times New Roman";">似</span><span style="font-family: 新細明體; mso-ascii-font-family: Calibri; mso-hansi-font-family: Calibri;">的</span><span lang="EN-US">Disco</span><span style="font-family: 新細明體; mso-ascii-font-family: Calibri; mso-hansi-font-family: Calibri;">節奏,卻彈著像</span><span lang="EN-US">Black
Sabbath</span><span style="font-family: 新細明體; mso-ascii-font-family: Calibri; mso-hansi-font-family: Calibri;">般的句子,那該有多酷!?對我而言,這兩種氛圍是天生一對。我可以想像的到一個人同時甩頭和</span><span lang="EN-US">Disco</span><span style="font-family: 新細明體; mso-ascii-font-family: Calibri; mso-hansi-font-family: Calibri;">熱舞的樣子。</span></div>
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<iframe allowfullscreen='allowfullscreen' webkitallowfullscreen='webkitallowfullscreen' mozallowfullscreen='mozallowfullscreen' width='320' height='266' src='https://www.youtube.com/embed/7ZMQzmmCExs?feature=player_embedded' frameborder='0'></iframe><span style="color: #38761d;"><b><span style="font-family: 新細明體; mso-ascii-font-family: Calibri; mso-hansi-font-family: Calibri;">講到</span></b><b><span lang="EN-US">Michael Jackso</span></b><b><span lang="EN-US" style="font-family: 新細明體;">n</span></b><b><span style="font-family: 新細明體;">,我對</span></b><b><span lang="EN-US">“Look Around”</span></b><b><span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt; mso-font-kerning: 0pt; mso-hansi-font-family: "Times New Roman";">這首歌有</span></b><b><span lang="EN-US">Sly-Stone</span></b><b><span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt; mso-font-kerning: 0pt; mso-hansi-font-family: "Times New Roman";">遇見</span></b><b><span lang="EN-US">“Smooth Criminal”</span></b><b><span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt; mso-font-kerning: 0pt; mso-hansi-font-family: "Times New Roman";">的氣氛。這首歌的故事又是什麼?</span></b></span><b><span lang="EN-US"><o:p></o:p></span></b><br />
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<span style="font-family: 新細明體; mso-ascii-font-family: Calibri; mso-hansi-font-family: Calibri;">那歌是即興來的。有時候我們會即興彈奏個幾個小時,晚一點的時候,去聽錄下的東西,挑出一些不錯的部份。橋段的部份是我寫的,那時候我正等著朋友來,一起去衝浪,我就坐在我的沙發上一邊彈貝斯一邊等。</span></div>
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<span style="color: #38761d;"><b><span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt; mso-font-kerning: 0pt; mso-hansi-font-family: "Times New Roman";">你會錄下每次的即興演奏嗎?</span></b><b><span lang="EN-US"><o:p></o:p></span></b></span><br />
<span style="color: #38761d;"><b><span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt; mso-font-kerning: 0pt; mso-hansi-font-family: "Times New Roman";"><br /></span></b></span></div>
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<span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt; mso-bidi-font-weight: bold; mso-font-kerning: 0pt; mso-hansi-font-family: "Times New Roman";">我們是不會每次都錄啦!但是這張專輯大多是這樣來的。有時候我不喜歡錄下來,因為我覺得那會讓我們有點難為情。即興演奏最棒的部份,就是你在進行的時候,不需要考慮作結束的打算。</span><span lang="EN-US"><o:p></o:p></span></div>
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<span style="color: #38761d;"><b><span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt; mso-font-kerning: 0pt; mso-hansi-font-family: "Times New Roman";">你還有在專輯裡吹奏小號嗎?</span></b><b><span lang="EN-US"><o:p></o:p></span></b></span><br />
<span style="color: #38761d;"><b><span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt; mso-font-kerning: 0pt; mso-hansi-font-family: "Times New Roman";"><br /></span></b></span></div>
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<span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt; mso-bidi-font-weight: bold; mso-font-kerning: 0pt; mso-hansi-font-family: "Times New Roman";">沒有,那是</span><span lang="EN-US">Mike Bulge</span><span lang="EN-US" style="font-family: 新細明體; mso-bidi-font-size: 12.0pt; mso-font-kerning: 0pt;">r</span><span style="font-family: 新細明體; mso-bidi-font-size: 12.0pt; mso-font-kerning: 0pt;">,他在銀湖音樂學校(</span><span lang="EN-US">Silverlake Conservatory of Music</span><span style="font-family: 新細明體; mso-bidi-font-size: 12.0pt; mso-font-kerning: 0pt;">)</span><span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt; mso-font-kerning: 0pt; mso-hansi-font-family: "Times New Roman";">教課。我在一年半前放棄了吹小號這件事。當我們開始做這張專輯的時候,我正開始踏上用鋼琴寫歌的途徑,並維持我主要的貝斯彈奏,同時還要做好當父親的角色,還有諸如此類的。所以我沒有辦法把第三種樂器排進我每日練習的清單裡,於是我決定把它放下。</span><span lang="EN-US"><o:p></o:p></span></div>
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<iframe allowfullscreen='allowfullscreen' webkitallowfullscreen='webkitallowfullscreen' mozallowfullscreen='mozallowfullscreen' width='320' height='266' src='https://www.youtube.com/embed/2cOV6aVI3UY?feature=player_embedded' frameborder='0'></iframe><span style="color: #38761d;"><b><span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt; mso-font-kerning: 0pt; mso-hansi-font-family: "Times New Roman";">在過去的幾年內,你有跟</span></b><b><span lang="EN-US">Thom Yorke </span></b><b><span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt; mso-font-kerning: 0pt; mso-hansi-font-family: "Times New Roman";">組了</span></b><a href="http://atomsforpeace.info/" target="_blank"><b><span lang="EN-US">Atoms For Peace</span></b></a><b><span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt; mso-font-kerning: 0pt; mso-hansi-font-family: "Times New Roman";">並一起演出。那是怎麼發生的呢?</span></b></span><b><span lang="EN-US"><o:p></o:p></span></b></div>
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<span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt; mso-bidi-font-weight: bold; mso-font-kerning: 0pt; mso-hansi-font-family: "Times New Roman";">我跟</span><span lang="EN-US">Thom</span><span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt; mso-bidi-font-weight: bold; mso-font-kerning: 0pt; mso-hansi-font-family: "Times New Roman";">已經認識好幾年了,他想要能一起玩些東西,而主要是做他的唱片</span><i><span lang="EN-US">The Erase</span></i><i><span lang="EN-US" style="font-family: 新細明體; mso-bidi-font-size: 12.0pt; mso-font-kerning: 0pt;">r</span></i><span style="font-family: 新細明體; mso-bidi-font-size: 12.0pt; mso-bidi-font-style: italic; mso-font-kerning: 0pt;">,那是張很電的專輯。他想把那跟樂團現場演奏合在一起,那樣子做很棒,因為唱片的錄製方式-用<span lang="EN-US">loops</span>、電腦、電子樂器-讓節奏和感覺很不自然、不人性化。當你是用想像的方式,然後使用機器創作,你通常會做出平常不會去彈的節奏,特別不會去做像我們身處在西方文化所熟悉的東西。所以去彈奏那是件很具挑戰性的事情,但是也很刺激。那讓我在節奏性跟和聲學方面開啟了另一番視野。</span><span lang="EN-US" style="font-family: 新細明體; mso-bidi-font-size: 12.0pt; mso-bidi-font-style: italic; mso-font-kerning: 0pt; mso-hansi-font-family: Calibri;"><o:p></o:p></span></div>
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<span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt; mso-bidi-font-weight: bold; mso-font-kerning: 0pt; mso-hansi-font-family: "Times New Roman";">比那還酷的是,可以跟像</span><span lang="EN-US">Thom Yorke</span><span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt; mso-bidi-font-weight: bold; mso-font-kerning: 0pt; mso-hansi-font-family: "Times New Roman";">這樣出眾的音樂家一起做音樂。他是個聰明,又很出色的音樂家。他能用一種很美好的方式,讓身邊的人們,用身體隨著音樂振動。</span><span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt; mso-font-kerning: 0pt; mso-hansi-font-family: "Times New Roman";">【打擊樂手】</span><span lang="EN-US">Mauro Refosc</span><span lang="EN-US" style="font-family: 新細明體; mso-bidi-font-size: 12.0pt; mso-font-kerning: 0pt;">o</span><span style="font-family: 新細明體; mso-bidi-font-size: 12.0pt; mso-font-kerning: 0pt;">、</span><span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt; mso-font-kerning: 0pt; mso-hansi-font-family: "Times New Roman";">【鼓手】</span><span lang="EN-US">Joey Waronke</span><span lang="EN-US" style="font-family: 新細明體; mso-bidi-font-size: 12.0pt; mso-font-kerning: 0pt;">r</span><span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt; mso-font-kerning: 0pt; mso-hansi-font-family: "Times New Roman";">跟</span> <span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt; mso-font-kerning: 0pt; mso-hansi-font-family: "Times New Roman";">【鍵盤手】</span><span lang="EN-US"> Nigel Godrich</span><span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt; mso-font-kerning: 0pt; mso-hansi-font-family: "Times New Roman";">也都是很棒的音樂家。</span><span lang="EN-US">Mauro</span><span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt; mso-font-kerning: 0pt; mso-hansi-font-family: "Times New Roman";">也在紅椒的唱片貢獻良多。</span><span lang="EN-US"><o:p></o:p></span></div>
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<b><span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt; mso-font-kerning: 0pt; mso-hansi-font-family: "Times New Roman";"><br /></span></b></div>
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<span style="color: #38761d;"><b><span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt; mso-font-kerning: 0pt; mso-hansi-font-family: "Times New Roman";">當你要去詮釋他的電子音樂時,你的貝斯編曲有足夠的自由空間嗎?</span></b><b><span lang="EN-US"><o:p></o:p></span></b></span><br />
<span style="color: #38761d;"><b><span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt; mso-font-kerning: 0pt; mso-hansi-font-family: "Times New Roman";"><br /></span></b></span></div>
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<span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt; mso-bidi-font-weight: bold; mso-font-kerning: 0pt; mso-hansi-font-family: "Times New Roman";">當然,</span><span lang="EN-US">Thom</span><span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt; mso-bidi-font-weight: bold; mso-font-kerning: 0pt; mso-hansi-font-family: "Times New Roman";">要我做我自己。我能做出更深層的律動,而那正是他需要的,一切也都配合的很好。我很愛那樣的經驗,希望在未來可以多做一點。</span><span lang="EN-US"><o:p></o:p></span></div>
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<iframe allowfullscreen='allowfullscreen' webkitallowfullscreen='webkitallowfullscreen' mozallowfullscreen='mozallowfullscreen' width='320' height='266' src='https://www.youtube.com/embed/R6K4Eny96bI?feature=player_embedded' frameborder='0'></iframe><span style="color: #38761d;"><b><span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt; mso-font-kerning: 0pt; mso-hansi-font-family: "Times New Roman";">除了</span></b><b><span lang="EN-US">Atoms for Peac</span></b><b><span lang="EN-US" style="font-family: 新細明體; mso-bidi-font-size: 12.0pt; mso-font-kerning: 0pt;">e</span></b><b><span style="font-family: 新細明體; mso-bidi-font-size: 12.0pt; mso-font-kerning: 0pt;">,你還有做其他的事嗎?</span></b><b><span lang="EN-US" style="font-family: 新細明體; mso-bidi-font-size: 12.0pt; mso-font-kerning: 0pt; mso-hansi-font-family: Calibri;"><o:p></o:p></span></b></span><br />
<span style="color: #38761d;"><b><span style="font-family: 新細明體; mso-bidi-font-size: 12.0pt; mso-font-kerning: 0pt;"><br /></span></b></span></div>
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<span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt; mso-font-kerning: 0pt; mso-hansi-font-family: "Times New Roman";">我有跟【作曲家</span><span lang="EN-US">/</span><span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt; mso-font-kerning: 0pt; mso-hansi-font-family: "Times New Roman";">製作人】</span><span lang="EN-US">Damon Albarn </span><span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt; mso-font-kerning: 0pt; mso-hansi-font-family: "Times New Roman";">還有【鼓手】</span><span lang="EN-US">Tony Allen</span><span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt; mso-font-kerning: 0pt; mso-hansi-font-family: "Times New Roman";">一起進行一個計畫。那真的很好玩。</span><span lang="EN-US">Tony Allen</span><span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt; mso-font-kerning: 0pt; mso-hansi-font-family: "Times New Roman";">是這地表上的最佳鼓手。</span><b><span lang="EN-US" style="font-family: 新細明體; mso-bidi-font-size: 12.0pt; mso-font-kerning: 0pt; mso-hansi-font-family: Calibri;"><o:p></o:p></span></b></div>
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<span style="color: #38761d;"><b><span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt; mso-font-kerning: 0pt; mso-hansi-font-family: "Times New Roman";">你會順應不同的編制來選擇使用的貝斯嗎?你是怎麼選擇你的最佳設備的?</span></b><b><span lang="EN-US"><o:p></o:p></span></b></span><br />
<span style="color: #38761d;"><b><span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt; mso-font-kerning: 0pt; mso-hansi-font-family: "Times New Roman";"><br /></span></b></span></div>
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<span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt; mso-bidi-font-weight: bold; mso-font-kerning: 0pt; mso-hansi-font-family: "Times New Roman";">我對這個其實是很隨性的,身邊有什麼,就用什麼去做到最好。但我最近找到一個我超愛的貝斯音箱-新的</span><a href="http://www.acousticbassusa.com/products/360.html" target="_blank"><span lang="EN-US">Acoustic 360 head </span></a><span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt; mso-font-kerning: 0pt; mso-hansi-font-family: "Times New Roman";">和</span><a href="http://www.acousticbassusa.com/products/361.html" target="_blank"><span lang="EN-US">361 cabine</span><span lang="EN-US" style="font-family: 新細明體; mso-bidi-font-size: 12.0pt; mso-font-kerning: 0pt;">t</span></a><span style="font-family: 新細明體; mso-bidi-font-size: 12.0pt; mso-font-kerning: 0pt;">。</span><span lang="EN-US" style="font-family: 新細明體; mso-bidi-font-size: 12.0pt; mso-font-kerning: 0pt; mso-hansi-font-family: Calibri;"><o:p></o:p></span></div>
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<span style="color: #38761d;"><b><span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt; mso-font-kerning: 0pt; mso-hansi-font-family: "Times New Roman";">那你在唱片裡用的是什麼貝斯?</span></b><b><span lang="EN-US"><o:p></o:p></span></b></span><br />
<span style="color: #38761d;"><b><span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt; mso-font-kerning: 0pt; mso-hansi-font-family: "Times New Roman";"><br /></span></b></span></div>
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<span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt; mso-bidi-font-weight: bold; mso-font-kerning: 0pt; mso-hansi-font-family: "Times New Roman";">老</span><span lang="EN-US">Fender</span><span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt; mso-bidi-font-weight: bold; mso-font-kerning: 0pt; mso-hansi-font-family: "Times New Roman";">貝斯。我用我的</span><span lang="EN-US">’61 Jazz</span><span style="font-family: 新細明體; mso-bidi-font-size: 12.0pt; mso-font-kerning: 0pt;">,還有另一把</span><span lang="EN-US">’61 Jazz</span><span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt; mso-font-kerning: 0pt; mso-hansi-font-family: "Times New Roman";">是我朋友</span><span lang="EN-US">Damien Hirst</span><span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt; mso-font-kerning: 0pt; mso-hansi-font-family: "Times New Roman";">送我的。有天他問我:「什麼貝斯是世界上最好的?」我回他:「嗯,是</span><span lang="EN-US">’61 Jazz Bass</span><span style="font-family: 新細明體; mso-bidi-font-size: 12.0pt; mso-font-kerning: 0pt;">。</span><span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt; mso-font-kerning: 0pt; mso-hansi-font-family: "Times New Roman";">」我心想這真是個怪問題。但過了一年後,他就送我那把琴。</span><span lang="EN-US"><o:p></o:p></span></div>
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<span style="color: #38761d;"><b><span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt; mso-font-kerning: 0pt; mso-hansi-font-family: "Times New Roman";">你有一把</span></b><a href="http://en.wikipedia.org/wiki/H%C3%B6fner_500/1" target="_blank"><b><span lang="EN-US">Höfner 500/</span></b><b><span lang="EN-US" style="font-family: 新細明體; mso-bidi-font-size: 12.0pt; mso-font-kerning: 0pt;">1</span></b></a><b><span style="font-family: 新細明體; mso-bidi-font-size: 12.0pt; mso-font-kerning: 0pt;">,你常彈它嗎?</span></b><b><span lang="EN-US" style="font-family: 新細明體; mso-bidi-font-size: 12.0pt; mso-font-kerning: 0pt; mso-hansi-font-family: Calibri;"><o:p></o:p></span></b></span><br />
<span style="color: #38761d;"><b><span style="font-family: 新細明體; mso-bidi-font-size: 12.0pt; mso-font-kerning: 0pt;"><br /></span></b></span></div>
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<span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt; mso-font-kerning: 0pt; mso-hansi-font-family: "Times New Roman";">我並不常彈它,我是在</span><span lang="EN-US">Atoms For Peace</span><span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt; mso-font-kerning: 0pt; mso-hansi-font-family: "Times New Roman";">才開始彈</span><span lang="EN-US">Höfner</span><span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt; mso-font-kerning: 0pt; mso-hansi-font-family: "Times New Roman";">的。</span><span lang="EN-US">“Atoms For Peace”</span><span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt; mso-font-kerning: 0pt; mso-hansi-font-family: "Times New Roman";">這首歌,有段音高很高的合成器貝斯循環樂句,我是為了找那樣的聲音才用</span><span lang="EN-US">Höfner</span><span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt; mso-font-kerning: 0pt; mso-hansi-font-family: "Times New Roman";">的。</span><b><span lang="EN-US" style="font-family: 新細明體; mso-bidi-font-size: 12.0pt; mso-font-kerning: 0pt; mso-hansi-font-family: Calibri;"><o:p></o:p></span></b></div>
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<span style="color: #38761d;"><b><span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt; mso-font-kerning: 0pt; mso-hansi-font-family: "Times New Roman";">你還有用其他的貝斯嗎?</span></b><b><span lang="EN-US"><o:p></o:p></span></b></span><br />
<b><span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt; mso-font-kerning: 0pt; mso-hansi-font-family: "Times New Roman";"><br /></span></b></div>
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<a href="http://www.modulusguitars.com/" target="_blank"><span lang="EN-US">Modulus</span></a><span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt; mso-font-kerning: 0pt; mso-hansi-font-family: "Times New Roman";">的貝斯很棒,那裡的人都對我很好。過去的十年裡,我巡迴都用它們。</span><span lang="EN-US"><o:p></o:p></span></div>
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<span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt; mso-bidi-font-weight: bold; mso-font-kerning: 0pt; mso-hansi-font-family: "Times New Roman";">我開始做我自己品牌的貝斯,</span><a href="http://www.fleabass.com/"><span lang="EN-US">Flea Bass</span></a><span style="font-family: 新細明體; mso-bidi-font-size: 12.0pt; mso-font-kerning: 0pt;">。但做這件事的生意面讓我十分受挫,幾乎無法繼續下去。雖然對我來說這是件苦差事,但我真的很想做-做出品質良好、價格公道的貝斯給孩子們。我很愛這個概念,而且我想試著做出些好的產品給貝斯樂手使用,但我真的不是做生意上的料子。</span><span lang="EN-US" style="font-family: 新細明體; mso-bidi-font-size: 12.0pt; mso-font-kerning: 0pt; mso-hansi-font-family: Calibri;"><o:p></o:p></span></div>
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<span style="color: #38761d;"><b><span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt; mso-font-kerning: 0pt; mso-hansi-font-family: "Times New Roman";">你的音樂學校,銀湖音樂學校有什麼新鮮事嗎?</span></b><b><span lang="EN-US"><o:p></o:p></span></b></span><br />
<span style="color: #38761d;"><b><span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt; mso-font-kerning: 0pt; mso-hansi-font-family: "Times New Roman";"><br /></span></b></span></div>
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<span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt; mso-bidi-font-weight: bold; mso-font-kerning: 0pt; mso-hansi-font-family: "Times New Roman";">我們有七百個學生,而我們持續地在教音樂。那並不是為了教人當個出名的搖滾巨星。就純粹是讓人學習音樂和樂器的技巧而已。我們有教所有的管絃樂和搖滾樂團的樂器,有私人課程也有多人課程。我們這學校辦的很好,但最難的部分是去營利並保持運作。</span><span lang="EN-US"><o:p></o:p></span></div>
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<span style="color: #38761d;"><b><span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt; mso-font-kerning: 0pt; mso-hansi-font-family: "Times New Roman";">你想要灌輸的核心價值是什麼呢?</span></b><b><span lang="EN-US"><o:p></o:p></span></b></span><br />
<b><span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt; mso-font-kerning: 0pt; mso-hansi-font-family: "Times New Roman";"><br /></span></b></div>
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<span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt; mso-bidi-font-weight: bold; mso-font-kerning: 0pt; mso-hansi-font-family: "Times New Roman";">我想最重要的是,讓人知道玩樂器是多麼不可思議又神奇的體驗,還有它能給人們帶來很多益處。對生命而言,玩音樂是多麼棒的一種投影-你越願意去投入越多的心力,你就得到越多。不只是你會因為覺得自己成長為一名音樂家,或是跟樂器有更多的共鳴;你還能透過它來給予其他人幫助。玩音樂在任何方面都是件很棒的事情。</span><span lang="EN-US"><o:p></o:p></span></div>
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<iframe allowfullscreen='allowfullscreen' webkitallowfullscreen='webkitallowfullscreen' mozallowfullscreen='mozallowfullscreen' width='320' height='266' src='https://www.youtube.com/embed/C6jElKMMOWM?feature=player_embedded' frameborder='0'></iframe><span style="color: #38761d;"><b><i><span lang="EN-US">Blood Sugar Sex Magik</span></i></b><b><span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt; mso-bidi-font-style: italic; mso-font-kerning: 0pt; mso-hansi-font-family: "Times New Roman";">在今年已經發行滿二十年了,當你回想當時錄這張專輯的狀況,你會想到什麼?</span></b><b><span lang="EN-US"><o:p></o:p></span></b></span><br />
<span style="color: #38761d;"><b><span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt; mso-bidi-font-style: italic; mso-font-kerning: 0pt; mso-hansi-font-family: "Times New Roman";"><br /></span></b></span></div>
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<span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt; mso-bidi-font-weight: bold; mso-font-kerning: 0pt; mso-hansi-font-family: "Times New Roman";">那真是段很令人興奮的時光。我們全部人,特別是我跟</span><span lang="EN-US">John(Frusciante)</span><span style="font-family: 新細明體; mso-bidi-font-size: 12.0pt; mso-bidi-font-weight: bold; mso-font-kerning: 0pt;">,以一個很美麗的方式連結在一起。我們住在一起,一直都在演奏樂器。我們激盪出許多節奏跟想法,一起鬼混,玩的很愉快。</span><span lang="EN-US">John</span><span style="font-family: 新細明體; mso-bidi-font-size: 12.0pt; mso-bidi-font-weight: bold; mso-font-kerning: 0pt;">正要成長為一個作曲家,</span><span lang="EN-US">Anthony</span><span style="font-family: 新細明體; mso-bidi-font-size: 12.0pt; mso-bidi-font-weight: bold; mso-font-kerning: 0pt;">正開始要變成一個更有旋律性的歌手,而</span><span lang="EN-US">Chad</span><span style="font-family: 新細明體; mso-bidi-font-size: 12.0pt; mso-bidi-font-weight: bold; mso-font-kerning: 0pt;">正開始在樂團中感到更舒適。我們一直都很有現場的活力,但這是第一次,我們控制自己不要只是光把這份活力帶進錄音室,而是將它重新塑造一下,讓我們的歌曲變的更加強大。對我們來說,那是段很神奇的時光,而我為此深深感激。</span><span lang="EN-US" style="font-family: 新細明體; mso-bidi-font-size: 12.0pt; mso-bidi-font-weight: bold; mso-font-kerning: 0pt; mso-hansi-font-family: Calibri;"><o:p></o:p></span></div>
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<span style="color: #38761d;"><b><span style="font-family: 新細明體; mso-bidi-font-size: 12.0pt; mso-font-kerning: 0pt;">你在幾年前開始彈奏低音大提琴,那現在如何呢?</span></b><b><span lang="EN-US" style="font-family: 新細明體; mso-bidi-font-size: 12.0pt; mso-font-kerning: 0pt; mso-hansi-font-family: Calibri;"><o:p></o:p></span></b></span><br />
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<span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt; mso-bidi-font-style: italic; mso-font-kerning: 0pt; mso-hansi-font-family: "Times New Roman";">在我們錄製</span><i><span lang="EN-US">By The Way</span></i><span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt; mso-bidi-font-style: italic; mso-font-kerning: 0pt; mso-hansi-font-family: "Times New Roman";">之前我很常彈低音大提琴,但我最近已經沒彈它好一陣子了。我偶爾才會拿起它來,但是為了彈得更好,你必須不時地彈它。但是最近我在研究爵士貝斯-</span><span lang="EN-US">walking bass lines</span><span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt; mso-font-kerning: 0pt; mso-hansi-font-family: "Times New Roman";">和</span><span lang="EN-US">rhythm change</span><span lang="EN-US" style="font-family: 新細明體; mso-bidi-font-size: 12.0pt; mso-font-kerning: 0pt;">s</span><span style="font-family: 新細明體; mso-bidi-font-size: 12.0pt; mso-font-kerning: 0pt;">-用我的電貝斯。</span><span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt; mso-font-kerning: 0pt; mso-hansi-font-family: "Times New Roman";">我有一本</span><span lang="EN-US">Rufus Reid</span><span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt; mso-font-kerning: 0pt; mso-hansi-font-family: "Times New Roman";">的</span><i><span lang="EN-US">The Evolving Bassis</span></i><i><span lang="EN-US" style="font-family: 新細明體; mso-bidi-font-size: 12.0pt; mso-font-kerning: 0pt;">t</span></i><span style="font-family: 新細明體; mso-bidi-font-size: 12.0pt; mso-bidi-font-style: italic; mso-font-kerning: 0pt;">,我很愛那本書。我當貝斯手的生涯裡,從未真正地跟著書練習,但我覺得,能跟這些咆哮樂手坐在一起,搖滾一番,對我來說是一個尚未開發的領域。</span><span lang="EN-US" style="font-family: 新細明體; mso-bidi-font-size: 12.0pt; mso-bidi-font-weight: bold; mso-font-kerning: 0pt; mso-hansi-font-family: Calibri;"><o:p></o:p></span></div>
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<span style="color: #38761d;"><b><span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt; mso-font-kerning: 0pt; mso-hansi-font-family: "Times New Roman";">你可曾想過要去上貝斯課程?</span></b><b><span lang="EN-US"><o:p></o:p></span></b></span><br />
<b><span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt; mso-font-kerning: 0pt; mso-hansi-font-family: "Times New Roman";"><br /></span></b></div>
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<span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt; mso-bidi-font-weight: bold; mso-font-kerning: 0pt; mso-hansi-font-family: "Times New Roman";">曾經幾乎是要去了,但我還是沒去。我會很願意去上個課。跟那些真正厲害的貝斯樂手比起來,我覺得我是個遜咖。我現在正很進入紅椒的狀況,但我真的很想要繼續學習爵士。希望在這次的巡迴結束時,我能準備好要玩一些真正的爵士樂。</span><span lang="EN-US"><o:p></o:p></span></div>
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<span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt; mso-bidi-font-weight: bold; mso-font-kerning: 0pt; mso-hansi-font-family: "Times New Roman";">真正能令我自己感到不錯的是,我有自己獨特的方式去感受音樂。每個人都可以,但我覺得,那真正能幫到我的是學習如何去接受自己的方式。也許我在一開始沒能接受正規的訓練是一件好事,因為我只是憑我的感覺去做。現在我想要去學這些規則,驅使我這樣做的唯一理由,是這麼一來我就可以打破它們。如果你不能突破某些事的話,你就不算真正地自由。而那很令人振奮。</span><span lang="EN-US"><o:p></o:p></span></div>
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<b><span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt; mso-font-kerning: 0pt; mso-hansi-font-family: "Times New Roman";">能用樂理當基礎,又要能在音樂上表達情感,是個很微妙的平衡。</span></b><b><span lang="EN-US"><o:p></o:p></span></b></div>
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<span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt; mso-bidi-font-weight: bold; mso-font-kerning: 0pt; mso-hansi-font-family: "Times New Roman";">學習只會讓你更好。每個人都有其學習的最佳方式,儘管他們只是從唱片裡學習。</span><span lang="EN-US"><o:p></o:p></span></div>
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<span style="color: #38761d;"><b><span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt; mso-font-kerning: 0pt; mso-hansi-font-family: "Times New Roman";">你最近都聽什麼音樂?</span></b><b><span lang="EN-US"><o:p></o:p></span></b></span><br />
<span style="color: #38761d;"><b><span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt; mso-font-kerning: 0pt; mso-hansi-font-family: "Times New Roman";"><br /></span></b></span></div>
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<span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt; mso-font-kerning: 0pt; mso-hansi-font-family: "Times New Roman";">最近我非常喜歡</span><span lang="EN-US">J Dill</span><span lang="EN-US" style="font-family: 新細明體; mso-bidi-font-size: 12.0pt; mso-font-kerning: 0pt;">a</span><span style="font-family: 新細明體; mso-bidi-font-size: 12.0pt; mso-font-kerning: 0pt;">,</span><span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt; mso-font-kerning: 0pt; mso-hansi-font-family: "Times New Roman";">他是個英年早逝的</span><span lang="EN-US">hip-hop</span><span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt; mso-font-kerning: 0pt; mso-hansi-font-family: "Times New Roman";">製作人。他取樣的方式、合成器的玩法、他寫旋律的觀念、他對節奏的律動,還有旋律對位的方法都很出類拔萃。他的音樂深深的感動了我,特別是</span> <i><span lang="EN-US">Ruff Draft EP, Shining</span></i><span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt; mso-font-kerning: 0pt; mso-hansi-font-family: "Times New Roman";">跟</span><i><span lang="EN-US">Jay Stay Paid</span></i><span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt; mso-bidi-font-style: italic; mso-font-kerning: 0pt; mso-hansi-font-family: "Times New Roman";">這兩張唱片。我還是聽很多的巴哈,還有貝多芬的室內樂、</span><span lang="EN-US">Billy Holida</span><span lang="EN-US" style="font-family: 新細明體; mso-bidi-font-size: 12.0pt; mso-font-kerning: 0pt;">y</span><span style="font-family: 新細明體; mso-bidi-font-size: 12.0pt; mso-font-kerning: 0pt;">,</span><span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt; mso-font-kerning: 0pt; mso-hansi-font-family: "Times New Roman";">跟很多爵士</span><span lang="EN-US">—</span><span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt; mso-font-kerning: 0pt; mso-hansi-font-family: "Times New Roman";">所有</span><span lang="EN-US">Charlie Parker</span><span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt; mso-font-kerning: 0pt; mso-hansi-font-family: "Times New Roman";">的唱片,還有特別是像</span><span lang="EN-US">Lee Morga</span>n<span style="font-family: 新細明體; mso-bidi-font-size: 12.0pt; mso-font-kerning: 0pt;">、</span><span lang="EN-US"> Freddie Hubbar</span>d<span style="font-family: 新細明體; mso-bidi-font-size: 12.0pt; mso-font-kerning: 0pt;">、</span><span lang="EN-US">Kenny Dorha</span>m<span style="font-family: 新細明體; mso-bidi-font-size: 12.0pt; mso-font-kerning: 0pt;">、</span><span lang="EN-US">Fats Navarr</span>o<span style="font-family: 新細明體; mso-bidi-font-size: 12.0pt; mso-font-kerning: 0pt;">,</span><span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt; mso-font-kerning: 0pt; mso-hansi-font-family: "Times New Roman";">這些小號樂手。當然,還有</span><span lang="EN-US">Louie Armstrong</span><span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt; mso-font-kerning: 0pt; mso-hansi-font-family: "Times New Roman";">。我還很喜歡</span><span lang="EN-US">Aphex Twin</span><span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt; mso-font-kerning: 0pt; mso-hansi-font-family: "Times New Roman";">的</span><i><span lang="EN-US">Analord</span></i><span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt; mso-font-kerning: 0pt; mso-hansi-font-family: "Times New Roman";">系列。</span></div>
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<span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt; mso-bidi-font-weight: bold; mso-font-kerning: 0pt; mso-hansi-font-family: "Times New Roman";">當然,我最喜歡的電貝斯樂手是</span><span lang="EN-US">Squarepushe</span>r<span style="font-family: 新細明體; mso-bidi-font-size: 12.0pt; mso-font-kerning: 0pt;">。我很愛聽他。他最近已經沒有做些很具突破性的貝斯演奏了。他已經轉而鑽研歌曲做法了,但他還是有些淘氣的獨奏出現在</span><i><span lang="EN-US">Shobaleader One: d’Demonstrato</span>r</i><span style="font-family: 新細明體; mso-bidi-font-size: 12.0pt; mso-bidi-font-style: italic; mso-font-kerning: 0pt;">,這張他去年發行的專輯。他還發了一張</span><span lang="EN-US">[Solo <i>Electric Bass</i>, Vol. 1</span><span lang="EN-US" style="font-family: 新細明體; mso-bidi-font-size: 12.0pt; mso-font-kerning: 0pt;">]</span><span style="font-family: 新細明體; mso-bidi-font-size: 12.0pt; mso-font-kerning: 0pt;">,那是在巴黎錄的現場,就只有他用一把六弦貝斯彈了一整個小時,沒有機器、沒有任何其他東西。非常的深奧。我最喜歡的</span><span lang="EN-US">Squarepusher</span><span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt; mso-font-kerning: 0pt; mso-hansi-font-family: "Times New Roman";">唱片是</span><i><span lang="EN-US">Ultravisito</span>r</i><span style="font-family: 新細明體; mso-bidi-font-size: 12.0pt; mso-bidi-font-style: italic; mso-font-kerning: 0pt;">。他是這麼的優秀和獨特。<span lang="EN-US"><o:p></o:p></span></span></div>
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<span style="color: #38761d;"><b><span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt; mso-font-kerning: 0pt; mso-hansi-font-family: "Times New Roman";">你會很挑剔自己的演奏嗎?</span></b><b><span lang="EN-US"><o:p></o:p></span></b></span><br />
<span style="color: #38761d;"><b><span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt; mso-font-kerning: 0pt; mso-hansi-font-family: "Times New Roman";"><br /></span></b></span></div>
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<span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt; mso-bidi-font-weight: bold; mso-font-kerning: 0pt; mso-hansi-font-family: "Times New Roman";">不!我總是覺得我們可以做的更好,但我知道我們已經盡其所能了。在寫歌的過程中,我們寫了我們能寫的最佳歌曲,做出了屬於我們樂團的格調。然後我們錄音、作疊錄,試著對做音樂的每一步深思熟慮。錄完了,我會去聽我們做的音樂,確認它是好的,反覆檢查過帶的成果。</span><span lang="EN-US"><o:p></o:p></span></div>
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<span style="color: #38761d;"><b><span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt; mso-font-kerning: 0pt; mso-hansi-font-family: "Times New Roman";">你在這張專輯有用一些很酷的</span></b><b><span lang="EN-US">filter</span></b><b><span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt; mso-font-kerning: 0pt; mso-hansi-font-family: "Times New Roman";">跟</span></b><b><span lang="EN-US">fuzz</span></b><b><span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt; mso-font-kerning: 0pt; mso-hansi-font-family: "Times New Roman";">效果</span></b><b><span style="font-family: 新細明體; mso-bidi-font-size: 12.0pt; mso-font-kerning: 0pt;">,那是什麼效果器?<span lang="EN-US"><o:p></o:p></span></span></b></span><br />
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<span lang="EN-US">Fuzz</span><span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt; mso-font-kerning: 0pt; mso-hansi-font-family: "Times New Roman";">是</span><span lang="EN-US"><a href="http://malekkoheavyindustry.com/index.php/all-effects-pedals/b-assmaster" target="_blank">Malekko B:Assmaster</a></span><span style="font-family: 新細明體; mso-bidi-font-size: 12.0pt; mso-font-kerning: 0pt;">,</span><span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt; mso-font-kerning: 0pt; mso-hansi-font-family: "Times New Roman";">它是我用過最棒的</span><span lang="EN-US">fuzz</span><span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt; mso-font-kerning: 0pt; mso-hansi-font-family: "Times New Roman";">效果器。</span> <span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt; mso-font-kerning: 0pt; mso-hansi-font-family: "Times New Roman";">每個人都想當貝斯大師!(笑)我不記得</span><span lang="EN-US">envelope filter</span><span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt; mso-font-kerning: 0pt; mso-hansi-font-family: "Times New Roman";">的名字了。我也有用一顆</span><a href="http://www.moogmusic.com/products/moogerfoogers/mf-103-12-stage-phaser" target="_blank"><span lang="EN-US">Moogerfooger MF-103 12-Stage Phase</span>r</a><span style="font-family: 新細明體; mso-bidi-font-size: 12.0pt; mso-font-kerning: 0pt;">。</span><br />
<span style="font-family: 新細明體; mso-bidi-font-size: 12.0pt; mso-font-kerning: 0pt;"><b><span lang="EN-US"><o:p></o:p></span></b></span></div>
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<span style="color: #38761d;"><b><span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt; mso-font-kerning: 0pt; mso-hansi-font-family: "Times New Roman";">你還有任何事情想說的嗎?</span></b><b><span lang="EN-US"><o:p></o:p></span></b></span><br />
<span style="color: #38761d;"><b><span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt; mso-font-kerning: 0pt; mso-hansi-font-family: "Times New Roman";"><br /></span></b></span></div>
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<span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt; mso-font-kerning: 0pt; mso-hansi-font-family: "Times New Roman";">身為一個音樂家,我很享受演奏音樂。我學的越多、就越有意思、我也就更愛它。它從不疲倦。只要你願意不懶惰的話,它會用一個很美妙的方式自我進化。我有變懶的傾向-別誤會我-但我很愛利用休息時間學習。我覺得很好玩,而且我對能出去現場演奏感到很興奮。我愛貝斯,它是個很棒的樂器!</span><b><span lang="EN-US"><o:p></o:p></span></b></div>
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<span style="font-size: x-small;"><span style="font-family: 新細明體;">原文來自: </span><a href="http://www.bassplayer.com/article/flea-association/5908">http://www.bassplayer.com/article/flea-association/5908</a></span></div>
Anonymoushttp://www.blogger.com/profile/06377922510595008070noreply@blogger.com0tag:blogger.com,1999:blog-6021576624325993297.post-69733474067884384032012-09-21T02:08:00.000-07:002013-10-02T00:47:41.145-07:00 幽浮一族錄製搖滾光年<h2>
<b><span style="font-family: 新細明體;">Foo Fighters Recording Wasting Light</span></b></h2>
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<span style="color: #666666;"><b><span style="font-family: 新細明體;">幽浮一族</span></b></span><b style="color: #666666;"><span style="font-family: 新細明體;">【1】</span></b><b style="color: #666666;"><span style="font-family: 新細明體;">可以在世界上任何一間錄音室</span></b><b style="color: #666666;"><span style="font-family: 新細明體;">,</span></b><b style="color: #666666;"><span style="font-family: 新細明體;">來錄製他們期待已久的專輯</span></b><b style="color: #666666;"><span style="font-family: 新細明體;">「</span></b><b style="color: #666666;"><span style="font-family: 新細明體;">搖滾光年</span></b><b style="color: #666666;"><span style="color: #666666; font-family: 新細明體;">」</span></b><b style="color: #666666;"><span style="font-family: 新細明體;">【2】</span></b><b style="color: #666666;"><span style="color: #666666; font-family: 新細明體;">,但是他們選擇了主唱的車庫…</span></b></h2>
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<span style="font-family: 新細明體; mso-ascii-font-family: Calibri; mso-hansi-font-family: Calibri;">籌備幽浮一族的第七張專輯的時候</span><span style="font-family: 新細明體;">,</span><span style="font-family: 新細明體; mso-ascii-font-family: Calibri; mso-hansi-font-family: Calibri;">戴夫</span><span style="font-family: 新細明體;">【<span lang="EN-US">3</span>】覺得典型的樂團錄音型式已經讓他感到無聊。就算是樂團在加州北嶺【<span lang="EN-US">4</span>】擁有一間高檔的</span><span lang="EN-US">606 Studios</span><span style="font-family: 新細明體;">也一樣。葛羅在內心深處依然是個龐克,並發現自己對於真實、全然的類比錄音方式的渴望。當他在跟邪派禿鷹【<span lang="EN-US">5</span>】(他另外跟</span><span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt; mso-font-kerning: 0pt; mso-hansi-font-family: "Times New Roman";">喬許‧哈米【</span><span lang="EN-US">6</span><span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt; mso-font-kerning: 0pt; mso-hansi-font-family: "Times New Roman";">】還有約翰‧保羅‧瓊斯【</span><span lang="EN-US">7</span><span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt; mso-font-kerning: 0pt; mso-hansi-font-family: "Times New Roman";">】合作</span><span style="font-family: 新細明體;">的三人團)進行巡迴時,有一晚,在墨爾本的旅館裡,他發想出一個回到錄音最原始模樣的計畫;那就是「搖滾光年」。在指標性專輯「從不介意【<span lang="EN-US">8</span>】」發行二十年後,因為「搖滾光年」,</span><span style="font-family: 新細明體; mso-ascii-font-family: Calibri; mso-hansi-font-family: Calibri;">戴夫</span><span style="font-family: 新細明體;">讓該專輯製作人</span><span style="font-family: 新細明體; mso-ascii-font-family: Calibri; mso-hansi-font-family: Calibri;">柏區</span><span style="font-family: 新細明體;">‧</span><span style="font-family: 新細明體; mso-ascii-font-family: Calibri; mso-hansi-font-family: Calibri;">維格</span><span style="font-family: 新細明體;">【<span lang="EN-US">9</span>】,從前的團員,超脫【<span lang="EN-US">10</span>】貝斯手</span><span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt; mso-font-kerning: 0pt; mso-hansi-font-family: "Times New Roman";">柯里斯‧諾佛賽利克【</span><span lang="EN-US">11</span><span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt; mso-font-kerning: 0pt; mso-hansi-font-family: "Times New Roman";">】,在</span><span lang="EN-US">1994</span><span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt; mso-font-kerning: 0pt; mso-hansi-font-family: "Times New Roman";">年寇特‧柯本【</span><span lang="EN-US">12</span><span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt; mso-font-kerning: 0pt; mso-hansi-font-family: "Times New Roman";">】自殺後首度聚首。最令柏區頭痛是,錄製專輯有兩個嚴格的條件:葛羅堅持一定要用盤帶來錄製整張專輯,並且要在他位於恩齊諾【</span><span lang="EN-US">13</span><span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt; mso-font-kerning: 0pt; mso-hansi-font-family: "Times New Roman";">】的家中,能容納兩台車的車庫裡錄。</span><span lang="EN-US"><o:p></o:p></span></div>
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<span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt; mso-font-kerning: 0pt; mso-hansi-font-family: "Times New Roman";">專輯的十一首歌依序錄製,而泰勒【</span><span lang="EN-US">14</span><span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt; mso-font-kerning: 0pt; mso-hansi-font-family: "Times New Roman";">】的鼓設置會隨著狀況做改變,根據戴夫車庫的範圍。葛羅說:「我想說,比起在最貴的錄音室用最先進的器材錄音,何不在我跟柏區闊別二十年重新相聚來用盤帶在我車庫裡錄呢?」我們要去從沒有人去錄過音的地方。不是要去像齊柏林【</span><span lang="EN-US">15</span><span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt; mso-font-kerning: 0pt; mso-hansi-font-family: "Times New Roman";">】錄</span><span lang="EN-US">In Through The Out Door</span><span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt; mso-font-kerning: 0pt; mso-hansi-font-family: "Times New Roman";">去的那種錄音室,而是去我的車庫。之前,唯一在我車庫錄過音的人,只有我。在我為了前兩張專輯而做的憋腳試聽帶的時候。</span><span lang="EN-US"><o:p></o:p></span></div>
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<span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt; mso-font-kerning: 0pt; mso-hansi-font-family: "Times New Roman";">用他的想法來看,</span><span style="font-family: 新細明體; mso-ascii-font-family: Calibri; mso-hansi-font-family: Calibri;">柏區</span><span style="font-family: 新細明體;">‧</span><span style="font-family: 新細明體; mso-ascii-font-family: Calibri; mso-hansi-font-family: Calibri;">維格</span><span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt; mso-font-kerning: 0pt; mso-hansi-font-family: "Times New Roman";">據實的說:「這樣子說吧,在第一天我們坐下來討論專輯的事情時」製作人笑了「他丟下一顆震撼彈:『我想要在我家車庫錄音』我想,好吧,他應該是有間非常不錯的車庫。所以我們就去他家,一打開車庫門</span><span lang="EN-US">—</span><span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt; mso-font-kerning: 0pt; mso-hansi-font-family: "Times New Roman";">那只是間很遜的矩型空間,大約十八呎乘二十呎,又硬又乾的牆壁。但當我們把鼓裝好架上四支麥克風,然後戴夫開始打鼓時,聲音還真是不錯。真是很有張力的聲響。因為房間很小,音壓壓倒性的大聲。然後他丟下第二顆震撼彈:『我要用盤帶來錄』我應該就說:『</span><span lang="EN-US">OK</span><span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt; mso-font-kerning: 0pt; mso-hansi-font-family: "Times New Roman";">。』但我心想,我們應該是會錄先用盤帶錄然後再丟到</span><span lang="EN-US">Pro Tools</span><span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt; mso-font-kerning: 0pt; mso-hansi-font-family: "Times New Roman";">做處理。」</span><span lang="EN-US"><o:p></o:p></span></div>
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<span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt; mso-font-kerning: 0pt; mso-hansi-font-family: "Times New Roman";">葛羅回憶道:「柏區說:『如果在工作時出了問題,我們可以把它丟到</span><span lang="EN-US">Pro Tools</span><span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt; mso-font-kerning: 0pt; mso-hansi-font-family: "Times New Roman";">處理。』我說:『不對!不對!老兄,不用操他媽的電腦。不要用任何一台電腦,決不!』個人上來說,我是比較喜歡盤帶式錄音的。因為我喜歡現場表演的聲音,我不喜歡抱著機械化、太過要求完美的態度來做音樂。他說:『這下我得把剪輯用的剃刀拿出來。』我說:『我之前看你這樣做過,我知道你行的。』」</span><span lang="EN-US"><o:p></o:p></span></div>
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<span style="color: #e69138; font-size: x-small;"><span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt; mso-font-kerning: 0pt; mso-hansi-font-family: "Times New Roman";">【</span><span lang="EN-US">1</span><span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt; mso-font-kerning: 0pt; mso-hansi-font-family: "Times New Roman";">】</span><span lang="EN-US">Foo Fighters</span><span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt; mso-font-kerning: 0pt; mso-hansi-font-family: "Times New Roman";">【</span><span lang="EN-US">2</span><span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt; mso-font-kerning: 0pt; mso-hansi-font-family: "Times New Roman";">】</span><span lang="EN-US">Wasting Light</span><span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt; mso-font-kerning: 0pt; mso-hansi-font-family: "Times New Roman";">【</span><span lang="EN-US">3</span><span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt; mso-font-kerning: 0pt; mso-hansi-font-family: "Times New Roman";">】戴夫‧葛羅</span><span lang="EN-US">Dave Grohl </span><span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt; mso-font-kerning: 0pt; mso-hansi-font-family: "Times New Roman";">【</span><span lang="EN-US">4</span><span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt; mso-font-kerning: 0pt; mso-hansi-font-family: "Times New Roman";">】</span><span lang="EN-US">Northridge, Los Angeles</span><span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt; mso-font-kerning: 0pt; mso-hansi-font-family: "Times New Roman";">【</span><span lang="EN-US">5</span><span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt; mso-font-kerning: 0pt; mso-hansi-font-family: "Times New Roman";">】</span><span lang="EN-US">Them Crooked Vultures</span><span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt; mso-font-kerning: 0pt; mso-hansi-font-family: "Times New Roman";">【</span><span lang="EN-US">6</span><span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt; mso-font-kerning: 0pt; mso-hansi-font-family: "Times New Roman";">】</span><span lang="EN-US">Josh Homme</span><span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt; mso-font-kerning: 0pt; mso-hansi-font-family: "Times New Roman";">【</span><span lang="EN-US">7</span><span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt; mso-font-kerning: 0pt; mso-hansi-font-family: "Times New Roman";">】</span><span lang="EN-US">John Paul Jones</span><span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt; mso-font-kerning: 0pt; mso-hansi-font-family: "Times New Roman";">【</span><span lang="EN-US">8</span><span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt; mso-font-kerning: 0pt; mso-hansi-font-family: "Times New Roman";">】</span><span lang="EN-US">Nevermind</span><span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt; mso-font-kerning: 0pt; mso-hansi-font-family: "Times New Roman";">【</span><span lang="EN-US">9</span><span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt; mso-font-kerning: 0pt; mso-hansi-font-family: "Times New Roman";">】</span><span lang="EN-US">Butch Vig</span><span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt; mso-font-kerning: 0pt; mso-hansi-font-family: "Times New Roman";">【</span><span lang="EN-US">10</span><span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt; mso-font-kerning: 0pt; mso-hansi-font-family: "Times New Roman";">】</span><span lang="EN-US">Nirvana</span><span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt; mso-font-kerning: 0pt; mso-hansi-font-family: "Times New Roman";">【</span><span lang="EN-US">11</span><span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt; mso-font-kerning: 0pt; mso-hansi-font-family: "Times New Roman";">】</span><span lang="EN-US">Krist Novoselic</span><span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt; mso-font-kerning: 0pt; mso-hansi-font-family: "Times New Roman";">【</span><span lang="EN-US">12</span><span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt; mso-font-kerning: 0pt; mso-hansi-font-family: "Times New Roman";">】</span><span lang="EN-US">Kurt Cobain</span><span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt; mso-font-kerning: 0pt; mso-hansi-font-family: "Times New Roman";">【</span><span lang="EN-US">13</span><span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt; mso-font-kerning: 0pt; mso-hansi-font-family: "Times New Roman";">】</span><span lang="EN-US">Encino</span><span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt; mso-font-kerning: 0pt; mso-hansi-font-family: "Times New Roman";">【</span><span lang="EN-US">14</span><span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt; mso-font-kerning: 0pt; mso-hansi-font-family: "Times New Roman";">】泰勒‧霍金斯</span><span lang="EN-US">Taylor Hawkins</span><span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt; mso-font-kerning: 0pt; mso-hansi-font-family: "Times New Roman";">【</span><span lang="EN-US">15</span><span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt; mso-font-kerning: 0pt; mso-hansi-font-family: "Times New Roman";">】齊柏林飛船</span><span lang="EN-US">Led Zeppelin<o:p></o:p></span></span></div>
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<span style="color: red;"><b><span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt; mso-font-kerning: 0pt; mso-hansi-font-family: "Times New Roman";">搖滾光年,沒有空間</span></b></span></h4>
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<span style="color: red;"><b><span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt; mso-font-kerning: 0pt; mso-hansi-font-family: "Times New Roman";"><br /></span></b></span></div>
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<span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt; mso-font-kerning: 0pt; mso-hansi-font-family: "Times New Roman";">在錄「搖滾光年」的準備期間,錄音師詹姆士‧</span><span lang="EN-US">R</span><span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt; mso-font-kerning: 0pt; mso-hansi-font-family: "Times New Roman";">‧布朗【</span><span lang="EN-US">16</span><span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt; mso-font-kerning: 0pt; mso-hansi-font-family: "Times New Roman";">】先去了葛羅在恩齊諾的房子做一些試錄,他帶了</span><a href="http://www.primalgear.com/sta8mawivelo.html" target="_blank"><span lang="EN-US">Studer A827 24‑track recorder</span></a><span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt; mso-font-kerning: 0pt; mso-hansi-font-family: "Times New Roman";">,跟從</span><span lang="EN-US">606 Studios</span><span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt; mso-font-kerning: 0pt; mso-hansi-font-family: "Times New Roman";">拿來的舊</span><span lang="EN-US"> <a href="http://www.vintageking.com/Neve-BCM-10-Console-Restoration" target="_blank">BCM10</a> </span><span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt; mso-font-kerning: 0pt; mso-hansi-font-family: "Times New Roman";">來推一整櫃的</span><span lang="EN-US">Neve preamps</span><span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt; mso-font-kerning: 0pt; mso-hansi-font-family: "Times New Roman";">。布朗說:「我用了八支麥克風,來體驗一下我們即將要進行的工作。我們花了三小時,用十六軌來錄手邊有的歌曲,包含『</span><span lang="EN-US">Dear Rosemary</span><span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt; mso-font-kerning: 0pt; mso-hansi-font-family: "Times New Roman";">』我告訴柏區說:『我們會跟『頂級』一點都扯不上關係。』」</span><span lang="EN-US"><o:p></o:p></span></div>
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<span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt; mso-font-kerning: 0pt; mso-hansi-font-family: "Times New Roman";">在滿意試錄的成果後,他們也準備好將控制室設在車庫上方的書房(從牆外拉線)。團隊帶了另一台</span><span lang="EN-US">Studer A827</span><span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt; mso-font-kerning: 0pt; mso-hansi-font-family: "Times New Roman";">,為了做四十八軌的錄音;也訂了一台</span><a href="http://www.apiaudio.com/nw_850.html" target="_blank"><span lang="EN-US">API 1608 desk</span></a><span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt; mso-font-kerning: 0pt; mso-hansi-font-family: "Times New Roman";">,還有一臺外接混音臺可以擴充到三十二軌。監聽喇叭用維格的</span><span lang="EN-US"><a href="http://www.barefootsound.com/micromain27.html" target="_blank">Barefoot MM27</a>s</span><span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt; mso-font-kerning: 0pt; mso-hansi-font-family: "Times New Roman";">。布朗說:「首要考慮的問題,就是空間。處理得好的話,我們就有很好的機會,用上四十八軌的類比式錄音來做這張唱片。</span><span lang="EN-US">API</span><span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt; mso-font-kerning: 0pt; mso-hansi-font-family: "Times New Roman";">是台很誠實、很具有音樂性的機器。」維格說:「我愛</span><span lang="EN-US">API</span><span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt; mso-font-kerning: 0pt; mso-hansi-font-family: "Times New Roman";">!我認為它有很帶勁的聲音。</span><span lang="EN-US">EQ</span><span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt; mso-font-kerning: 0pt; mso-hansi-font-family: "Times New Roman";">沒那麼難以捉摸。如果你想增加中、高、低頻,馬上就能得到成效。它能捕捉聲音錄下來最真實的模樣。」</span><span lang="EN-US"><o:p></o:p></span></div>
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<span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt; mso-font-kerning: 0pt; mso-hansi-font-family: "Times New Roman";">維格覺得臨時搭起的控制室狀況還不錯,因為天花板很高,即使這狹小的空間同時要擠下人跟設備,也不會覺得特別擁擠。他笑著說:「我意思是,相信我,真的很擠。戴夫有些時候就坐在我旁邊錄唱歌,但我們在書房旁的一個小房間,做大部分的疊錄;這個約八呎乘六呎的空間,是我們搭的一個獨立收音間【</span><span lang="EN-US">17</span><span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt; mso-font-kerning: 0pt; mso-hansi-font-family: "Times New Roman";">】。我們幫它裝上一片滑動玻璃門,戴夫就可以在裡面錄唱,也能把音箱擺在那收音。」</span><span lang="EN-US"><o:p></o:p></span></div>
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<span style="color: #e69138; font-size: x-small;"><span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt; mso-font-kerning: 0pt; mso-hansi-font-family: "Times New Roman";">【</span><span lang="EN-US">16</span><span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt; mso-font-kerning: 0pt; mso-hansi-font-family: "Times New Roman";">】</span><span lang="EN-US">James R. Brown</span><span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt; mso-font-kerning: 0pt; mso-hansi-font-family: "Times New Roman";">【</span><span lang="EN-US">17</span><span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt; mso-font-kerning: 0pt; mso-hansi-font-family: "Times New Roman";">】</span><span lang="EN-US">iso booth<o:p></o:p></span></span></div>
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<span style="color: red;"><b><span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt; mso-font-kerning: 0pt; mso-hansi-font-family: "Times New Roman";">工作週</span></b></span></h4>
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<iframe allowfullscreen='allowfullscreen' webkitallowfullscreen='webkitallowfullscreen' mozallowfullscreen='mozallowfullscreen' width='320' height='266' src='https://www.youtube.com/embed/0jMObDEStkk?feature=player_embedded' frameborder='0'></iframe></div>
<span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt; mso-font-kerning: 0pt; mso-hansi-font-family: "Times New Roman";">錄音的計畫很快就制訂好了:就是一週錄一首歌,從頭到尾。就像這樣:星期一早上錄鼓,星期五晚上做好初步混音。維格說:「我們堅持這麼做,而且效果很好,因為每首歌都像是有它自己的生命。大致上就是我們所做的;就是一週內,我們就只專注在一首歌上。從某個角度來看,你會有一種完成的滿足感。然後我們再改變鼓的設定,改變所有的配置。」</span><span lang="EN-US"><o:p></o:p></span></div>
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<span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt; mso-font-kerning: 0pt; mso-hansi-font-family: "Times New Roman";">就這間車庫錄音室的隔音方面來說</span><span lang="EN-US">—</span><span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt; mso-font-kerning: 0pt; mso-hansi-font-family: "Times New Roman";">實際上是沒有做任何隔音的,就只有在泰勒的鼓組後面擺了兩塊隔音板,還有在靠近門的兩處縫隙做了聲音阻斷。維格說:「放在泰勒後方的那兩塊板子大約是四尺乘四呎,是為了消除後面那面牆反射到鼓組的聲音。我們在鼓組下鋪了塊地毯。一開始沒鋪的時候,鼓聲太吵也太亮,而且銅鈸的串音太嚴重。舖了之後雖然聲音也是偏亮,但已經抑止很多了。」布朗指出:「為了調整音場,我們得把東西掛得到處都是。但你知道,戴夫基於他的初衷,他並不想這麼做,因為他想要錄出很髒【</span><span lang="EN-US">18</span><span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt; mso-font-kerning: 0pt; mso-hansi-font-family: "Times New Roman";">】、很有侵略性【</span><span lang="EN-US">19</span><span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt; mso-font-kerning: 0pt; mso-hansi-font-family: "Times New Roman";">】的音質。所以,當我們開始錄鼓的時候,很快地就發現,銅鈸串音依舊是我們最主要的問題。銅鈸一直以來都是幽浮一族的難題,因為他們敲得太多,也敲得太用力;要確保銅鈸聲不會吃掉所有的環境音是件苦差事。我們把他主要的</span><span lang="EN-US">crash</span><span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt; mso-font-kerning: 0pt; mso-hansi-font-family: "Times New Roman";">換掉,換了一片鑿了洞、比較短殘響的</span><a href="http://zildjian.com/Products/Drumset-Cymbals/Cast-Bronze-Cymbals/A-Custom-Series/20-A-Custom-EFX" target="_blank"><span lang="EN-US">Zildjian</span></a><span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt; mso-font-kerning: 0pt; mso-hansi-font-family: "Times New Roman";">銅鈸。然後我們把收環境音【</span><span lang="EN-US">20</span><span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt; mso-font-kerning: 0pt; mso-hansi-font-family: "Times New Roman";">】的主要麥克風轉向,朝車庫角落的下方收音。」</span><span lang="EN-US"><o:p></o:p></span></div>
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<span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt; mso-font-kerning: 0pt; mso-hansi-font-family: "Times New Roman";">當團隊讓錄音上了軌道之後,我們發明了一個方法;讓葛羅站在霍金斯的鼓前面,一邊指導他,一邊錄吉他,從擺在樓上獨立收音間的音箱收音。維格說:「大部分錄泰勒的時候,我們都會用</span><span lang="EN-US">punch in</span><span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt; mso-font-kerning: 0pt; mso-hansi-font-family: "Times New Roman";">來代替在帶子上做剪輯。所以你可以在戴上耳機得時聽到那些</span><span lang="EN-US">punch ins</span><span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt; mso-font-kerning: 0pt; mso-hansi-font-family: "Times New Roman";">跟</span><span lang="EN-US">punch outs</span><span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt; mso-font-kerning: 0pt; mso-hansi-font-family: "Times New Roman";">。特別是獨立播放鼓聲的時候,你可以發現銅鈸的聲音變了,或是小鼓的音高變了一點。而有的時候我們會把事情搞砸,像是詹姆士為了要在副歌做</span><span lang="EN-US">punch in</span><span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt; mso-font-kerning: 0pt; mso-hansi-font-family: "Times New Roman";">,而剪掉一顆小鼓或什麼的,但我們卻把它重播給泰勒聽並開錄的時候,我們就只好對他說:『抱歉!老兄,你得再重來一次。』」</span><span lang="EN-US"><o:p></o:p></span></div>
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<span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt; mso-font-kerning: 0pt; mso-hansi-font-family: "Times New Roman";">維格說:「戴夫大概就站在他前面兩呎的距離,方便他倆溝通。像是如果我們對鼓的過門或一些段落有意見的時候。這樣一來,就能迅速得到他倆協調好的意見。」因為這個臨時錄音室跟控制室缺少視覺上的聯繫,戴夫架了一台四十二吋的電視,連上兩台攝影機;一台放車庫,一台對著盤帶錄音機。維格說:「我們會在兩個畫面間不停切換。我們會看泰勒打鼓的狀況,但大部分時間都在看盤帶的情形。大約過了兩個星期,有人做了個建議『嘿!你知道嗎?我們應該把視訊連上官網!』所以,如果你上幽浮一族的官網,你就會看到拍攝盤帶的那個鏡頭,看到盤帶運轉、倒轉、運轉。」一但每個人都對鼓的錄音滿意時,我們就會做一個四音軌的混音併軌【</span><span lang="EN-US">20</span><span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt; mso-font-kerning: 0pt; mso-hansi-font-family: "Times New Roman";">】到子盤帶【</span><span lang="EN-US">21</span><span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt; mso-font-kerning: 0pt; mso-hansi-font-family: "Times New Roman";">】上,並成為接下來做錄音的中心,這些音軌包含大鼓、小鼓、併入立體聲軌的</span><span lang="EN-US">toms</span><span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt; mso-font-kerning: 0pt; mso-hansi-font-family: "Times New Roman";">跟</span><span lang="EN-US">overheads</span><span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt; mso-font-kerning: 0pt; mso-hansi-font-family: "Times New Roman";">。</span><span lang="EN-US"><o:p></o:p></span></div>
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<span style="color: red;"><b><span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt; mso-font-kerning: 0pt; mso-hansi-font-family: "Times New Roman";">粗糙的音色</span></b></span></h4>
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<span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt; mso-font-kerning: 0pt; mso-hansi-font-family: "Times New Roman";">轉到貝斯的部分,奈特.曼多【</span><span lang="EN-US">22</span><span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt; mso-font-kerning: 0pt; mso-hansi-font-family: "Times New Roman";">】會用他的</span><a href="http://www.lakland.com/review_glaub_2000.htm" target="_blank"><span lang="EN-US">Lakland Bob Glaub Signature</span></a><span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt; mso-font-kerning: 0pt; mso-hansi-font-family: "Times New Roman";">貝斯,搭配</span><span lang="EN-US"><a href="http://www.ashdownmusic.com/bass/detail.asp?ID=7" target="_blank">Ashdown ABM 900 EVO II head</a> </span><span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt; mso-font-kerning: 0pt; mso-hansi-font-family: "Times New Roman";">,接上一顆</span><a href="http://www.ashdownmusic.com/bass/detail.asp?section=abm&ID=206" target="_blank"><span lang="EN-US"> Ashdown 8x10 cabinet</span></a><span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt; mso-font-kerning: 0pt; mso-hansi-font-family: "Times New Roman";">來錄音。維格說:「他有一大堆貝斯,但他是真的很喜歡</span><span lang="EN-US">Lakeland</span><span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt; mso-font-kerning: 0pt; mso-hansi-font-family: "Times New Roman";">的貝斯。我想我們有在某一首歌用上</span><span lang="EN-US">Fender</span><span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt; mso-font-kerning: 0pt; mso-hansi-font-family: "Times New Roman";">貝斯,也有試著在一首歌用</span><span lang="EN-US">Gibson Ripper</span><span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt; mso-font-kerning: 0pt; mso-hansi-font-family: "Times New Roman";">。他的彈奏非常地流暢,對於歌曲的詮釋,他有很好的感覺,有時這甚至比音色還重要;如何詮釋歌曲的氛圍。」</span><span lang="EN-US"><o:p></o:p></span></div>
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<span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt; mso-font-kerning: 0pt; mso-hansi-font-family: "Times New Roman";">維格說:「現在幽浮一族裡一共有三個吉他手:有葛羅、克里斯.薛夫雷【</span><span lang="EN-US">23</span><span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt; mso-font-kerning: 0pt; mso-hansi-font-family: "Times New Roman";">】,還有回鍋的創團成員派特.史密爾【</span><span lang="EN-US">24</span><span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt; mso-font-kerning: 0pt; mso-hansi-font-family: "Times New Roman";">】。」他們各自提供了他們各具特色的聲音和風格。他再說:「他們好像都有各自不同的角色。戴夫就像一種連結作用,他彈奏大部分的節奏吉他,並且跟泰勒黏得很緊密。克里斯是個驚奇的樂手,他通常負責像是單音樂句【</span><span lang="EN-US">25</span><span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt; mso-font-kerning: 0pt; mso-hansi-font-family: "Times New Roman";">】、分解和弦【</span><span lang="EN-US">26</span><span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt; mso-font-kerning: 0pt; mso-hansi-font-family: "Times New Roman";">】、主奏【</span><span lang="EN-US">27</span><span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt; mso-font-kerning: 0pt; mso-hansi-font-family: "Times New Roman";">】的部分。派特則是樂團中的一個未知因素【</span><span lang="EN-US">28</span><span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt; mso-font-kerning: 0pt; mso-hansi-font-family: "Times New Roman";">】,用他粗糙的吉他音色來彈奏。有趣的是,派特主要的設備,是用一些足以轟掉你齲齒填充物的瘋狂效果器,接上</span><span lang="EN-US"><a href="http://www.roland.com/products/en/JC-120/" target="_blank">Roland Jazz Chorus</a> [JC120]</span><span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt; mso-font-kerning: 0pt; mso-hansi-font-family: "Times New Roman";">。他也做了很多吉他的中音【</span><span lang="EN-US">29</span><span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt; mso-font-kerning: 0pt; mso-hansi-font-family: "Times New Roman";">】部分,他找到了一個介於克里斯跟戴夫的位置。我想他也在兩首歌裡,用了廉價的</span><span lang="EN-US">Peavey</span><span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt; mso-font-kerning: 0pt; mso-hansi-font-family: "Times New Roman";">音箱。克里斯跟戴夫都用很棒的古典【</span><span lang="EN-US">30</span><span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt; mso-font-kerning: 0pt; mso-hansi-font-family: "Times New Roman";">】音箱,而派特則喜歡很粗糙的聲音。這樣很完美。」</span><span lang="EN-US"><o:p></o:p></span></div>
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<span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt; mso-font-kerning: 0pt; mso-hansi-font-family: "Times New Roman";">「克里斯真的很喜歡</span><a href="http://www.voxamps.com/us/custom/ac30/" target="_blank"><span lang="EN-US">Vox AC30</span></a><span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt; mso-font-kerning: 0pt; mso-hansi-font-family: "Times New Roman";">,雖然他過去跟現在也有用</span><span lang="EN-US">Marshall</span><span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt; mso-font-kerning: 0pt; mso-hansi-font-family: "Times New Roman";">。我們有試一個全新品牌的音箱,由一家小公司叫</span><a href="http://www.audiokitchen.co.uk/" target="_blank"><span lang="EN-US">Audio Kitchen</span></a><span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt; mso-font-kerning: 0pt; mso-hansi-font-family: "Times New Roman";">出產的,而且它的聲音很棒</span><span lang="EN-US">—</span><span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt; mso-font-kerning: 0pt; mso-hansi-font-family: "Times New Roman";">克里斯有用它來錄了兩首歌,戴夫也用它錄了三、四首歌。它就是有個很酷的音色。你不用為了得到很飽滿的音色,而把它音量開得很大。所有的控制鈕都讓音色、增益和低頻之間相互作用得很好。做這音箱的人寄給我們兩台</span><span lang="EN-US">—</span><span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt; mso-font-kerning: 0pt; mso-hansi-font-family: "Times New Roman";">一台叫</span><span lang="EN-US">the Big Chopper</span><span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt; mso-font-kerning: 0pt; mso-hansi-font-family: "Times New Roman";">,另一台叫</span><span lang="EN-US">the Little Chopper</span><span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt; mso-font-kerning: 0pt; mso-hansi-font-family: "Times New Roman";">;兩台都是很好的音箱。」用來收音的『傢伙』,是深具信賴的</span><a href="http://www.shure.com/americas/products/microphones/sm/sm7b-vocal-microphone" target="_blank"><span lang="EN-US">Shure SM7</span></a><span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt; mso-font-kerning: 0pt; mso-hansi-font-family: "Times New Roman";">和</span><span lang="EN-US">SM57</span><span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt; mso-font-kerning: 0pt; mso-hansi-font-family: "Times New Roman";">,再加上</span><a href="http://www.royerlabs.com/R-121.html" target="_blank"><span lang="EN-US">Royer R121</span></a><span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt; mso-font-kerning: 0pt; mso-hansi-font-family: "Times New Roman";">還有兩隻</span><a href="http://www.coutant.org/ribbons.html" target="_blank"><span lang="EN-US">RCA BK5</span></a><span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt; mso-font-kerning: 0pt; mso-hansi-font-family: "Times New Roman";">鋁帶式麥克風【</span><span lang="EN-US">31</span><span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt; mso-font-kerning: 0pt; mso-hansi-font-family: "Times New Roman";">】。「</span><span lang="EN-US">RCA</span><span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt; mso-font-kerning: 0pt; mso-hansi-font-family: "Times New Roman";">麥克風是我從</span><span lang="EN-US">Smart Studios</span><span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt; mso-font-kerning: 0pt; mso-hansi-font-family: "Times New Roman";">寄過來的,它們是我最喜愛的鋁帶式麥克風;因為他們比一般的鋁帶式麥克風還要有更多的高頻,還能承受更大的音壓。錄戴夫唱歌時,設備的連結是:透過</span><a href="http://www.bockaudio.com/251.html" target="_blank"><span lang="EN-US">Bock 251</span></a><span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt; mso-font-kerning: 0pt; mso-hansi-font-family: "Times New Roman";">麥克風,再到</span><a href="http://ams-neve.com/products/outboard/1073-mic-preamp-equaliser" target="_blank"><span lang="EN-US"> Neve 1073 preamp</span></a><span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt; mso-font-kerning: 0pt; mso-hansi-font-family: "Times New Roman";">跟</span><a href="http://www.empiricallabs.com/distressor.html" target="_blank"><span lang="EN-US">Empirical Labs Distressor compressor</span></a><span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt; mso-font-kerning: 0pt; mso-hansi-font-family: "Times New Roman";">。唯一的例外是『</span><span lang="EN-US">White Limo</span><span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt; mso-font-kerning: 0pt; mso-hansi-font-family: "Times New Roman";">』這首歌,為了得到顆粒大又飽滿的聲音,我們收戴夫的歌聲是用</span><span lang="EN-US">SM57 </span><span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt; mso-font-kerning: 0pt; mso-hansi-font-family: "Times New Roman";">直接接上</span><a href="http://www.procosound.com/effects-devices/rat2" target="_blank"><span lang="EN-US">Rat</span></a><span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt; mso-font-kerning: 0pt; mso-hansi-font-family: "Times New Roman";">破音效果器,再送到</span><span lang="EN-US">Roland JC120</span><span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt; mso-font-kerning: 0pt; mso-hansi-font-family: "Times New Roman";">。『</span><span lang="EN-US">I Should Have Known</span><span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt; mso-font-kerning: 0pt; mso-hansi-font-family: "Times New Roman";">』則用了兩種混合的聲音。」</span><span lang="EN-US"><o:p></o:p></span></div>
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<span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt; mso-font-kerning: 0pt; mso-hansi-font-family: "Times New Roman";">維格指出:「我們在子盤帶上做所有的事情,所以當我們錄好所有的吉他,就只剩下四軌給歌聲,還有兩軌給歌聲併軌用的了。所以戴夫會努力地錄唱,直到我們覺得有四個好</span><span lang="EN-US">take</span><span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt; mso-font-kerning: 0pt; mso-hansi-font-family: "Times New Roman";">能拿來當主旋律。只要戴夫集中力很夠,這些</span><span lang="EN-US">takes</span><span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt; mso-font-kerning: 0pt; mso-hansi-font-family: "Times New Roman";">就會很有一致性。我們一完成,我就會同時撥放這四個</span><span lang="EN-US">take</span><span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt; mso-font-kerning: 0pt; mso-hansi-font-family: "Times New Roman";">出來聽,你就能聽出來它們之間有多緊。如果他唱掉拍了,相位偏移,我們就再錄一次。真的!歌聲真的很緊。」</span><span lang="EN-US"><o:p></o:p></span></div>
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<span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt; mso-font-kerning: 0pt; mso-hansi-font-family: "Times New Roman";">「然後我就會做大量的壓縮</span><span lang="EN-US">—</span><span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt; mso-font-kerning: 0pt; mso-hansi-font-family: "Times New Roman";">主歌用</span><span lang="EN-US">take two</span><span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt; mso-font-kerning: 0pt; mso-hansi-font-family: "Times New Roman";">,副歌用</span><span lang="EN-US">take three—</span><span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt; mso-font-kerning: 0pt; mso-hansi-font-family: "Times New Roman";">然後我們再錄一個</span><span lang="EN-US">double</span><span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt; mso-font-kerning: 0pt; mso-hansi-font-family: "Times New Roman";">【</span><span lang="EN-US">32</span><span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt; mso-font-kerning: 0pt; mso-hansi-font-family: "Times New Roman";">】。做</span><span lang="EN-US">live doubling</span><span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt; mso-font-kerning: 0pt; mso-hansi-font-family: "Times New Roman";">很酷的是:沒有</span><span lang="EN-US">Auto-Tune</span><span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt; mso-font-kerning: 0pt; mso-hansi-font-family: "Times New Roman";">,因為音樂鬆了點,所以不完美,還有聲音更棒了。聲音像是變得更寬廣且更厚實。三不五時,當我做併軌的時候,我都需要預留一句詞來做</span><span lang="EN-US">punch in</span><span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt; mso-font-kerning: 0pt; mso-hansi-font-family: "Times New Roman";">;或是有時我得做些</span><span lang="EN-US">ninja fades</span><span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt; mso-font-kerning: 0pt; mso-hansi-font-family: "Times New Roman";">、少量的</span><span lang="EN-US">crossfades</span><span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt; mso-font-kerning: 0pt; mso-hansi-font-family: "Times New Roman";">。做這些花了很多功夫。但再一次,我認為當你聽到它的時候,它會很有性格。它感覺就像是一場表演。它不會有像是,聲音是在錄音室組合而成的那種感覺。」</span><span lang="EN-US"><o:p></o:p></span></div>
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<span style="color: #e69138; font-size: x-small;"><span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt; mso-font-kerning: 0pt; mso-hansi-font-family: "Times New Roman";">【</span><span lang="EN-US">22</span><span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt; mso-font-kerning: 0pt; mso-hansi-font-family: "Times New Roman";">】</span><span lang="EN-US">Nate Mendel</span><span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt; mso-font-kerning: 0pt; mso-hansi-font-family: "Times New Roman";">【</span><span lang="EN-US">23</span><span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt; mso-font-kerning: 0pt; mso-hansi-font-family: "Times New Roman";">】</span><span lang="EN-US">Chris Shiflett</span><span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt; mso-font-kerning: 0pt; mso-hansi-font-family: "Times New Roman";">【</span><span lang="EN-US">24</span><span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt; mso-font-kerning: 0pt; mso-hansi-font-family: "Times New Roman";">】</span><span lang="EN-US">Pat Smear</span><span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt; mso-font-kerning: 0pt; mso-hansi-font-family: "Times New Roman";">【</span><span lang="EN-US">25</span><span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt; mso-font-kerning: 0pt; mso-hansi-font-family: "Times New Roman";">】</span><span lang="EN-US">riffy parts</span><span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt; mso-font-kerning: 0pt; mso-hansi-font-family: "Times New Roman";">【</span><span lang="EN-US">26</span><span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt; mso-font-kerning: 0pt; mso-hansi-font-family: "Times New Roman";">】</span><span lang="EN-US">arpeggio</span><span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt; mso-font-kerning: 0pt; mso-hansi-font-family: "Times New Roman";">【</span><span lang="EN-US">27</span><span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt; mso-font-kerning: 0pt; mso-hansi-font-family: "Times New Roman";">】</span><span lang="EN-US">lead breaks</span><span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt; mso-font-kerning: 0pt; mso-hansi-font-family: "Times New Roman";">【</span><span lang="EN-US">28</span><span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt; mso-font-kerning: 0pt; mso-hansi-font-family: "Times New Roman";">】</span><span lang="EN-US">X factor</span><span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt; mso-font-kerning: 0pt; mso-hansi-font-family: "Times New Roman";">【</span><span lang="EN-US">29</span><span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt; mso-font-kerning: 0pt; mso-hansi-font-family: "Times New Roman";">】</span><span lang="EN-US">baritone</span><span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt; mso-font-kerning: 0pt; mso-hansi-font-family: "Times New Roman";">【</span><span lang="EN-US">30</span><span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt; mso-font-kerning: 0pt; mso-hansi-font-family: "Times New Roman";">】</span><span lang="EN-US">Vintage</span><span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt; mso-font-kerning: 0pt; mso-hansi-font-family: "Times New Roman";">【</span><span lang="EN-US">31</span><span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt; mso-font-kerning: 0pt; mso-hansi-font-family: "Times New Roman";">】</span><span lang="EN-US">ribbon mic</span><span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt; mso-font-kerning: 0pt; mso-hansi-font-family: "Times New Roman";">【</span><span lang="EN-US">32</span><span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt; mso-font-kerning: 0pt; mso-hansi-font-family: "Times New Roman";">】</span></span><span lang="EN-US"><span style="color: #e69138; font-size: x-small;">double tracking</span><o:p></o:p></span></div>
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<span style="color: red;"><b><span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt; mso-font-kerning: 0pt; mso-hansi-font-family: "Times New Roman";">中毒的查利斯【</span></b><b><span lang="EN-US">33</span></b><b><span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt; mso-font-kerning: 0pt; mso-hansi-font-family: "Times New Roman";">】</span></b></span></h4>
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<b><span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt; mso-font-kerning: 0pt; mso-hansi-font-family: "Times New Roman";"><br /></span></b></div>
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<span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt; mso-font-kerning: 0pt; mso-hansi-font-family: "Times New Roman";">在十三週內,也包含放假的日子,這個團隊錄下十一首歌。維格跟幽浮一族帶著錄好的帶子,去找在位於好萊塢的</span><a href="http://www.chalicerecording.com/" target="_blank"><span lang="EN-US">Charlice Studios</span></a><span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt; mso-font-kerning: 0pt; mso-hansi-font-family: "Times New Roman";">工作的艾倫‧墨德【</span><span lang="EN-US">34</span><span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt; mso-font-kerning: 0pt; mso-hansi-font-family: "Times New Roman";">】(非凡人物【</span><span lang="EN-US">35</span><span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt; mso-font-kerning: 0pt; mso-hansi-font-family: "Times New Roman";">】、殺手【</span><span lang="EN-US">36</span><span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt; mso-font-kerning: 0pt; mso-hansi-font-family: "Times New Roman";">】、邪派禿鷹),來做「搖滾光年」的混音。默德最近才在這裡做完了邪派禿鷹的專輯混音,但他坦承,自</span><span lang="EN-US">2002</span><span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt; mso-font-kerning: 0pt; mso-hansi-font-family: "Times New Roman";">年做完</span><span lang="EN-US">Yeah Yeah Yeahs</span><span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt; mso-font-kerning: 0pt; mso-hansi-font-family: "Times New Roman";">首張專輯「</span><span lang="EN-US">Fever To Tell</span><span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt; mso-font-kerning: 0pt; mso-hansi-font-family: "Times New Roman";">」後,他再也沒做過盤帶的混音了。</span><span lang="EN-US"><o:p></o:p></span></div>
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<span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt; mso-font-kerning: 0pt; mso-hansi-font-family: "Times New Roman";">他承認說:「我有些擔心,因為我已經很習慣用</span><span lang="EN-US">Pro Tools</span><span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt; mso-font-kerning: 0pt; mso-hansi-font-family: "Times New Roman";">做混音了。因為這是張大唱片,對此我有些緊張。但這也不失為一種挑戰,而且我很清楚盤帶有的一些優點。它讓你用不同的方式來做事。你不用為了不斷重複播放同樣的段落,而陷入低潮。我真的很愛盤帶所呈現的歌聲,是那麼的圓滿。你也不需要害怕瞬波【</span><span lang="EN-US">35</span><span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt; mso-font-kerning: 0pt; mso-hansi-font-family: "Times New Roman";">】爆開來重擊你的壓縮器。」</span><span lang="EN-US"><o:p></o:p></span></div>
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<span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt; mso-font-kerning: 0pt; mso-hansi-font-family: "Times New Roman";">當他發現,要做出能與從葛羅車庫做的初步混音匹敵,或還要更好的混音,是場苦戰時。很快的,混音過程就遇到瓶頸了。詹姆士並沒有仔細地做好每件事</span><span lang="EN-US">—</span><span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt; mso-font-kerning: 0pt; mso-hansi-font-family: "Times New Roman";">他就只是光光把聲音從</span><span lang="EN-US">API</span><span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt; mso-font-kerning: 0pt; mso-hansi-font-family: "Times New Roman";">弄出來而已。照理說,若你把音樂丟進</span><span lang="EN-US">SSL</span><span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt; mso-font-kerning: 0pt; mso-hansi-font-family: "Times New Roman";">,應該會得到很精緻的極高頻【</span><span lang="EN-US">36</span><span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt; mso-font-kerning: 0pt; mso-hansi-font-family: "Times New Roman";">】,但卻沒有發生。聲音反而還聽起來很糊【</span><span lang="EN-US">37</span><span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt; mso-font-kerning: 0pt; mso-hansi-font-family: "Times New Roman";">】。</span><span lang="EN-US"><o:p></o:p></span></div>
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<iframe allowfullscreen='allowfullscreen' webkitallowfullscreen='webkitallowfullscreen' mozallowfullscreen='mozallowfullscreen' width='320' height='266' src='https://www.youtube.com/embed/JYArUl0TzhA?feature=player_embedded' frameborder='0'></iframe><span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt; mso-font-kerning: 0pt; mso-hansi-font-family: "Times New Roman";">對戴夫‧葛羅來說,這是個好消息。因為他還是很堅持他對這張專輯的原始概念,很希望能回到他家車庫做「搖滾光年」的混音。他的想法觸動了維格和墨德,而且並沒有駁回這項臨時動議。墨德說:「這像是這張唱片有個主題或故事似的,而我們在</span><span lang="EN-US">Charlice Studios</span><span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt; mso-font-kerning: 0pt; mso-hansi-font-family: "Times New Roman";">的這回事,並非是故事中該有的其中一環。這張唱片用龐克搖滾的方式錄下,所以把它帶到好萊塢的錄音室似乎格格不入。」</span><span lang="EN-US"><o:p></o:p></span></div>
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<span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt; mso-font-kerning: 0pt; mso-hansi-font-family: "Times New Roman";">維格強調:「有太多的混音師不會想要這麼做,沒有人會想在沒有隔音措施的房間裡,做手動混音。但他願意,而且重點是,艾倫、我、詹姆士跟戴夫,四個人要擠在混音台前,因為我們需要八隻手來做混音。每一次混音就像是在做表演一樣。當然,我們沒有四十八軌的輸入端【</span><span lang="EN-US">38</span><span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt; mso-font-kerning: 0pt; mso-hansi-font-family: "Times New Roman";">】,所以我們要把混音丟到『</span><span lang="EN-US">B</span><span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt; mso-font-kerning: 0pt; mso-hansi-font-family: "Times New Roman";">帶』。也就是說,所有的鼓都是經過前置混音【</span><span lang="EN-US">39</span><span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt; mso-font-kerning: 0pt; mso-hansi-font-family: "Times New Roman";">】併軌的,都是『第二代』的音源。事情就是這麼辦的。」</span><span lang="EN-US"><o:p></o:p></span></div>
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<span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt; mso-font-kerning: 0pt; mso-hansi-font-family: "Times New Roman";">稍微違反一下「只用類比」的規定,從</span><span lang="EN-US">Eventide 2016</span><span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt; mso-font-kerning: 0pt; mso-hansi-font-family: "Times New Roman";">加上一點點的數位殘響【</span><span lang="EN-US">40</span><span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt; mso-font-kerning: 0pt; mso-hansi-font-family: "Times New Roman";">】在混音裡。同時,還用了兩台</span><a href="http://www.advancedaudiorentals.com/products/details/productid/161" target="_blank"><span lang="EN-US">Lexicon PCM42</span></a><span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt; mso-font-kerning: 0pt; mso-hansi-font-family: "Times New Roman";">的延遲效果。還有一台</span><a href="http://www.eventide.com/AudioDivision/Products/Harmonizer%20Effects%20Processors/Eclipse.aspx" target="_blank"><span lang="EN-US">Eventide Eclipse</span></a><span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt; mso-font-kerning: 0pt; mso-hansi-font-family: "Times New Roman";">用在另外的歌聲</span><span lang="EN-US">doubling</span><span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt; mso-font-kerning: 0pt; mso-hansi-font-family: "Times New Roman";">。墨德會把他的初步混音丟給母帶後期處理工程師【</span><span lang="EN-US">41</span><span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt; mso-font-kerning: 0pt; mso-hansi-font-family: "Times New Roman";">】,艾蜜莉‧拉薩【</span><span lang="EN-US">42</span><span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt; mso-font-kerning: 0pt; mso-hansi-font-family: "Times New Roman";">】(還有她們紐約</span><a href="http://thelodge.com/" target="_blank"><span lang="EN-US">The Lodge</span></a><span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt; mso-font-kerning: 0pt; mso-hansi-font-family: "Times New Roman";">工作室的協力過帶工程師,喬‧拉波塔【</span><span lang="EN-US">43</span><span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt; mso-font-kerning: 0pt; mso-hansi-font-family: "Times New Roman";">】),來詢問她在</span><span lang="EN-US">EQ</span><span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt; mso-font-kerning: 0pt; mso-hansi-font-family: "Times New Roman";">上的意見。她把帶子丟回來,並說:「高頻比在</span><span lang="EN-US">Charlice</span><span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt; mso-font-kerning: 0pt; mso-hansi-font-family: "Times New Roman";">的要好,但低頻則反之。大概是低頻比她平常處理得還多吧?但這是因為我們處在一個不合標準的房間的關係。」</span><span lang="EN-US"><o:p></o:p></span></div>
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<span style="color: red;"><b><span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt; mso-font-kerning: 0pt; mso-hansi-font-family: "Times New Roman";">搖滾現場</span></b></span></h4>
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<b><span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt; mso-font-kerning: 0pt; mso-hansi-font-family: "Times New Roman";"><br /></span></b></div>
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<span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt; mso-font-kerning: 0pt; mso-hansi-font-family: "Times New Roman";">過一會兒他說:「你知道的,我很高興能再用</span><span lang="EN-US">Pro Tools</span><span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt; mso-font-kerning: 0pt; mso-hansi-font-family: "Times New Roman";">工作,事情是這樣子的,幽浮一族他們都是很棒的樂手,但大多數和我共事過的年輕樂團,不會為了要做到最佳的演出,而多錄個幾趟。」</span><span lang="EN-US"><o:p></o:p></span></div>
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<span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt; mso-font-kerning: 0pt; mso-hansi-font-family: "Times New Roman";">儘管在過程中有許多的困難,然而,維格與幽浮一族們,顯然地對於「搖滾光年」呈現的特殊現場音色及較自然的製作方式,感到很高興。</span><span lang="EN-US"><o:p></o:p></span></div>
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<span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt; mso-font-kerning: 0pt; mso-hansi-font-family: "Times New Roman";">維格陳述:「人們說這唱片聽起來很誠實,不像近年來他們聽過的音樂那樣。我想應該是這些日子以來,我們已經習慣聽到音樂是很緊湊、完美,還要經過</span><span lang="EN-US">Auto-Tune</span><span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt; mso-font-kerning: 0pt; mso-hansi-font-family: "Times New Roman";">處理的了。那樣是很好聽,但從某個方面來說,這樣聽起來很真實。」</span><span lang="EN-US"><o:p></o:p></span></div>
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<span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt; mso-font-kerning: 0pt; mso-hansi-font-family: "Times New Roman";">葛羅做下結語:「這是個很棒的經驗。我們是不會放過任何細節的,它非得是要像是搖滾現場那樣的,你懂嗎?我想大家都會同意,這是我們做過最有趣的一張專輯了。而我、柏區、科里斯,三個人能聚在一起,是件很美好的事情。這比製作專輯還更有意義。」</span><span lang="EN-US"><o:p></o:p></span></div>
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<span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt; mso-font-kerning: 0pt; mso-hansi-font-family: "Times New Roman";"><br /></span></div>
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<span style="color: #666666; font-size: x-small;"><span style="font-family: 新細明體; mso-ascii-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt; mso-font-kerning: 0pt; mso-hansi-font-family: "Times New Roman";">原文來自: </span><a href="http://www.soundonsound.com/sos/jun11/articles/foo-fighters.htm">http://www.soundonsound.com/sos/jun11/articles/foo-fighters.htm</a></span></div>
Anonymoushttp://www.blogger.com/profile/06377922510595008070noreply@blogger.com0tag:blogger.com,1999:blog-6021576624325993297.post-53234211067990137952012-09-21T01:59:00.000-07:002013-09-16T06:15:28.193-07:00傑夫‧歐切爾翠[1]談論約翰‧波南[2]的鼓組<br />
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<span lang="EN-US">1975</span><span style="font-family: 新細明體; mso-ascii-font-family: Calibri; mso-hansi-font-family: Calibri;">年</span><span style="font-family: 新細明體;">,當時我在跟比利.卡柏漢</span><a href="file:///D:/%E7%9B%A7%E7%9B%A7%E7%9A%84%E6%9D%B1%E8%A5%BF/%E7%BF%BB%E8%AD%AF/%E5%82%91%E5%A4%AB.docx#_ftn3" name="_ftnref3" title=""><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: 新細明體; mso-hansi-font-family: Calibri;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-size: 12pt;">[3]</span></span><!--[endif]--></span></span></a><span style="font-family: 新細明體;">巡迴到在英國倫敦外圍的一個場地叫克里斯福.包威爾球場</span><a href="file:///D:/%E7%9B%A7%E7%9B%A7%E7%9A%84%E6%9D%B1%E8%A5%BF/%E7%BF%BB%E8%AD%AF/%E5%82%91%E5%A4%AB.docx#_ftn4" name="_ftnref4" title=""><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: 新細明體; mso-hansi-font-family: Calibri;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-size: 12pt;">[4]</span></span><!--[endif]--></span></span></a><span style="font-family: 新細明體;">。在幫比利的鼓組檢查音準的時候,我被介紹給約翰.波南認識。我們見了面,握個手,然後他問我:「你對比利的鼓做了什麼?」我回答:「我只是調整鼓的音準。」他大笑著說:「我從沒聽說過有這種事情!」那就是我們開啟友誼,跟在那幾年後我踏上齊柏林飛船巡迴的起點。</span></div>
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<span style="font-family: 新細明體; mso-ascii-font-family: Calibri; mso-hansi-font-family: Calibri;">我站在約翰他</span><span lang="EN-US">1971</span><span style="font-family: 新細明體; mso-ascii-font-family: Calibri; mso-hansi-font-family: Calibri;">年份的金蔥綠</span><a href="file:///D:/%E7%9B%A7%E7%9B%A7%E7%9A%84%E6%9D%B1%E8%A5%BF/%E7%BF%BB%E8%AD%AF/%E5%82%91%E5%A4%AB.docx#_ftn5" name="_ftnref5" title=""><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: Calibri;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-size: 12pt;">[5]</span></span><!--[endif]--></span></span></a><span style="font-family: 新細明體; mso-ascii-font-family: Calibri; mso-hansi-font-family: Calibri;">爵士鼓組</span><span style="font-family: 新細明體;">。我跟約翰在<span lang="EN-US">1977</span>還有<span lang="EN-US">1979</span>年合作的,也很有榮幸能參與到錄音過程,而且大多的錄音都是用這套鼓組。大鼓的尺寸是</span><span lang="EN-US">14×26</span><span style="font-family: 新細明體;">,中鼓</span><a href="file:///D:/%E7%9B%A7%E7%9B%A7%E7%9A%84%E6%9D%B1%E8%A5%BF/%E7%BF%BB%E8%AD%AF/%E5%82%91%E5%A4%AB.docx#_ftn6" name="_ftnref6" title=""><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: 新細明體; mso-hansi-font-family: Calibri;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-size: 12pt;">[6]</span></span><!--[endif]--></span></span></a><span style="font-family: 新細明體;">是</span><span lang="EN-US">10×14</span><span style="font-family: 新細明體;">,落地鼓</span><a href="file:///D:/%E7%9B%A7%E7%9B%A7%E7%9A%84%E6%9D%B1%E8%A5%BF/%E7%BF%BB%E8%AD%AF/%E5%82%91%E5%A4%AB.docx#_ftn7" name="_ftnref7" title=""><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: 新細明體; mso-hansi-font-family: Calibri;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-size: 12pt;">[7]</span></span><!--[endif]--></span></span></a><span style="font-family: 新細明體;">是</span><span lang="EN-US">16×16</span><span style="font-family: 新細明體;">跟</span><span lang="EN-US">16×18</span><span style="font-family: 新細明體;">的。他總是用金屬製的</span><span lang="EN-US"><a href="http://www.ludwig-drums.com/snaredrums/supraphonic.php" target="_blank">Ludwig supraphonic402</a> </span><span style="font-family: 新細明體; mso-ascii-font-family: Calibri; mso-hansi-font-family: Calibri;">小鼓</span><a href="file:///D:/%E7%9B%A7%E7%9B%A7%E7%9A%84%E6%9D%B1%E8%A5%BF/%E7%BF%BB%E8%AD%AF/%E5%82%91%E5%A4%AB.docx#_ftn8" name="_ftnref8" title=""><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: 新細明體; mso-hansi-font-family: Calibri;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-size: 12pt;">[8]</span></span><!--[endif]--></span></span></a><span style="font-family: 新細明體;">。永遠都用金屬製的,從不會讓鉻</span><a href="file:///D:/%E7%9B%A7%E7%9B%A7%E7%9A%84%E6%9D%B1%E8%A5%BF/%E7%BF%BB%E8%AD%AF/%E5%82%91%E5%A4%AB.docx#_ftn9" name="_ftnref9" title=""><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: 新細明體; mso-hansi-font-family: Calibri;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-size: 12pt;">[9]</span></span><!--[endif]--></span></span></a><span style="font-family: 新細明體;">的成分超過黃銅</span><a href="file:///D:/%E7%9B%A7%E7%9B%A7%E7%9A%84%E6%9D%B1%E8%A5%BF/%E7%BF%BB%E8%AD%AF/%E5%82%91%E5%A4%AB.docx#_ftn10" name="_ftnref10" title=""><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: 新細明體; mso-hansi-font-family: Calibri;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-size: 12pt;">[10]</span></span><!--[endif]--></span></span></a><span style="font-family: 新細明體;">。。他有用鈴環</span><a href="file:///D:/%E7%9B%A7%E7%9B%A7%E7%9A%84%E6%9D%B1%E8%A5%BF/%E7%BF%BB%E8%AD%AF/%E5%82%91%E5%A4%AB.docx#_ftn11" name="_ftnref11" title=""><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: 新細明體; mso-hansi-font-family: Calibri;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-size: 12pt;">[11]</span></span><!--[endif]--></span></span></a><span style="font-family: 新細明體;">,還有</span><span lang="EN-US">Ludwig speed king</span><span style="font-family: 新細明體; mso-ascii-font-family: Calibri; mso-hansi-font-family: Calibri;">踏板</span><span style="font-family: 新細明體;">。約翰.波南總使用</span><span lang="EN-US">Paiste</span><span style="font-family: 新細明體;">的銅鈸。他一開始用</span><a href="http://www.paiste.com/e/cymbalsoverv.php?family=7&action=family" target="_blank"><span lang="EN-US">Giant Beat</span></a><span style="font-family: 新細明體; mso-ascii-font-family: Calibri; mso-hansi-font-family: Calibri;">系列的銅鈸</span><span style="font-family: 新細明體;">,後來他改用</span><a href="http://0.0.7.210/" target="_blank"><span lang="EN-US">2002</span></a><span style="font-family: 新細明體;">系列的。他用</span><span lang="EN-US">Sound Edge 15’ hi-hats, 18’ Medium Crash, 24’ ride, </span><span style="font-family: 新細明體; mso-ascii-font-family: Calibri; mso-hansi-font-family: Calibri;">還有</span><span lang="EN-US">20’ Medium Crash, </span><span style="font-family: 新細明體; mso-ascii-font-family: Calibri; mso-hansi-font-family: Calibri;">但有時候會改用</span><span lang="EN-US">18’ Crash</span><span style="font-family: 新細明體;">。他用<span lang="EN-US">Ludwig</span>的牛鈴</span><a href="file:///D:/%E7%9B%A7%E7%9B%A7%E7%9A%84%E6%9D%B1%E8%A5%BF/%E7%BF%BB%E8%AD%AF/%E5%82%91%E5%A4%AB.docx#_ftn12" name="_ftnref12" title=""><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: 新細明體; mso-hansi-font-family: Calibri;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-size: 12pt;">[12]</span></span><!--[endif]--></span></span></a><span style="font-family: 新細明體;">,還有這個鈴環,跟我們裝在</span><span lang="EN-US">hi-hats</span><span style="font-family: 新細明體;">上的那一個很類似。還有鑼</span><a href="file:///D:/%E7%9B%A7%E7%9B%A7%E7%9A%84%E6%9D%B1%E8%A5%BF/%E7%BF%BB%E8%AD%AF/%E5%82%91%E5%A4%AB.docx#_ftn13" name="_ftnref13" title=""><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: 新細明體; mso-hansi-font-family: Calibri;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-size: 12pt;">[13]</span></span><!--[endif]--></span></span></a><span style="font-family: 新細明體;">,雖然這不是他平常使用的,他總是用</span><span lang="EN-US">Paiste </span><span style="font-family: 新細明體; mso-ascii-font-family: Calibri; mso-hansi-font-family: Calibri;">的鑼</span><span style="font-family: 新細明體;">,</span><span lang="EN-US">
Symphonic</span><span style="font-family: 新細明體; mso-ascii-font-family: Calibri; mso-hansi-font-family: Calibri;">系列</span><span style="font-family: 新細明體;">,三十八吋。</span><span lang="EN-US" style="font-family: 新細明體; mso-hansi-font-family: Calibri;"><o:p></o:p></span></div>
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<span style="font-family: 新細明體; mso-ascii-font-family: Calibri; mso-hansi-font-family: Calibri;">約翰總是都在他的木製鼓跟鋼製鼓上裝</span><a href="http://remo.com/portal/products/3/8/50/161/co_emperor.html" target="_blank"><span lang="EN-US">RemoCoated Emperor</span></a><span style="font-family: 新細明體; mso-ascii-font-family: Calibri; mso-hansi-font-family: Calibri;">鼓皮</span><span style="font-family: 新細明體;">。在大鼓上,總是在打擊面</span><a href="file:///D:/%E7%9B%A7%E7%9B%A7%E7%9A%84%E6%9D%B1%E8%A5%BF/%E7%BF%BB%E8%AD%AF/%E5%82%91%E5%A4%AB.docx#_ftn14" name="_ftnref14" title=""><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: 新細明體; mso-hansi-font-family: Calibri;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-size: 12pt;">[14]</span></span><!--[endif]--></span></span></a><span style="font-family: 新細明體;">裝</span><span lang="EN-US">Emperor Coated</span><span style="font-family: 新細明體;">,而在共振面</span><a href="file:///D:/%E7%9B%A7%E7%9B%A7%E7%9A%84%E6%9D%B1%E8%A5%BF/%E7%BF%BB%E8%AD%AF/%E5%82%91%E5%A4%AB.docx#_ftn15" name="_ftnref15" title=""><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: 新細明體; mso-hansi-font-family: Calibri;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-size: 12pt;">[15]</span></span><!--[endif]--></span></span></a><span style="font-family: 新細明體;">裝中等厚度的鼓皮。也會在兩邊鼓面都裝上</span><span class="st"><span style="font-family: 新細明體; mso-ascii-font-family: Calibri; mso-hansi-font-family: Calibri;">氈條</span></span><a href="file:///D:/%E7%9B%A7%E7%9B%A7%E7%9A%84%E6%9D%B1%E8%A5%BF/%E7%BF%BB%E8%AD%AF/%E5%82%91%E5%A4%AB.docx#_ftn16" name="_ftnref16" title=""><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: 新細明體; mso-hansi-font-family: Calibri;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-size: 12pt;">[16]</span></span><!--[endif]--></span></span></a><span class="st"><span style="font-family: 新細明體;">,對集中聲音很有幫助。在中鼓上,</span></span><span style="font-family: 新細明體;">總是在打擊面裝</span><span lang="EN-US">Emperor Coated</span><span style="font-family: 新細明體;">,而在底面裝</span><a href="http://remo.com/portal/products/6/50/158/co_ambassador.html" target="_blank"><span lang="EN-US">Ambassador Coated</span></a><span style="font-family: 新細明體;">。落地鼓也是一樣的,總在打擊面裝</span><span lang="EN-US">Emperor Coated</span><span style="font-family: 新細明體;">,底面裝</span><span lang="EN-US">Ambassador Coated</span><span style="font-family: 新細明體;">。小鼓上總在打擊面裝</span><span lang="EN-US">Emperor Coated</span><span style="font-family: 新細明體;">,有時候共振面會裝</span><a href="http://remo.com/portal/products/3/8/49/153/cl_diplomat.html" target="_blank"><span lang="EN-US">Diploma</span></a><span style="font-family: 新細明體;">,但大部分時候會裝</span><span lang="EN-US">Ambassador Coated</span><span style="font-family: 新細明體;">。</span></div>
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<span style="font-family: 新細明體; mso-ascii-font-family: Calibri; mso-hansi-font-family: Calibri;">調這套鼓的音準</span><span style="font-family: 新細明體;">,</span><span style="font-family: 新細明體; mso-ascii-font-family: Calibri; mso-hansi-font-family: Calibri;">就像調整大部分在大樂隊</span><a href="file:///D:/%E7%9B%A7%E7%9B%A7%E7%9A%84%E6%9D%B1%E8%A5%BF/%E7%BF%BB%E8%AD%AF/%E5%82%91%E5%A4%AB.docx#_ftn17" name="_ftnref17" title=""><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: Calibri;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-size: 12pt;">[17]</span></span><!--[endif]--></span></span></a><span style="font-family: 新細明體; mso-ascii-font-family: Calibri; mso-hansi-font-family: Calibri;">或搖擺樂</span><a href="file:///D:/%E7%9B%A7%E7%9B%A7%E7%9A%84%E6%9D%B1%E8%A5%BF/%E7%BF%BB%E8%AD%AF/%E5%82%91%E5%A4%AB.docx#_ftn18" name="_ftnref18" title=""><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: Calibri;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-size: 12pt;">[18]</span></span><!--[endif]--></span></span></a><span style="font-family: 新細明體; mso-ascii-font-family: Calibri; mso-hansi-font-family: Calibri;">裡用的鼓組</span><span style="font-family: 新細明體;">。拿大鼓來當例子,打擊面和共振面的音準會調得很高,超乎你的想像。這麼做的原因呢,是為了減少大多的空氣跟鼓槌撞擊的聲音。你會想要空氣流動得快些,這樣你才會得到圓潤飽滿的聲音。這就是約翰鼓聲這麼棒的秘訣:將底面鼓皮音準調得比打擊面還要高得多。那給你整套鼓的完整聲響,並避開鼓棒或鼓槌的打擊聲。所以,在中鼓上,它底面鼓皮的真實情況,像剛才大鼓那樣把聲音調得很高,就像你聽到的小鼓聲那麼高。而對剩下的鼓也都會這麼做。</span></div>
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<span style="font-family: 新細明體; mso-ascii-font-family: Calibri; mso-hansi-font-family: Calibri;">小鼓的調音對約翰的鼓聲而言</span><span style="font-family: 新細明體;">,</span><span style="font-family: 新細明體; mso-ascii-font-family: Calibri; mso-hansi-font-family: Calibri;">也是一個很重要的部分</span><span style="font-family: 新細明體;">。他會把共振面音調得很高,但他從未把響線鎖死,他將響線鬆得剛好。讓你可以保持它的敏銳度,你也可以得到鼓從頭到尾的完整聲音。打擊面,就像我之前說的</span><span lang="EN-US">Emperor Coated</span><span style="font-family: 新細明體;">,永遠把音準調得很高,但從未失去打擊面跟共振面之間的動態。</span></div>
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<span style="font-family: 新細明體;">(</span><span lang="EN-US">4</span><span style="font-family: 新細明體; mso-ascii-font-family: Calibri; mso-hansi-font-family: Calibri;">分</span><span lang="EN-US">16</span><span style="font-family: 新細明體; mso-ascii-font-family: Calibri; mso-hansi-font-family: Calibri;">秒到</span><span lang="EN-US">5</span><span style="font-family: 新細明體; mso-ascii-font-family: Calibri; mso-hansi-font-family: Calibri;">分</span><span lang="EN-US">48</span><span style="font-family: 新細明體; mso-ascii-font-family: Calibri; mso-hansi-font-family: Calibri;">秒</span><span style="font-family: 新細明體;">,他展示打擊面和共振面的音準。)</span></div>
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<span style="font-family: 新細明體; mso-ascii-font-family: Calibri; mso-hansi-font-family: Calibri;">你看到的麥克風的配置</span><span style="font-family: 新細明體;">,</span><span style="font-family: 新細明體; mso-ascii-font-family: Calibri; mso-hansi-font-family: Calibri;">就跟約翰錄音使用的一模一樣</span><span style="font-family: 新細明體;">。這支</span><span lang="EN-US"><a href="http://www.electrovoice.com/product.php?id=91" target="_blank">RE20</a><a href="file:///D:/%E7%9B%A7%E7%9B%A7%E7%9A%84%E6%9D%B1%E8%A5%BF/%E7%BF%BB%E8%AD%AF/%E5%82%91%E5%A4%AB.docx#_ftn19" name="_ftnref19" title=""><span class="MsoFootnoteReference"><span style="font-family: Calibri;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-size: 12pt;">[19]</span></span><!--[endif]--></span></span></a></span><span style="font-family: 新細明體; mso-ascii-font-family: Calibri; mso-hansi-font-family: Calibri;">收大鼓的共振面</span><span style="font-family: 新細明體;">。在打擊面是用</span><span lang="EN-US"><a href="http://www.sennheiserusa.com/professional-studio-microphone-broadcasting-microphone_000984" target="_blank">Sennheiser 421</a><a href="file:///D:/%E7%9B%A7%E7%9B%A7%E7%9A%84%E6%9D%B1%E8%A5%BF/%E7%BF%BB%E8%AD%AF/%E5%82%91%E5%A4%AB.docx#_ftn20" name="_ftnref20" title=""><span class="MsoFootnoteReference"><span style="font-family: Calibri;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-size: 12pt;">[20]</span></span><!--[endif]--></span></span></a></span><span style="font-family: 新細明體; mso-ascii-font-family: Calibri; mso-hansi-font-family: Calibri;">收音</span><span style="font-family: 新細明體;">。這兩隻是</span><a href="http://www.coutant.org/akgc12/index.html" target="_blank"><span lang="EN-US">AKGC12</span></a><span style="font-family: 新細明體;">,用來做</span><span lang="EN-US">overheads</span><span style="font-family: 新細明體;">。在許多時候,</span><span lang="EN-US">Sennheiser shotgun</span><span style="font-family: 新細明體; mso-ascii-font-family: Calibri; mso-hansi-font-family: Calibri;">麥克風用在約翰的錄音</span><span style="font-family: 新細明體;">。另一個約翰錄音的重要因素是</span><span lang="EN-US">Room Mics</span><span style="font-family: 新細明體;">。而</span><span lang="EN-US">Room mics</span><span style="font-family: 新細明體;">的選擇是</span><span lang="EN-US">AKG C12A</span><span style="font-family: 新細明體;">,平均地架設在房間內。</span></div>
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<span style="font-family: 新細明體;">(</span><span style="font-family: 新細明體; mso-ascii-font-family: Calibri; mso-hansi-font-family: Calibri;">接下來是鼓聲展示的示範</span><span style="font-family: 新細明體;">,說話從<span lang="EN-US">9</span>分<span lang="EN-US">24</span>秒開始。)</span><span lang="EN-US" style="font-family: 新細明體; mso-hansi-font-family: Calibri;"><o:p></o:p></span></div>
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<span lang="EN-US">Ludwig</span><span style="font-family: 新細明體; mso-ascii-font-family: Calibri; mso-hansi-font-family: Calibri;">的陶德</span><span style="font-family: 新細明體;">‧</span><span style="font-family: 新細明體; mso-ascii-font-family: Calibri; mso-hansi-font-family: Calibri;">特蘭</span><a href="file:///D:/%E7%9B%A7%E7%9B%A7%E7%9A%84%E6%9D%B1%E8%A5%BF/%E7%BF%BB%E8%AD%AF/%E5%82%91%E5%A4%AB.docx#_ftn21" name="_ftnref21" title=""><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: Calibri;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-size: 12pt;">[21]</span></span><!--[endif]--></span></span></a><span style="font-family: 新細明體; mso-ascii-font-family: Calibri; mso-hansi-font-family: Calibri;">人非常好</span><span style="font-family: 新細明體;">,</span><span style="font-family: 新細明體; mso-ascii-font-family: Calibri; mso-hansi-font-family: Calibri;">願意借我們這套</span><a href="http://www.ludwig-drums.com/usa_vistalite.php" target="_blank"><span lang="EN-US">Amber Vistalite</span></a><span style="font-family: 新細明體; mso-ascii-font-family: Calibri; mso-hansi-font-family: Calibri;">約翰</span><span style="font-family: 新細明體;">.</span><span style="font-family: 新細明體; mso-ascii-font-family: Calibri; mso-hansi-font-family: Calibri;">波南復刻版鼓組</span><span style="font-family: 新細明體;">。我們要向你介紹這套鼓…和鼓皮的選擇。雖然我並沒有在齊柏林巡迴的時候用到這套鼓,但我很熟悉要怎麼裝配他的鼓。</span></div>
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<span style="font-family: 新細明體; mso-ascii-font-family: Calibri; mso-hansi-font-family: Calibri;">首先</span><span style="font-family: 新細明體;">,</span><span class="st"><span style="font-family: 新細明體; mso-ascii-font-family: Calibri; mso-hansi-font-family: Calibri;">氈條</span></span><span style="font-family: 新細明體;">已經放進去了,放在大鼓鼓皮下方的位置。然後你這麼做。讓它保持在那。你像這樣把鼓皮裝上去。然後讓</span><span class="st"><span style="font-family: 新細明體; mso-ascii-font-family: Calibri; mso-hansi-font-family: Calibri;">氈條</span></span><span style="font-family: 新細明體;">繃得夠緊的時候把它剪掉,等一下我們會這麼做。首先我們要把鼓皮裝進去,然後把鼓皮鎖螺轉進去;過去他們管它叫</span><span lang="EN-US">T handles</span><span style="font-family: 新細明體;">,我想他們應該沒有再生產這玩意了。好,如果你這麼做了之後,你可以看到我的示範。再說一次,就像我用</span><span style="font-family: 新細明體; mso-ascii-font-family: Calibri; mso-hansi-font-family: Calibri;">金蔥綠爵士鼓組解釋過的</span><span style="font-family: 新細明體;">,毯條是要讓聲音能夠集中的一種方法。這當你要用這套</span><span lang="EN-US">Vistalite</span><span style="font-family: 新細明體; mso-ascii-font-family: Calibri; mso-hansi-font-family: Calibri;">鼓組的時候</span><span style="font-family: 新細明體;">,一定要用在做現場。約翰‧波南喜歡這套鼓就是因為這套鼓非常的活。千萬不要在錄音的時候用,只用在現場。永遠在錄音室裡用木製的套鼓,就像我之前解釋過的那樣。我們用<span lang="EN-US">Black Dot</span>鼓皮。又一次,是為了要讓鼓的聲音能夠集中,因為他們太活了。這就是為什麼要用<span lang="EN-US">Black Dot</span>鼓皮。而且這就是我對鼓所做的。然後…無論是要裝上任何種類的鼓皮都一樣,你必須讓它保持同樣的張力。也許我看起來不像是讓它保持同樣張力的樣子,但我可以感受它。我的經驗完全是靠感覺和聽覺。我不需要任何的工具還什麼的,只要去感受就行了。那就是我所做的。當我在感受的時候,我可能看起來像是在隨意東搞西搞的,不太用心的樣子。然後我們把</span><span class="st"><span style="font-family: 新細明體; mso-ascii-font-family: Calibri; mso-hansi-font-family: Calibri;">氈條</span></span><span style="font-family: 新細明體;">剪斷,得到我們想要的。現在它的鬆緊度適中。</span><span class="st"><span style="font-family: 新細明體; mso-ascii-font-family: Calibri; mso-hansi-font-family: Calibri;">氈條可以用在任何品牌的大鼓上</span></span><span class="st"><span style="font-family: 新細明體;">,</span></span><span class="st"><span style="font-family: 新細明體; mso-ascii-font-family: Calibri; mso-hansi-font-family: Calibri;">無論是</span></span><a href="http://www.gibson.com/en-us/Divisions/Slingerland/" target="_blank"><span class="st"><span lang="EN-US" style="font-family: Calibri;">Slingerland</span></span></a><span class="st"><span style="font-family: 新細明體;">、</span></span><span class="st"><span style="font-family: Calibri;"> </span></span><span lang="EN-US">the Rogers</span><span style="font-family: 新細明體;">、</span> <span style="font-family: 新細明體; mso-ascii-font-family: Calibri; mso-hansi-font-family: Calibri;">或</span><span lang="EN-US">Ludwig</span><span style="font-family: 新細明體;">。將</span><span class="st"><span style="font-family: 新細明體; mso-ascii-font-family: Calibri; mso-hansi-font-family: Calibri;">氈條拉緊讓它貼在鼓皮上</span></span><span class="st"><span style="font-family: 新細明體;">,如果不緊就沒用了,絕不能讓它還能搖晃。去壓它,盡量地多擠壓鼓皮幾次,尤其是在過去。但現在不用這麼做了,因為現在的鼓皮品質都做得很好。我要完成張力的調整,並再調一下音。一邊調整張力一邊調音。好!已經完成了。現在我們來看看它的聲音如何。等會兒我們會把踏板裝上去,然後試試看聲音。</span></span></div>
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<span lang="EN-US">Amber Vistalite</span><span style="font-family: 新細明體; mso-ascii-font-family: Calibri; mso-hansi-font-family: Calibri;">鼓組在做現場或巡迴的時候使用</span><span style="font-family: 新細明體;">,並不會在錄音室裡用。呎吋都一樣:</span><span lang="EN-US">10×14</span><span style="font-family: 新細明體;">、</span><span lang="EN-US">14×26</span><span style="font-family: 新細明體;">、</span><span lang="EN-US">16×16</span><span style="font-family: 新細明體;">、</span><span lang="EN-US">16×18</span><span style="font-family: 新細明體;">。鼓皮是用</span><span lang="EN-US">Black Dot</span><span style="font-family: 新細明體;">,就像現在你看到這套鼓上的一樣。這麼做的原因呢,是因為你得了解,這套樹脂玻璃製的鼓聲非常大、音色很粗暴。而這些鼓皮能讓聲音集中在中央處。但是這套鼓十分合適約翰‧波南。因為它的音色很俐落,這也是他曾使用一顆</span><span lang="EN-US">6.5×14</span><span lang="EN-US" style="font-family: 新細明體;"> </span><span style="font-family: 新細明體;">吋</span><a href="http://www.ludwig-drums.com/usasnares_blackbeauty.php" target="_blank"><span lang="EN-US">Black Beauty</span></a><span style="font-family: 新細明體; mso-ascii-font-family: Calibri; mso-hansi-font-family: Calibri;">小鼓一陣子的原因</span><span style="font-family: 新細明體;">。基本上他的鼓組調音方法都一樣:把下鼓皮的音準調得比較高。也把打擊面的音準調高。可是,因為</span><span lang="EN-US">Black Dot</span><span style="font-family: 新細明體;">鼓皮的原故,因為它是亮面的,所以音色確實較明亮多了。把鼓的音準調高過本來該有的音準。</span><span lang="EN-US" style="font-family: 新細明體; mso-hansi-font-family: Calibri;"><o:p></o:p></span></div>
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<span style="font-family: 新細明體; mso-ascii-font-family: Calibri; mso-hansi-font-family: Calibri;">鼓組用麥克風收音的方式有好幾種</span><span style="font-family: 新細明體;">,大部份都用</span><a href="http://www.shure.com/americas/products/microphones/classic/545SD-classic-unidyne-instrument-microphone" target="_blank"><span lang="EN-US">Shure 545</span></a><a href="file:///D:/%E7%9B%A7%E7%9B%A7%E7%9A%84%E6%9D%B1%E8%A5%BF/%E7%BF%BB%E8%AD%AF/%E5%82%91%E5%A4%AB.docx#_ftn22" name="_ftnref22" title=""><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: 新細明體; mso-hansi-font-family: Calibri;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-size: 12pt;">[22]</span></span><!--[endif]--></span></span></a><span style="font-family: 新細明體;">,有時配上</span><span lang="EN-US">RE-20</span><span style="font-family: 新細明體;">,</span> <span style="font-family: 新細明體; mso-ascii-font-family: Calibri; mso-hansi-font-family: Calibri;">有時搭配</span><span lang="EN-US"> Sennheiser
421</span><span style="font-family: 新細明體;">。這兩隻擺在共振面收音的麥克風會放在同一個位置,有時候會把一支</span><span lang="EN-US">Shure 545</span><span style="font-family: 新細明體; mso-ascii-font-family: Calibri; mso-hansi-font-family: Calibri;">擺在打擊面收音</span><span style="font-family: 新細明體;">,這樣把兩個訊號混合的話,就要做一下反相。大多數的情況就是架兩支麥克風在前鼓皮,或是擺一前一後。</span><span lang="EN-US" style="font-family: 新細明體; mso-hansi-font-family: Calibri;"><o:p></o:p></span></div>
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<span style="font-family: 新細明體;">(以下對話省略)</span></div>
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<a href="file:///D:/%E7%9B%A7%E7%9B%A7%E7%9A%84%E6%9D%B1%E8%A5%BF/%E7%BF%BB%E8%AD%AF/%E5%82%91%E5%A4%AB.docx#_ftnref1" name="_ftn1" title=""><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: Calibri;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-size: 10pt;">[1]</span></span><!--[endif]--></span></span></a><span lang="EN-US"> Jeff Ocheltree, an American Drum Technician </span></div>
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<a href="file:///D:/%E7%9B%A7%E7%9B%A7%E7%9A%84%E6%9D%B1%E8%A5%BF/%E7%BF%BB%E8%AD%AF/%E5%82%91%E5%A4%AB.docx#_ftnref2" name="_ftn2" title=""><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: Calibri;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-size: 10pt;">[2]</span></span><!--[endif]--></span></span></a><span lang="EN-US"> John Bonham, well-known as the drummer of Led Zeppelin</span></div>
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<a href="file:///D:/%E7%9B%A7%E7%9B%A7%E7%9A%84%E6%9D%B1%E8%A5%BF/%E7%BF%BB%E8%AD%AF/%E5%82%91%E5%A4%AB.docx#_ftnref3" name="_ftn3" title=""><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: Calibri;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-size: 10pt;">[3]</span></span><!--[endif]--></span></span></a><span lang="EN-US"> Billy Cobham</span></div>
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<a href="file:///D:/%E7%9B%A7%E7%9B%A7%E7%9A%84%E6%9D%B1%E8%A5%BF/%E7%BF%BB%E8%AD%AF/%E5%82%91%E5%A4%AB.docx#_ftnref4" name="_ftn4" title=""><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: Calibri;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-size: 10pt;">[4]</span></span><!--[endif]--></span></span></a><span lang="EN-US"> Christopher Powell’s Ballpark</span></div>
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<a href="file:///D:/%E7%9B%A7%E7%9B%A7%E7%9A%84%E6%9D%B1%E8%A5%BF/%E7%BF%BB%E8%AD%AF/%E5%82%91%E5%A4%AB.docx#_ftnref5" name="_ftn5" title=""><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: Calibri;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-size: 10pt;">[5]</span></span><!--[endif]--></span></span></a><span lang="EN-US"> Green sparkle</span></div>
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<a href="file:///D:/%E7%9B%A7%E7%9B%A7%E7%9A%84%E6%9D%B1%E8%A5%BF/%E7%BF%BB%E8%AD%AF/%E5%82%91%E5%A4%AB.docx#_ftnref6" name="_ftn6" title=""><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: Calibri;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-size: 10pt;">[6]</span></span><!--[endif]--></span></span></a><span lang="EN-US"> Rack tom</span></div>
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<a href="file:///D:/%E7%9B%A7%E7%9B%A7%E7%9A%84%E6%9D%B1%E8%A5%BF/%E7%BF%BB%E8%AD%AF/%E5%82%91%E5%A4%AB.docx#_ftnref8" name="_ftn8" title=""><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: Calibri;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-size: 10pt;">[8]</span></span><!--[endif]--></span></span></a><span lang="EN-US"> </span><span style="font-family: 新細明體; mso-ascii-font-family: Calibri; mso-hansi-font-family: Calibri;">鍍上鉻的黃銅製小鼓</span></div>
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<a href="file:///D:/%E7%9B%A7%E7%9B%A7%E7%9A%84%E6%9D%B1%E8%A5%BF/%E7%BF%BB%E8%AD%AF/%E5%82%91%E5%A4%AB.docx#_ftnref10" name="_ftn10" title=""><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: Calibri;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-size: 10pt;">[10]</span></span><!--[endif]--></span></span></a><span lang="EN-US"> Brass</span></div>
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<a href="file:///D:/%E7%9B%A7%E7%9B%A7%E7%9A%84%E6%9D%B1%E8%A5%BF/%E7%BF%BB%E8%AD%AF/%E5%82%91%E5%A4%AB.docx#_ftnref11" name="_ftn11" title=""><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: Calibri;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-size: 10pt;">[11]</span></span><!--[endif]--></span></span></a><span lang="EN-US"> Jingle ring</span></div>
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<a href="file:///D:/%E7%9B%A7%E7%9B%A7%E7%9A%84%E6%9D%B1%E8%A5%BF/%E7%BF%BB%E8%AD%AF/%E5%82%91%E5%A4%AB.docx#_ftnref16" name="_ftn16" title=""><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: Calibri;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-size: 10pt;">[16]</span></span><!--[endif]--></span></span></a><span lang="EN-US"> Felt strip, </span><span style="font-family: 新細明體; mso-ascii-font-family: Calibri; mso-hansi-font-family: Calibri;">一種建築用材</span></div>
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Anonymoushttp://www.blogger.com/profile/06377922510595008070noreply@blogger.com0tag:blogger.com,1999:blog-6021576624325993297.post-88389183455828777512012-09-21T01:42:00.000-07:002013-09-16T06:15:53.434-07:00幽浮一族[1]的現場聲學<br />
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<a href="http://c438342.r42.cf2.rackcdn.com/wp-content/uploads/2011/05/foofighters2011.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="http://c438342.r42.cf2.rackcdn.com/wp-content/uploads/2011/05/foofighters2011.jpg" height="135" width="200" /></a></div>
<span style="font-family: 新細明體; mso-ascii-font-family: Calibri; mso-hansi-font-family: Calibri;">沒有太多的表演者有能耐在不同的樂團裡都獲得葛萊美獎</span><a href="file:///D:/%E7%9B%A7%E7%9B%A7%E7%9A%84%E6%9D%B1%E8%A5%BF/%E7%BF%BB%E8%AD%AF/%E5%B9%BD%E6%B5%AE%E4%B8%80%E6%97%8F.docx#_ftn2" name="_ftnref2" title=""><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: 新細明體; mso-hansi-font-family: Calibri;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-size: 12pt;">[2]</span></span><!--[endif]--></span></span></a><span style="font-family: 新細明體;">,更別說是在不同的樂團中擔任不同的位置;但是戴夫‧葛羅</span><a href="file:///D:/%E7%9B%A7%E7%9B%A7%E7%9A%84%E6%9D%B1%E8%A5%BF/%E7%BF%BB%E8%AD%AF/%E5%B9%BD%E6%B5%AE%E4%B8%80%E6%97%8F.docx#_ftn3" name="_ftnref3" title=""><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: 新細明體; mso-hansi-font-family: Calibri;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-size: 12pt;">[3]</span></span><!--[endif]--></span></span></a><span style="font-family: 新細明體;">做到了。他擔任主唱兼吉他手的幽浮一族,在</span><span lang="EN-US">2001</span><span style="font-family: 新細明體;">年時,以專輯「一無所有</span><a href="file:///D:/%E7%9B%A7%E7%9B%A7%E7%9A%84%E6%9D%B1%E8%A5%BF/%E7%BF%BB%E8%AD%AF/%E5%B9%BD%E6%B5%AE%E4%B8%80%E6%97%8F.docx#_ftn4" name="_ftnref4" title=""><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: 新細明體; mso-hansi-font-family: Calibri;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-size: 12pt;">[4]</span></span><!--[endif]--></span></span></a><span style="font-family: 新細明體;">」贏得葛萊美最佳搖滾專輯獎;在更之前,戴夫當超脫樂團</span><a href="file:///D:/%E7%9B%A7%E7%9B%A7%E7%9A%84%E6%9D%B1%E8%A5%BF/%E7%BF%BB%E8%AD%AF/%E5%B9%BD%E6%B5%AE%E4%B8%80%E6%97%8F.docx#_ftn5" name="_ftnref5" title=""><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: 新細明體; mso-hansi-font-family: Calibri;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-size: 12pt;">[5]</span></span><!--[endif]--></span></span></a><span style="font-family: 新細明體;">的鼓手時,就曾以一張「</span><span lang="EN-US">MTV</span><span style="font-family: 新細明體;">不插電演唱會</span><a href="file:///D:/%E7%9B%A7%E7%9B%A7%E7%9A%84%E6%9D%B1%E8%A5%BF/%E7%BF%BB%E8%AD%AF/%E5%B9%BD%E6%B5%AE%E4%B8%80%E6%97%8F.docx#_ftn6" name="_ftnref6" title=""><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: 新細明體; mso-hansi-font-family: Calibri;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-size: 12pt;">[6]</span></span><!--[endif]--></span></span></a><span style="font-family: 新細明體;">」拿過</span><span lang="EN-US">1996</span><span style="font-family: 新細明體;">年葛萊美的最佳另類音樂專輯。近期,幽浮一族的成員包括有葛羅、吉他手克里斯‧薛夫雷</span><a href="file:///D:/%E7%9B%A7%E7%9B%A7%E7%9A%84%E6%9D%B1%E8%A5%BF/%E7%BF%BB%E8%AD%AF/%E5%B9%BD%E6%B5%AE%E4%B8%80%E6%97%8F.docx#_ftn7" name="_ftnref7" title=""><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: 新細明體; mso-hansi-font-family: Calibri;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-size: 12pt;">[7]</span></span><!--[endif]--></span></span></a><span style="font-family: 新細明體;">、貝斯手奈特‧曼多</span><a href="file:///D:/%E7%9B%A7%E7%9B%A7%E7%9A%84%E6%9D%B1%E8%A5%BF/%E7%BF%BB%E8%AD%AF/%E5%B9%BD%E6%B5%AE%E4%B8%80%E6%97%8F.docx#_ftn8" name="_ftnref8" title=""><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: 新細明體; mso-hansi-font-family: Calibri;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-size: 12pt;">[8]</span></span><!--[endif]--></span></span></a><span style="font-family: 新細明體;">,以及鼓手泰勒‧霍金斯</span><a href="file:///D:/%E7%9B%A7%E7%9B%A7%E7%9A%84%E6%9D%B1%E8%A5%BF/%E7%BF%BB%E8%AD%AF/%E5%B9%BD%E6%B5%AE%E4%B8%80%E6%97%8F.docx#_ftn9" name="_ftnref9" title=""><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: 新細明體; mso-hansi-font-family: Calibri;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-size: 12pt;">[9]</span></span><!--[endif]--></span></span></a><span style="font-family: 新細明體;">。他們推出的最新專輯「沒完沒了</span><a href="file:///D:/%E7%9B%A7%E7%9B%A7%E7%9A%84%E6%9D%B1%E8%A5%BF/%E7%BF%BB%E8%AD%AF/%E5%B9%BD%E6%B5%AE%E4%B8%80%E6%97%8F.docx#_ftn10" name="_ftnref10" title=""><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: 新細明體; mso-hansi-font-family: Calibri;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-size: 12pt;">[10]</span></span><!--[endif]--></span></span></a><span style="font-family: 新細明體;">」大受好評,而人們也為了樂團熱力四射的春季巡迴演出而瘋狂。樂團所展現的硬式搖滾、龐克風格,正是從外場音響工程師</span><a href="file:///D:/%E7%9B%A7%E7%9B%A7%E7%9A%84%E6%9D%B1%E8%A5%BF/%E7%BF%BB%E8%AD%AF/%E5%B9%BD%E6%B5%AE%E4%B8%80%E6%97%8F.docx#_ftn11" name="_ftnref11" title=""><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: 新細明體; mso-hansi-font-family: Calibri;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-size: 12pt;">[11]</span></span><!--[endif]--></span></span></a><span style="font-family: 新細明體;">布萊恩‧沃森</span><a href="file:///D:/%E7%9B%A7%E7%9B%A7%E7%9A%84%E6%9D%B1%E8%A5%BF/%E7%BF%BB%E8%AD%AF/%E5%B9%BD%E6%B5%AE%E4%B8%80%E6%97%8F.docx#_ftn12" name="_ftnref12" title=""><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: 新細明體; mso-hansi-font-family: Calibri;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-size: 12pt;">[12]</span></span><!--[endif]--></span></span></a><span style="font-family: 新細明體;">的混音手法中反映出來。</span><span lang="EN-US" style="font-family: 新細明體; mso-hansi-font-family: Calibri;"><o:p></o:p></span><br />
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<span style="font-family: 新細明體;">沃森說:「</span><span style="font-family: 新細明體; mso-ascii-font-family: Calibri; mso-hansi-font-family: Calibri;">我這兒有一大堆的效果器</span><span style="font-family: 新細明體;">!但我都不想用它們;只會增加噪音罷了。我喜歡讓事情越簡單越好:幽浮一族的音樂棒呆了!那我又何必增添吵雜的音效到他們的音樂裡呢?」</span><span lang="EN-US" style="font-family: 新細明體; mso-hansi-font-family: Calibri;"><o:p></o:p></span></div>
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<span style="font-family: 新細明體;">沃森在這一行已經待了超過</span><span style="font-family: 新細明體; mso-ascii-font-family: Calibri; mso-hansi-font-family: Calibri;">十二</span><span style="font-family: 新細明體;">個年頭。剛開始他從燈光師做起,在聽到許多好團的聲音被調爛了之後,他決定轉行。「我覺得我可以做得更好!」他解釋道。「我在瑞特音響</span><a href="file:///D:/%E7%9B%A7%E7%9B%A7%E7%9A%84%E6%9D%B1%E8%A5%BF/%E7%BF%BB%E8%AD%AF/%E5%B9%BD%E6%B5%AE%E4%B8%80%E6%97%8F.docx#_ftn13" name="_ftnref13" title=""><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: 新細明體; mso-hansi-font-family: Calibri;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-size: 12pt;">[13]</span></span><!--[endif]--></span></span></a><span style="font-family: 新細明體;">的圖桑</span><a href="file:///D:/%E7%9B%A7%E7%9B%A7%E7%9A%84%E6%9D%B1%E8%A5%BF/%E7%BF%BB%E8%AD%AF/%E5%B9%BD%E6%B5%AE%E4%B8%80%E6%97%8F.docx#_ftn14" name="_ftnref14" title=""><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: 新細明體; mso-hansi-font-family: Calibri;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-size: 12pt;">[14]</span></span><!--[endif]--></span></span></a><span style="font-family: 新細明體;">分店工作,那就是為什麼我能得到跟幽浮一族一起工作的機會。我之前跟眨眼</span><span lang="EN-US">182</span><a href="file:///D:/%E7%9B%A7%E7%9B%A7%E7%9A%84%E6%9D%B1%E8%A5%BF/%E7%BF%BB%E8%AD%AF/%E5%B9%BD%E6%B5%AE%E4%B8%80%E6%97%8F.docx#_ftn15" name="_ftnref15" title=""><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: 新細明體; mso-hansi-font-family: Calibri;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-size: 12pt;">[15]</span></span><!--[endif]--></span></span></a><span style="font-family: 新細明體;">工作過一陣子,而許多眨眼</span><span lang="EN-US">182</span><span style="font-family: 新細明體;">的工作人員也在現在的這一個團隊。像艾瑞克‧佛敏</span><a href="file:///D:/%E7%9B%A7%E7%9B%A7%E7%9A%84%E6%9D%B1%E8%A5%BF/%E7%BF%BB%E8%AD%AF/%E5%B9%BD%E6%B5%AE%E4%B8%80%E6%97%8F.docx#_ftn16" name="_ftnref16" title=""><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: 新細明體; mso-hansi-font-family: Calibri;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-size: 12pt;">[16]</span></span><!--[endif]--></span></span></a><span style="font-family: 新細明體;">,同時是眨眼</span><span lang="EN-US">182</span><span style="font-family: 新細明體;">和幽浮一族兩團的統籌經理</span><a href="file:///D:/%E7%9B%A7%E7%9B%A7%E7%9A%84%E6%9D%B1%E8%A5%BF/%E7%BF%BB%E8%AD%AF/%E5%B9%BD%E6%B5%AE%E4%B8%80%E6%97%8F.docx#_ftn17" name="_ftnref17" title=""><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: 新細明體; mso-hansi-font-family: Calibri;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-size: 12pt;">[17]</span></span><!--[endif]--></span></span></a><span style="font-family: 新細明體;">,而且幽浮一族的巡迴經理</span><a href="file:///D:/%E7%9B%A7%E7%9B%A7%E7%9A%84%E6%9D%B1%E8%A5%BF/%E7%BF%BB%E8%AD%AF/%E5%B9%BD%E6%B5%AE%E4%B8%80%E6%97%8F.docx#_ftn18" name="_ftnref18" title=""><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: 新細明體; mso-hansi-font-family: Calibri;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-size: 12pt;">[18]</span></span><!--[endif]--></span></span></a><span style="font-family: 新細明體;">蓋斯‧布蘭德特</span><a href="file:///D:/%E7%9B%A7%E7%9B%A7%E7%9A%84%E6%9D%B1%E8%A5%BF/%E7%BF%BB%E8%AD%AF/%E5%B9%BD%E6%B5%AE%E4%B8%80%E6%97%8F.docx#_ftn19" name="_ftnref19" title=""><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: 新細明體; mso-hansi-font-family: Calibri;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-size: 12pt;">[19]</span></span><!--[endif]--></span></span></a><span style="font-family: 新細明體;">他信得過我」他笑著說。</span><span lang="EN-US" style="font-family: 新細明體; mso-hansi-font-family: Calibri;"><o:p></o:p></span></div>
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<span style="font-family: 新細明體;">沃森使用</span><a href="http://www.midasconsoles.com/" target="_blank"><span lang="EN-US">MidasXL4</span></a><span lang="EN-US" style="font-family: 新細明體;"> </span><span style="font-family: 新細明體;">混音臺來做混音,他已經用這台機器用了四年。他說:「我喜歡這台的聲音與靈敏度,</span><span lang="EN-US">XL4</span><span style="font-family: 新細明體;">是台徹徹底底的搖滾混音臺!我在這混音臺用上</span><span style="font-family: 新細明體; mso-ascii-font-family: Calibri; mso-hansi-font-family: Calibri;">二十八</span><span style="font-family: 新細明體;">個</span><span style="font-family: 新細明體; mso-ascii-font-family: Calibri; mso-hansi-font-family: Calibri;">輸入端</span><a href="file:///D:/%E7%9B%A7%E7%9B%A7%E7%9A%84%E6%9D%B1%E8%A5%BF/%E7%BF%BB%E8%AD%AF/%E5%B9%BD%E6%B5%AE%E4%B8%80%E6%97%8F.docx#_ftn20" name="_ftnref20" title=""><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: 新細明體; mso-hansi-font-family: Calibri;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-size: 12pt;">[20]</span></span><!--[endif]--></span></span></a><span style="font-family: 新細明體;">。每一晚,我都透過混音臺的</span><span lang="EN-US">Stereo Matrix</span><span style="font-family: 新細明體; mso-ascii-font-family: Calibri; mso-hansi-font-family: Calibri;">將音樂</span><span style="font-family: 新細明體;">錄製到</span><span lang="EN-US">Glyph</span><span style="font-family: 新細明體;">硬碟上,並且幾乎將每場演出錄音都燒成光碟。」</span><span lang="EN-US" style="font-family: 新細明體; mso-hansi-font-family: Calibri;"><o:p></o:p></span></div>
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<span style="font-family: 新細明體;">在所有的這些效果器裡面,沃森<b>確實</b>會用在幽浮一族上的:就只有一台</span><a href="http://usa.yamaha.com/products/live_sound/processors/spx990/?mode=model" target="_blank"><span lang="EN-US">SPX990 Reverb</span></a><span style="font-family: 新細明體;">,用在當戴夫自彈自唱「</span><span lang="EN-US">Tired</span><span style="font-family: 新細明體;">」這首歌時。我有一櫃十二台的</span><a href="http://www.bssaudio.com/discont_productpg.php?product_id=13" target="_blank"><span lang="EN-US">BSS Compressor</span></a><span style="font-family: 新細明體; mso-ascii-font-family: Calibri; mso-hansi-font-family: Calibri;">會派上一點用場</span><span style="font-family: 新細明體;">,我還有八台的</span><a href="http://www.drawmer.com/products/pro-series/ds201.php" target="_blank"><span lang="EN-US">Drawmer gate</span></a><span style="font-family: 新細明體;">。我做</span><span lang="EN-US">P.A</span><span lang="EN-US" style="font-family: 新細明體; mso-hansi-font-family: Calibri;">.</span><span style="font-family: 新細明體;">會用</span><a href="http://www.bssaudio.com/productpg.php?product_id=1" target="_blank"><span lang="EN-US">BSS</span><span lang="EN-US" style="font-family: 新細明體;"> </span><span lang="EN-US">EQ</span></a><span style="font-family: 新細明體;">,我還有一台</span><a href="http://www.klarkteknik.com/dn410.php" target="_blank"><span lang="EN-US">Klark Teknik parametric EQ</span></a><span style="font-family: 新細明體; mso-ascii-font-family: Calibri; mso-hansi-font-family: Calibri;">會用在重低音喇叭</span><a href="file:///D:/%E7%9B%A7%E7%9B%A7%E7%9A%84%E6%9D%B1%E8%A5%BF/%E7%BF%BB%E8%AD%AF/%E5%B9%BD%E6%B5%AE%E4%B8%80%E6%97%8F.docx#_ftn21" name="_ftnref21" title=""><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: 新細明體; mso-hansi-font-family: Calibri;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-size: 12pt;">[21]</span></span><!--[endif]--></span></span></a><span style="font-family: 新細明體; mso-ascii-font-family: Calibri; mso-hansi-font-family: Calibri;">上</span><span style="font-family: 新細明體;">。這些</span><span style="font-family: 新細明體; mso-ascii-font-family: Calibri; mso-hansi-font-family: Calibri;">噪音門</span><a href="file:///D:/%E7%9B%A7%E7%9B%A7%E7%9A%84%E6%9D%B1%E8%A5%BF/%E7%BF%BB%E8%AD%AF/%E5%B9%BD%E6%B5%AE%E4%B8%80%E6%97%8F.docx#_ftn22" name="_ftnref22" title=""><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: 新細明體; mso-hansi-font-family: Calibri;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-size: 12pt;">[22]</span></span><!--[endif]--></span></span></a><span style="font-family: 新細明體;">會接在鼓組的</span><span style="font-family: 新細明體; mso-ascii-font-family: Calibri; mso-hansi-font-family: Calibri;">輸入端</span><span style="font-family: 新細明體;">上,而我全部的</span><span style="font-family: 新細明體; mso-ascii-font-family: Calibri; mso-hansi-font-family: Calibri;">壓縮器</span><a href="file:///D:/%E7%9B%A7%E7%9B%A7%E7%9A%84%E6%9D%B1%E8%A5%BF/%E7%BF%BB%E8%AD%AF/%E5%B9%BD%E6%B5%AE%E4%B8%80%E6%97%8F.docx#_ftn23" name="_ftnref23" title=""><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: 新細明體; mso-hansi-font-family: Calibri;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-size: 12pt;">[23]</span></span><!--[endif]--></span></span></a><span style="font-family: 新細明體;">會</span><span lang="EN-US">Inserted</span><span style="font-family: 新細明體;">在</span><span lang="EN-US">Subgroups</span><span style="font-family: 新細明體;">上。我一共會用上十組</span><span lang="EN-US">Subgroups</span><span style="font-family: 新細明體;">:大鼓跟小鼓用在第一跟第二組;所有的中鼓</span><a href="file:///D:/%E7%9B%A7%E7%9B%A7%E7%9A%84%E6%9D%B1%E8%A5%BF/%E7%BF%BB%E8%AD%AF/%E5%B9%BD%E6%B5%AE%E4%B8%80%E6%97%8F.docx#_ftn24" name="_ftnref24" title=""><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: 新細明體; mso-hansi-font-family: Calibri;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-size: 12pt;">[24]</span></span><!--[endif]--></span></span></a><span style="font-family: 新細明體;">會設在第三跟第四組;貝斯設在第五、第六組;克里斯跟戴夫的吉他設在第七、第八組;最後是所有</span><span style="font-family: 新細明體; mso-ascii-font-family: Calibri; mso-hansi-font-family: Calibri;">歌聲</span><span style="font-family: 新細明體;">設在第九、第十組。剩下的兩台</span><span style="font-family: 新細明體; mso-ascii-font-family: Calibri; mso-hansi-font-family: Calibri;">壓縮器</span><span style="font-family: 新細明體;">會用在戴夫的</span><span style="font-family: 新細明體; mso-ascii-font-family: Calibri; mso-hansi-font-family: Calibri;">歌聲</span><span style="font-family: 新細明體;">和其餘的</span><span style="font-family: 新細明體; mso-ascii-font-family: Calibri; mso-hansi-font-family: Calibri;">歌聲</span><span style="font-family: 新細明體;">。</span><span lang="EN-US" style="font-family: 新細明體; mso-hansi-font-family: Calibri;"><o:p></o:p></span></div>
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<span style="font-family: 新細明體;">近期的巡迴都是用</span><a href="http://www.l-acoustics.com/products-v-dosc-35.html" target="_blank"><span lang="EN-US">Rat-V Dosc</span></a><span style="font-family: 新細明體;">系統。像是一場在丹佛</span><a href="file:///D:/%E7%9B%A7%E7%9B%A7%E7%9A%84%E6%9D%B1%E8%A5%BF/%E7%BF%BB%E8%AD%AF/%E5%B9%BD%E6%B5%AE%E4%B8%80%E6%97%8F.docx#_ftn25" name="_ftnref25" title=""><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: 新細明體; mso-hansi-font-family: Calibri;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-size: 12pt;">[25]</span></span><!--[endif]--></span></span></a><span style="font-family: 新細明體;">的表演(在地方比較小的費理摩禮堂</span><a href="file:///D:/%E7%9B%A7%E7%9B%A7%E7%9A%84%E6%9D%B1%E8%A5%BF/%E7%BF%BB%E8%AD%AF/%E5%B9%BD%E6%B5%AE%E4%B8%80%E6%97%8F.docx#_ftn26" name="_ftnref26" title=""><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: 新細明體; mso-hansi-font-family: Calibri;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-size: 12pt;">[26]</span></span><!--[endif]--></span></span></a><span style="font-family: 新細明體;">),樂團縮編了平常的器材設定。沃森說:「我會拿四支</span><span lang="EN-US">V-Dosc</span><span style="font-family: 新細明體;">跟四支</span><span lang="EN-US">dV-Dosc</span><span style="font-family: 新細明體;">各放一邊,左右各擺六支重低音喇叭,中間放四支重低音。我還會用兩個</span><span lang="EN-US">Rat centerfills</span><span style="font-family: 新細明體;">,分別有兩顆同軸</span><a href="file:///D:/%E7%9B%A7%E7%9B%A7%E7%9A%84%E6%9D%B1%E8%A5%BF/%E7%BF%BB%E8%AD%AF/%E5%B9%BD%E6%B5%AE%E4%B8%80%E6%97%8F.docx#_ftn27" name="_ftnref27" title=""><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: 新細明體; mso-hansi-font-family: Calibri;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-size: 12pt;">[27]</span></span><!--[endif]--></span></span></a><span style="font-family: 新細明體;">十吋、一顆二吋的和一顆一吋的單體在裡面。在一般的體育館</span><a href="file:///D:/%E7%9B%A7%E7%9B%A7%E7%9A%84%E6%9D%B1%E8%A5%BF/%E7%BF%BB%E8%AD%AF/%E5%B9%BD%E6%B5%AE%E4%B8%80%E6%97%8F.docx#_ftn28" name="_ftnref28" title=""><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: 新細明體; mso-hansi-font-family: Calibri;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-size: 12pt;">[28]</span></span><!--[endif]--></span></span></a><span style="font-family: 新細明體;">表演時,我會兩邊各吊上十六顆音響</span><a href="file:///D:/%E7%9B%A7%E7%9B%A7%E7%9A%84%E6%9D%B1%E8%A5%BF/%E7%BF%BB%E8%AD%AF/%E5%B9%BD%E6%B5%AE%E4%B8%80%E6%97%8F.docx#_ftn29" name="_ftnref29" title=""><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: 新細明體; mso-hansi-font-family: Calibri;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-size: 12pt;">[29]</span></span><!--[endif]--></span></span></a><span style="font-family: 新細明體;">:十二顆</span><span lang="EN-US">V-Dosc</span><span style="font-family: 新細明體;">跟<span lang="EN-US">4</span>顆</span><span lang="EN-US">dV-Dosc</span><span style="font-family: 新細明體;">;或一邊各吊上四顆</span><span lang="EN-US">V-Dosc</span><span style="font-family: 新細明體; mso-ascii-font-family: Calibri; mso-bidi-font-family: 新細明體; mso-bidi-font-size: 12.0pt; mso-font-kerning: 0pt; mso-hansi-font-family: Calibri;">和四顆</span><span lang="EN-US">dV-Dosc</span><span style="font-family: 新細明體; mso-ascii-font-family: Calibri; mso-bidi-font-family: 新細明體; mso-bidi-font-size: 12.0pt; mso-font-kerning: 0pt; mso-hansi-font-family: Calibri;">音響,再加上</span><span lang="EN-US">24</span><span style="font-family: 新細明體; mso-ascii-font-family: Calibri; mso-bidi-font-family: 新細明體; mso-bidi-font-size: 12.0pt; mso-font-kerning: 0pt; mso-hansi-font-family: Calibri;">顆重低音;或兩邊各十顆,四顆擺中間;再加上兩顆</span><span lang="EN-US">Rat Centers</span><span style="font-family: 新細明體; mso-ascii-font-family: Calibri; mso-bidi-font-family: 新細明體; mso-bidi-font-size: 12.0pt; mso-font-kerning: 0pt; mso-hansi-font-family: Calibri;">。電源由</span><span lang="EN-US">Crest amps</span><span style="font-family: 新細明體; mso-ascii-font-family: Calibri; mso-bidi-font-family: 新細明體; mso-bidi-font-size: 12.0pt; mso-font-kerning: 0pt; mso-hansi-font-family: Calibri;">供應。我的兩個技術人員,安迪.透納</span><a href="file:///D:/%E7%9B%A7%E7%9B%A7%E7%9A%84%E6%9D%B1%E8%A5%BF/%E7%BF%BB%E8%AD%AF/%E5%B9%BD%E6%B5%AE%E4%B8%80%E6%97%8F.docx#_ftn30" name="_ftnref30" title=""><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: Calibri; mso-bidi-font-family: 新細明體; mso-bidi-font-size: 12.0pt; mso-font-kerning: 0pt;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-size: 12pt;">[30]</span></span><!--[endif]--></span></span></a><span style="font-family: 新細明體; mso-ascii-font-family: Calibri; mso-bidi-font-family: 新細明體; mso-bidi-font-size: 12.0pt; mso-font-kerning: 0pt; mso-hansi-font-family: Calibri;">跟羅茲.瓊斯</span><a href="file:///D:/%E7%9B%A7%E7%9B%A7%E7%9A%84%E6%9D%B1%E8%A5%BF/%E7%BF%BB%E8%AD%AF/%E5%B9%BD%E6%B5%AE%E4%B8%80%E6%97%8F.docx#_ftn31" name="_ftnref31" title=""><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: Calibri; mso-bidi-font-family: 新細明體; mso-bidi-font-size: 12.0pt; mso-font-kerning: 0pt;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-size: 12pt;">[31]</span></span><!--[endif]--></span></span></a><span style="font-family: 新細明體; mso-ascii-font-family: Calibri; mso-bidi-font-family: 新細明體; mso-bidi-font-size: 12.0pt; mso-font-kerning: 0pt; mso-hansi-font-family: Calibri;">會在房間裡走動,並使用</span><span lang="EN-US">Smaart Live</span><span style="font-family: 新細明體; mso-ascii-font-family: Calibri; mso-bidi-font-family: 新細明體; mso-bidi-font-size: 12.0pt; mso-font-kerning: 0pt; mso-hansi-font-family: Calibri;">來調整音場。今晚,我們會用</span><span lang="EN-US">102 dB A-weighted</span><span style="font-family: 新細明體; mso-ascii-font-family: Calibri; mso-bidi-font-family: 新細明體; mso-bidi-font-size: 12.0pt; mso-font-kerning: 0pt; mso-hansi-font-family: Calibri;">來跑外場,控台距離舞台有</span><span lang="EN-US">80</span><span style="font-family: 新細明體; mso-ascii-font-family: Calibri; mso-bidi-font-family: 新細明體; mso-bidi-font-size: 12.0pt; mso-font-kerning: 0pt; mso-hansi-font-family: Calibri;">呎</span><span style="font-family: 新細明體;">」</span><span lang="EN-US" style="font-family: 新細明體; mso-hansi-font-family: Calibri;"><o:p></o:p></span></div>
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<span style="font-family: 新細明體; mso-ascii-font-family: Calibri; mso-bidi-font-family: 新細明體; mso-bidi-font-size: 12.0pt; mso-font-kerning: 0pt; mso-hansi-font-family: Calibri;"><br /></span></div>
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<a href="http://www.ratsound.com/tours/foofighters/foopics/images/DX-21_JPG.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="http://www.ratsound.com/tours/foofighters/foopics/images/DX-21_JPG.jpg" height="133" width="200" /></a><span style="font-family: 新細明體; mso-ascii-font-family: Calibri; mso-bidi-font-family: 新細明體; mso-bidi-font-size: 12.0pt; mso-font-kerning: 0pt; mso-hansi-font-family: Calibri;">內場監聽的任務由伊恩.貝佛瑞吉</span><a href="file:///D:/%E7%9B%A7%E7%9B%A7%E7%9A%84%E6%9D%B1%E8%A5%BF/%E7%BF%BB%E8%AD%AF/%E5%B9%BD%E6%B5%AE%E4%B8%80%E6%97%8F.docx#_ftn32" name="_ftnref32" title=""><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: Calibri; mso-bidi-font-family: 新細明體; mso-bidi-font-size: 12.0pt; mso-font-kerning: 0pt;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-size: 12pt;">[32]</span></span><!--[endif]--></span></span></a><span style="font-family: 新細明體; mso-ascii-font-family: Calibri; mso-bidi-font-family: 新細明體; mso-bidi-font-size: 12.0pt; mso-font-kerning: 0pt; mso-hansi-font-family: Calibri;">負責,他是個道地的蘇格蘭愛丁堡</span><a href="file:///D:/%E7%9B%A7%E7%9B%A7%E7%9A%84%E6%9D%B1%E8%A5%BF/%E7%BF%BB%E8%AD%AF/%E5%B9%BD%E6%B5%AE%E4%B8%80%E6%97%8F.docx#_ftn33" name="_ftnref33" title=""><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: Calibri; mso-bidi-font-family: 新細明體; mso-bidi-font-size: 12.0pt; mso-font-kerning: 0pt;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-size: 12pt;">[33]</span></span><!--[endif]--></span></span></a><span style="font-family: 新細明體; mso-ascii-font-family: Calibri; mso-bidi-font-family: 新細明體; mso-bidi-font-size: 12.0pt; mso-font-kerning: 0pt; mso-hansi-font-family: Calibri;">人。而貝佛瑞吉在搭上幽浮一族之前,曾幫過超脫做監聽工程師</span><a href="file:///D:/%E7%9B%A7%E7%9B%A7%E7%9A%84%E6%9D%B1%E8%A5%BF/%E7%BF%BB%E8%AD%AF/%E5%B9%BD%E6%B5%AE%E4%B8%80%E6%97%8F.docx#_ftn34" name="_ftnref34" title=""><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: Calibri; mso-bidi-font-family: 新細明體; mso-bidi-font-size: 12.0pt; mso-font-kerning: 0pt;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-size: 12pt;">[34]</span></span><!--[endif]--></span></span></a><span style="font-family: 新細明體; mso-ascii-font-family: Calibri; mso-bidi-font-family: 新細明體; mso-bidi-font-size: 12.0pt; mso-font-kerning: 0pt; mso-hansi-font-family: Calibri;">。除了幽浮一族,我還幫年輕歲月</span><a href="file:///D:/%E7%9B%A7%E7%9B%A7%E7%9A%84%E6%9D%B1%E8%A5%BF/%E7%BF%BB%E8%AD%AF/%E5%B9%BD%E6%B5%AE%E4%B8%80%E6%97%8F.docx#_ftn35" name="_ftnref35" title=""><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: Calibri; mso-bidi-font-family: 新細明體; mso-bidi-font-size: 12.0pt; mso-font-kerning: 0pt;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-size: 12pt;">[35]</span></span><!--[endif]--></span></span></a><span style="font-family: 新細明體; mso-ascii-font-family: Calibri; mso-bidi-font-family: 新細明體; mso-bidi-font-size: 12.0pt; mso-font-kerning: 0pt; mso-hansi-font-family: Calibri;">做過內場,等這次的巡迴結束後,我會再跟他們合作,我還幫過貝克</span><a href="file:///D:/%E7%9B%A7%E7%9B%A7%E7%9A%84%E6%9D%B1%E8%A5%BF/%E7%BF%BB%E8%AD%AF/%E5%B9%BD%E6%B5%AE%E4%B8%80%E6%97%8F.docx#_ftn36" name="_ftnref36" title=""><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: Calibri; mso-bidi-font-family: 新細明體; mso-bidi-font-size: 12.0pt; mso-font-kerning: 0pt;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-size: 12pt;">[36]</span></span><!--[endif]--></span></span></a><span style="font-family: 新細明體; mso-ascii-font-family: Calibri; mso-bidi-font-family: 新細明體; mso-bidi-font-size: 12.0pt; mso-font-kerning: 0pt; mso-hansi-font-family: Calibri;">、空洞</span><a href="file:///D:/%E7%9B%A7%E7%9B%A7%E7%9A%84%E6%9D%B1%E8%A5%BF/%E7%BF%BB%E8%AD%AF/%E5%B9%BD%E6%B5%AE%E4%B8%80%E6%97%8F.docx#_ftn37" name="_ftnref37" title=""><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: Calibri; mso-bidi-font-family: 新細明體; mso-bidi-font-size: 12.0pt; mso-font-kerning: 0pt;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-size: 12pt;">[37]</span></span><!--[endif]--></span></span></a><span style="font-family: 新細明體; mso-ascii-font-family: Calibri; mso-bidi-font-family: 新細明體; mso-bidi-font-size: 12.0pt; mso-font-kerning: 0pt; mso-hansi-font-family: Calibri;">、狂街傳教士</span><a href="file:///D:/%E7%9B%A7%E7%9B%A7%E7%9A%84%E6%9D%B1%E8%A5%BF/%E7%BF%BB%E8%AD%AF/%E5%B9%BD%E6%B5%AE%E4%B8%80%E6%97%8F.docx#_ftn38" name="_ftnref38" title=""><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: Calibri; mso-bidi-font-family: 新細明體; mso-bidi-font-size: 12.0pt; mso-font-kerning: 0pt;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-size: 12pt;">[38]</span></span><!--[endif]--></span></span></a><span style="font-family: 新細明體; mso-ascii-font-family: Calibri; mso-bidi-font-family: 新細明體; mso-bidi-font-size: 12.0pt; mso-font-kerning: 0pt; mso-hansi-font-family: Calibri;">、檸檬頭</span><a href="file:///D:/%E7%9B%A7%E7%9B%A7%E7%9A%84%E6%9D%B1%E8%A5%BF/%E7%BF%BB%E8%AD%AF/%E5%B9%BD%E6%B5%AE%E4%B8%80%E6%97%8F.docx#_ftn39" name="_ftnref39" title=""><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: Calibri; mso-bidi-font-family: 新細明體; mso-bidi-font-size: 12.0pt; mso-font-kerning: 0pt;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-size: 12pt;">[39]</span></span><!--[endif]--></span></span></a><span style="font-family: 新細明體; mso-ascii-font-family: Calibri; mso-bidi-font-family: 新細明體; mso-bidi-font-size: 12.0pt; mso-font-kerning: 0pt; mso-hansi-font-family: Calibri;">,跟其他一大堆的獨立樂團。</span><span lang="EN-US"><o:p></o:p></span></div>
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<span style="font-family: 新細明體; mso-ascii-font-family: Calibri; mso-bidi-font-family: 新細明體; mso-bidi-font-size: 12.0pt; mso-font-kerning: 0pt; mso-hansi-font-family: Calibri;"><br /></span></div>
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<span style="font-family: 新細明體; mso-ascii-font-family: Calibri; mso-bidi-font-family: 新細明體; mso-bidi-font-size: 12.0pt; mso-font-kerning: 0pt; mso-hansi-font-family: Calibri;">貝佛瑞吉使用</span><a href="http://www.yamahaproaudio.com/global/en/products/mixers/pm5d/index.jsp" target="_blank"><span lang="EN-US">Yamaha PM1D</span></a><span style="font-family: 新細明體; mso-ascii-font-family: Calibri; mso-bidi-font-family: 新細明體; mso-bidi-font-size: 12.0pt; mso-font-kerning: 0pt; mso-hansi-font-family: Calibri;">數位混音座來混音。他說:「這是我第一次在巡迴上使用它,它的功效相當好。因為它有編寫和儲存的功能,所以你可以用一台機器幫三個樂團做混音,這節省了很多舞台上的空間。你要做的只是叫出樂團的混音設定存檔。我們正在用這台機器幫幽浮一族做混音,當然也包括開場樂團彼特.永恩</span><a href="file:///D:/%E7%9B%A7%E7%9B%A7%E7%9A%84%E6%9D%B1%E8%A5%BF/%E7%BF%BB%E8%AD%AF/%E5%B9%BD%E6%B5%AE%E4%B8%80%E6%97%8F.docx#_ftn40" name="_ftnref40" title=""><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: Calibri; mso-bidi-font-family: 新細明體; mso-bidi-font-size: 12.0pt; mso-font-kerning: 0pt;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-size: 12pt;">[40]</span></span><!--[endif]--></span></span></a><span style="font-family: 新細明體; mso-ascii-font-family: Calibri; mso-bidi-font-family: 新細明體; mso-bidi-font-size: 12.0pt; mso-font-kerning: 0pt; mso-hansi-font-family: Calibri;">和特別善良</span><a href="file:///D:/%E7%9B%A7%E7%9B%A7%E7%9A%84%E6%9D%B1%E8%A5%BF/%E7%BF%BB%E8%AD%AF/%E5%B9%BD%E6%B5%AE%E4%B8%80%E6%97%8F.docx#_ftn41" name="_ftnref41" title=""><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: Calibri; mso-bidi-font-family: 新細明體; mso-bidi-font-size: 12.0pt; mso-font-kerning: 0pt;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-size: 12pt;">[41]</span></span><!--[endif]--></span></span></a><span style="font-family: 新細明體; mso-ascii-font-family: Calibri; mso-bidi-font-family: 新細明體; mso-bidi-font-size: 12.0pt; mso-font-kerning: 0pt; mso-hansi-font-family: Calibri;">,它的聲音棒極了!</span><span lang="EN-US">Yamaha</span><span style="font-family: 新細明體; mso-ascii-font-family: Calibri; mso-bidi-font-family: 新細明體; mso-bidi-font-size: 12.0pt; mso-font-kerning: 0pt; mso-hansi-font-family: Calibri;">有一套教育訓練你應該要看一下,我先前在家就把軟體載下來玩一玩。它有一拖拉庫的功能。像我通常可能會用十六段圖形式等化器</span><a href="file:///D:/%E7%9B%A7%E7%9B%A7%E7%9A%84%E6%9D%B1%E8%A5%BF/%E7%BF%BB%E8%AD%AF/%E5%B9%BD%E6%B5%AE%E4%B8%80%E6%97%8F.docx#_ftn42" name="_ftnref42" title=""><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: Calibri; mso-bidi-font-family: 新細明體; mso-bidi-font-size: 12.0pt; mso-font-kerning: 0pt;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-size: 12pt;">[42]</span></span><!--[endif]--></span></span></a><span style="font-family: 新細明體; mso-ascii-font-family: Calibri; mso-bidi-font-family: 新細明體; mso-bidi-font-size: 12.0pt; mso-font-kerning: 0pt; mso-hansi-font-family: Calibri;">跟一堆效果器;但這台機器裡面什麼東西全都有了,舞台上只要擺好混音座跟音箱</span><a href="file:///D:/%E7%9B%A7%E7%9B%A7%E7%9A%84%E6%9D%B1%E8%A5%BF/%E7%BF%BB%E8%AD%AF/%E5%B9%BD%E6%B5%AE%E4%B8%80%E6%97%8F.docx#_ftn43" name="_ftnref43" title=""><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: Calibri; mso-bidi-font-family: 新細明體; mso-bidi-font-size: 12.0pt; mso-font-kerning: 0pt;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-size: 12pt;">[43]</span></span><!--[endif]--></span></span></a><span style="font-family: 新細明體; mso-ascii-font-family: Calibri; mso-bidi-font-family: 新細明體; mso-bidi-font-size: 12.0pt; mso-font-kerning: 0pt; mso-hansi-font-family: Calibri;">就搞定了。沒有太多惱人的線路連接,你只要把機器推上台,打開電源。混音作業區只要區區二十分鐘就解決了。每一音軌都附有噪音門、壓縮器、六段參數式等化器</span><a href="file:///D:/%E7%9B%A7%E7%9B%A7%E7%9A%84%E6%9D%B1%E8%A5%BF/%E7%BF%BB%E8%AD%AF/%E5%B9%BD%E6%B5%AE%E4%B8%80%E6%97%8F.docx#_ftn44" name="_ftnref44" title=""><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: Calibri; mso-bidi-font-family: 新細明體; mso-bidi-font-size: 12.0pt; mso-font-kerning: 0pt;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-size: 12pt;">[44]</span></span><!--[endif]--></span></span></a><span style="font-family: 新細明體; mso-ascii-font-family: Calibri; mso-bidi-font-family: 新細明體; mso-bidi-font-size: 12.0pt; mso-font-kerning: 0pt; mso-hansi-font-family: Calibri;">、濾波器</span><a href="file:///D:/%E7%9B%A7%E7%9B%A7%E7%9A%84%E6%9D%B1%E8%A5%BF/%E7%BF%BB%E8%AD%AF/%E5%B9%BD%E6%B5%AE%E4%B8%80%E6%97%8F.docx#_ftn45" name="_ftnref45" title=""><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: Calibri; mso-bidi-font-family: 新細明體; mso-bidi-font-size: 12.0pt; mso-font-kerning: 0pt;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-size: 12pt;">[45]</span></span><!--[endif]--></span></span></a><span style="font-family: 新細明體; mso-ascii-font-family: Calibri; mso-bidi-font-family: 新細明體; mso-bidi-font-size: 12.0pt; mso-font-kerning: 0pt; mso-hansi-font-family: Calibri;">,還有圖形式等化器。我們幫泰勒跟奈特做的耳內監聽</span><a href="file:///D:/%E7%9B%A7%E7%9B%A7%E7%9A%84%E6%9D%B1%E8%A5%BF/%E7%BF%BB%E8%AD%AF/%E5%B9%BD%E6%B5%AE%E4%B8%80%E6%97%8F.docx#_ftn46" name="_ftnref46" title=""><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: Calibri; mso-bidi-font-family: 新細明體; mso-bidi-font-size: 12.0pt; mso-font-kerning: 0pt;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-size: 12pt;">[46]</span></span><!--[endif]--></span></span></a><span style="font-family: 新細明體; mso-ascii-font-family: Calibri; mso-bidi-font-family: 新細明體; mso-bidi-font-size: 12.0pt; mso-font-kerning: 0pt; mso-hansi-font-family: Calibri;">就是用這台做的。也許有些人會說它聽起來太數位,但它只是台工具:你想要它聽起來怎樣,那它就是怎樣。」</span><span lang="EN-US"><o:p></o:p></span></div>
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<span style="font-family: 新細明體; mso-ascii-font-family: Calibri; mso-bidi-font-family: 新細明體; mso-bidi-font-size: 12.0pt; mso-font-kerning: 0pt; mso-hansi-font-family: Calibri;">貝佛瑞吉解釋他給泰勒還有奈特的耳機監聽混音:「奈特有一顆三音路</span><a href="file:///D:/%E7%9B%A7%E7%9B%A7%E7%9A%84%E6%9D%B1%E8%A5%BF/%E7%BF%BB%E8%AD%AF/%E5%B9%BD%E6%B5%AE%E4%B8%80%E6%97%8F.docx#_ftn47" name="_ftnref47" title=""><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: Calibri; mso-bidi-font-family: 新細明體; mso-bidi-font-size: 12.0pt; mso-font-kerning: 0pt;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-size: 12pt;">[47]</span></span><!--[endif]--></span></span></a><span style="font-family: 新細明體; mso-ascii-font-family: Calibri; mso-bidi-font-family: 新細明體; mso-bidi-font-size: 12.0pt; mso-font-kerning: 0pt; mso-hansi-font-family: Calibri;">的監聽喇叭</span><a href="file:///D:/%E7%9B%A7%E7%9B%A7%E7%9A%84%E6%9D%B1%E8%A5%BF/%E7%BF%BB%E8%AD%AF/%E5%B9%BD%E6%B5%AE%E4%B8%80%E6%97%8F.docx#_ftn48" name="_ftnref48" title=""><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: Calibri; mso-bidi-font-family: 新細明體; mso-bidi-font-size: 12.0pt; mso-font-kerning: 0pt;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-size: 12pt;">[48]</span></span><!--[endif]--></span></span></a><span style="font-family: 新細明體; mso-ascii-font-family: Calibri; mso-bidi-font-family: 新細明體; mso-bidi-font-size: 12.0pt; mso-font-kerning: 0pt; mso-hansi-font-family: Calibri;">,但那只是備用的,為了任何可能狀況發生的時候用的到;他還有一組立體聲的混音送到他的耳機監聽,泰勒也有同樣的訊號送在他的耳機監聽裡。我們使用</span><a href="http://www.shure.com/americas/products/personal-monitor-systems" target="_blank"><span lang="EN-US">Shure 700</span></a><span style="font-family: 新細明體; mso-ascii-font-family: Calibri; mso-bidi-font-family: 新細明體; mso-bidi-font-size: 12.0pt; mso-font-kerning: 0pt; mso-hansi-font-family: Calibri;">系列的發送器</span><a href="file:///D:/%E7%9B%A7%E7%9B%A7%E7%9A%84%E6%9D%B1%E8%A5%BF/%E7%BF%BB%E8%AD%AF/%E5%B9%BD%E6%B5%AE%E4%B8%80%E6%97%8F.docx#_ftn49" name="_ftnref49" title=""><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: Calibri; mso-bidi-font-family: 新細明體; mso-bidi-font-size: 12.0pt; mso-font-kerning: 0pt;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-size: 12pt;">[49]</span></span><!--[endif]--></span></span></a><span style="font-family: 新細明體; mso-ascii-font-family: Calibri; mso-bidi-font-family: 新細明體; mso-bidi-font-size: 12.0pt; mso-font-kerning: 0pt; mso-hansi-font-family: Calibri;">和接收器</span><a href="file:///D:/%E7%9B%A7%E7%9B%A7%E7%9A%84%E6%9D%B1%E8%A5%BF/%E7%BF%BB%E8%AD%AF/%E5%B9%BD%E6%B5%AE%E4%B8%80%E6%97%8F.docx#_ftn50" name="_ftnref50" title=""><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: Calibri; mso-bidi-font-family: 新細明體; mso-bidi-font-size: 12.0pt; mso-font-kerning: 0pt;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-size: 12pt;">[50]</span></span><!--[endif]--></span></span></a><span style="font-family: 新細明體; mso-ascii-font-family: Calibri; mso-bidi-font-family: 新細明體; mso-bidi-font-size: 12.0pt; mso-font-kerning: 0pt; mso-hansi-font-family: Calibri;">。在鼓椅上,我有裝上兩組</span><span lang="EN-US">Tactile Audio Thumper</span><span style="font-family: 新細明體; mso-ascii-font-family: Calibri; mso-bidi-font-family: 新細明體; mso-bidi-font-size: 12.0pt; mso-font-kerning: 0pt; mso-hansi-font-family: Calibri;">跟一個</span><a href="http://www.thebuttkicker.com/musicians/products/bk_concert.htm" target="_blank"><span lang="EN-US">ButtKicker 2</span></a><span style="font-family: 新細明體; mso-ascii-font-family: Calibri; mso-bidi-font-family: 新細明體; mso-bidi-font-size: 12.0pt; mso-font-kerning: 0pt; mso-hansi-font-family: Calibri;">。」</span><span lang="EN-US"><o:p></o:p></span></div>
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<object class="BLOGGER-youtube-video" classid="clsid:D27CDB6E-AE6D-11cf-96B8-444553540000" codebase="http://download.macromedia.com/pub/shockwave/cabs/flash/swflash.cab#version=6,0,40,0" data-thumbnail-src="http://3.gvt0.com/vi/OO-e8_-bMv8/0.jpg" height="266" style="clear: right; float: right;" width="320"><param name="movie" value="http://www.youtube.com/v/OO-e8_-bMv8&fs=1&source=uds" /><param name="bgcolor" value="#FFFFFF" /><param name="allowFullScreen" value="true" /><embed width="320" height="266" src="http://www.youtube.com/v/OO-e8_-bMv8&fs=1&source=uds" type="application/x-shockwave-flash" allowfullscreen="true"></embed></object><span style="font-family: 新細明體; mso-ascii-font-family: Calibri; mso-bidi-font-family: 新細明體; mso-bidi-font-size: 12.0pt; mso-font-kerning: 0pt; mso-hansi-font-family: Calibri;">葛羅跟薛夫雷特有一大堆的監聽喇叭,有的是送樂器用的,而有的是送歌聲的。我們使用</span><span lang="EN-US">Rat</span><span style="font-family: 新細明體; mso-ascii-font-family: Calibri; mso-bidi-font-family: 新細明體; mso-bidi-font-size: 12.0pt; mso-font-kerning: 0pt; mso-hansi-font-family: Calibri;">的三音路監聽喇叭,用來送樂器真的很棒。但我不覺得它送歌聲也一樣的好,所以我們再給戴夫一套單聲道的監聽系統,一共兩個監聽喇叭,分別各有兩顆十五吋、一顆十吋,跟一顆二吋的單體在裡面。給克里斯也是一樣的監聽喇叭,但只有一顆。而送歌聲的監聽放在外圈,他們兩個都有兩顆二音路</span><a href="file:///D:/%E7%9B%A7%E7%9B%A7%E7%9A%84%E6%9D%B1%E8%A5%BF/%E7%BF%BB%E8%AD%AF/%E5%B9%BD%E6%B5%AE%E4%B8%80%E6%97%8F.docx#_ftn51" name="_ftnref51" title=""><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: Calibri; mso-bidi-font-family: 新細明體; mso-bidi-font-size: 12.0pt; mso-font-kerning: 0pt;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-size: 12pt;">[51]</span></span><!--[endif]--></span></span></a><span style="font-family: 新細明體; mso-ascii-font-family: Calibri; mso-bidi-font-family: 新細明體; mso-bidi-font-size: 12.0pt; mso-font-kerning: 0pt; mso-hansi-font-family: Calibri;">的監聽喇叭,有一個十五寸和一個裝上</span><span lang="EN-US">Radian</span><span style="font-family: 新細明體; mso-ascii-font-family: Calibri; mso-bidi-font-family: 新細明體; mso-bidi-font-size: 12.0pt; mso-font-kerning: 0pt; mso-hansi-font-family: Calibri;">鼓膜</span><a href="file:///D:/%E7%9B%A7%E7%9B%A7%E7%9A%84%E6%9D%B1%E8%A5%BF/%E7%BF%BB%E8%AD%AF/%E5%B9%BD%E6%B5%AE%E4%B8%80%E6%97%8F.docx#_ftn52" name="_ftnref52" title=""><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: Calibri; mso-bidi-font-family: 新細明體; mso-bidi-font-size: 12.0pt; mso-font-kerning: 0pt;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-size: 12pt;">[52]</span></span><!--[endif]--></span></span></a><span style="font-family: 新細明體; mso-ascii-font-family: Calibri; mso-bidi-font-family: 新細明體; mso-bidi-font-size: 12.0pt; mso-font-kerning: 0pt; mso-hansi-font-family: Calibri;">的</span><span lang="EN-US">TAD </span><span style="font-family: 新細明體; mso-ascii-font-family: Calibri; mso-bidi-font-family: 新細明體; mso-bidi-font-size: 12.0pt; mso-font-kerning: 0pt; mso-hansi-font-family: Calibri;">二吋制動器</span><a href="file:///D:/%E7%9B%A7%E7%9B%A7%E7%9A%84%E6%9D%B1%E8%A5%BF/%E7%BF%BB%E8%AD%AF/%E5%B9%BD%E6%B5%AE%E4%B8%80%E6%97%8F.docx#_ftn53" name="_ftnref53" title=""><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: Calibri; mso-bidi-font-family: 新細明體; mso-bidi-font-size: 12.0pt; mso-font-kerning: 0pt;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-size: 12pt;">[53]</span></span><!--[endif]--></span></span></a><span style="font-family: 新細明體; mso-ascii-font-family: Calibri; mso-bidi-font-family: 新細明體; mso-bidi-font-size: 12.0pt; mso-font-kerning: 0pt; mso-hansi-font-family: Calibri;">,我覺得</span><span lang="EN-US">Radian</span><span style="font-family: 新細明體; mso-ascii-font-family: Calibri; mso-bidi-font-family: 新細明體; mso-bidi-font-size: 12.0pt; mso-font-kerning: 0pt; mso-hansi-font-family: Calibri;">在放送歌聲上,聽起來比</span><span lang="EN-US">TAD</span><span style="font-family: 新細明體; mso-ascii-font-family: Calibri; mso-bidi-font-family: 新細明體; mso-bidi-font-size: 12.0pt; mso-font-kerning: 0pt; mso-hansi-font-family: Calibri;">來的好。側面補償監聽</span><a href="file:///D:/%E7%9B%A7%E7%9B%A7%E7%9A%84%E6%9D%B1%E8%A5%BF/%E7%BF%BB%E8%AD%AF/%E5%B9%BD%E6%B5%AE%E4%B8%80%E6%97%8F.docx#_ftn54" name="_ftnref54" title=""><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: Calibri; mso-bidi-font-family: 新細明體; mso-bidi-font-size: 12.0pt; mso-font-kerning: 0pt;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-size: 12pt;">[54]</span></span><!--[endif]--></span></span></a><span style="font-family: 新細明體; mso-ascii-font-family: Calibri; mso-bidi-font-family: 新細明體; mso-bidi-font-size: 12.0pt; mso-font-kerning: 0pt; mso-hansi-font-family: Calibri;">是</span><span lang="EN-US">Rat Trap boxes</span><span style="font-family: 新細明體; mso-ascii-font-family: Calibri; mso-bidi-font-family: 新細明體; mso-bidi-font-size: 12.0pt; mso-font-kerning: 0pt; mso-hansi-font-family: Calibri;">,兩邊各有一組高音和兩顆重低音;重低音是十八吋的</span><span lang="EN-US">P.A.</span><span style="font-family: 新細明體; mso-ascii-font-family: Calibri; mso-bidi-font-family: 新細明體; mso-bidi-font-size: 12.0pt; mso-font-kerning: 0pt; mso-hansi-font-family: Calibri;">用重低音喇叭,而所有的分音器</span><a href="file:///D:/%E7%9B%A7%E7%9B%A7%E7%9A%84%E6%9D%B1%E8%A5%BF/%E7%BF%BB%E8%AD%AF/%E5%B9%BD%E6%B5%AE%E4%B8%80%E6%97%8F.docx#_ftn55" name="_ftnref55" title=""><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: Calibri; mso-bidi-font-family: 新細明體; mso-bidi-font-size: 12.0pt; mso-font-kerning: 0pt;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-size: 12pt;">[55]</span></span><!--[endif]--></span></span></a><span style="font-family: 新細明體; mso-ascii-font-family: Calibri; mso-bidi-font-family: 新細明體; mso-bidi-font-size: 12.0pt; mso-font-kerning: 0pt; mso-hansi-font-family: Calibri;">都是</span><span lang="EN-US">BSS</span><span style="font-family: 新細明體; mso-ascii-font-family: Calibri; mso-bidi-font-family: 新細明體; mso-bidi-font-size: 12.0pt; mso-font-kerning: 0pt; mso-hansi-font-family: Calibri;">的。</span><span lang="EN-US"><o:p></o:p></span></div>
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<span style="font-family: 新細明體; mso-ascii-font-family: Calibri; mso-bidi-font-family: 新細明體; mso-bidi-font-size: 12.0pt; mso-font-kerning: 0pt; mso-hansi-font-family: Calibri;"><br /></span></div>
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<span style="font-family: 新細明體; mso-ascii-font-family: Calibri; mso-bidi-font-family: 新細明體; mso-bidi-font-size: 12.0pt; mso-font-kerning: 0pt; mso-hansi-font-family: Calibri;">貝佛瑞吉再更詳細地解釋他的混音作法:「泰勒的耳機監聽裡,送有外場的立體聲訊號。中鼓跟落地鼓</span><a href="file:///D:/%E7%9B%A7%E7%9B%A7%E7%9A%84%E6%9D%B1%E8%A5%BF/%E7%BF%BB%E8%AD%AF/%E5%B9%BD%E6%B5%AE%E4%B8%80%E6%97%8F.docx#_ftn56" name="_ftnref56" title=""><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: Calibri; mso-bidi-font-family: 新細明體; mso-bidi-font-size: 12.0pt; mso-font-kerning: 0pt;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-size: 12pt;">[56]</span></span><!--[endif]--></span></span></a><span style="font-family: 新細明體; mso-ascii-font-family: Calibri; mso-bidi-font-family: 新細明體; mso-bidi-font-size: 12.0pt; mso-font-kerning: 0pt; mso-hansi-font-family: Calibri;">分別</span><span lang="EN-US">pan</span><span style="font-family: 新細明體; mso-ascii-font-family: Calibri; mso-bidi-font-family: 新細明體; mso-bidi-font-size: 12.0pt; mso-font-kerning: 0pt; mso-hansi-font-family: Calibri;">在左右兩邊,所有的訊號都像外場的訊號一樣有經壓縮和噪音門的作用。戴夫的吉他放在中間,克里斯的吉他就</span><span lang="EN-US">pan</span><span style="font-family: 新細明體; mso-ascii-font-family: Calibri; mso-bidi-font-family: 新細明體; mso-bidi-font-size: 12.0pt; mso-font-kerning: 0pt; mso-hansi-font-family: Calibri;">在泰勒所看到他的位置:舞台的右方。因為在舞台上,奈特就在泰勒旁邊,所以貝斯送給他的訊號只送了一點點。有用上兩組</span><span lang="EN-US">reverb</span><span style="font-family: 新細明體; mso-ascii-font-family: Calibri; mso-bidi-font-family: 新細明體; mso-bidi-font-size: 12.0pt; mso-font-kerning: 0pt; mso-hansi-font-family: Calibri;">,一組是</span><span lang="EN-US">snare and hall reverb</span><span style="font-family: 新細明體; mso-ascii-font-family: Calibri; mso-bidi-font-family: 新細明體; mso-bidi-font-size: 12.0pt; mso-font-kerning: 0pt; mso-hansi-font-family: Calibri;">,一組是</span><span lang="EN-US">gated reverb</span><span style="font-family: 新細明體; mso-ascii-font-family: Calibri; mso-bidi-font-family: 新細明體; mso-bidi-font-size: 12.0pt; mso-font-kerning: 0pt; mso-hansi-font-family: Calibri;">,是一個比較緊繃的混音</span><a href="file:///D:/%E7%9B%A7%E7%9B%A7%E7%9A%84%E6%9D%B1%E8%A5%BF/%E7%BF%BB%E8%AD%AF/%E5%B9%BD%E6%B5%AE%E4%B8%80%E6%97%8F.docx#_ftn57" name="_ftnref57" title=""><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: Calibri; mso-bidi-font-family: 新細明體; mso-bidi-font-size: 12.0pt; mso-font-kerning: 0pt;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-size: 12pt;">[57]</span></span><!--[endif]--></span></span></a><span style="font-family: 新細明體; mso-ascii-font-family: Calibri; mso-bidi-font-family: 新細明體; mso-bidi-font-size: 12.0pt; mso-font-kerning: 0pt; mso-hansi-font-family: Calibri;">。把它錄下來的話會聽起來相當不錯。送給奈特的混音幾乎是一模一樣,只除了給他的吉他訊號分別</span><span lang="EN-US">pan</span><span style="font-family: 新細明體; mso-ascii-font-family: Calibri; mso-bidi-font-family: 新細明體; mso-bidi-font-size: 12.0pt; mso-font-kerning: 0pt; mso-hansi-font-family: Calibri;">到極左和極右</span><a href="file:///D:/%E7%9B%A7%E7%9B%A7%E7%9A%84%E6%9D%B1%E8%A5%BF/%E7%BF%BB%E8%AD%AF/%E5%B9%BD%E6%B5%AE%E4%B8%80%E6%97%8F.docx#_ftn58" name="_ftnref58" title=""><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: Calibri; mso-bidi-font-family: 新細明體; mso-bidi-font-size: 12.0pt; mso-font-kerning: 0pt;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-size: 12pt;">[58]</span></span><!--[endif]--></span></span></a><span style="font-family: 新細明體; mso-ascii-font-family: Calibri; mso-bidi-font-family: 新細明體; mso-bidi-font-size: 12.0pt; mso-font-kerning: 0pt; mso-hansi-font-family: Calibri;">。這樣一來他的貝斯訊號才能在吉他聲中間凸顯出來。」</span><span lang="EN-US"><o:p></o:p></span></div>
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<span style="font-family: 新細明體; mso-ascii-font-family: Calibri; mso-bidi-font-family: 新細明體; mso-bidi-font-size: 12.0pt; mso-font-kerning: 0pt; mso-hansi-font-family: Calibri;"><br /></span></div>
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<span style="font-family: 新細明體; mso-ascii-font-family: Calibri; mso-bidi-font-family: 新細明體; mso-bidi-font-size: 12.0pt; mso-font-kerning: 0pt; mso-hansi-font-family: Calibri;">因為曼多和霍金斯都有耳機監聽和監聽喇叭,貝佛瑞吉使用不同的訊號傳送方法。有從不同麥克風收音的兩軌大鼓麥克風訊號。與其去混合兩軌的訊號,我一軌送到耳機監聽,另一軌送到監聽喇叭;這樣一來,我可以根據不同的需求去調</span><span lang="EN-US">EQ</span><span style="font-family: 新細明體; mso-ascii-font-family: Calibri; mso-bidi-font-family: 新細明體; mso-bidi-font-size: 12.0pt; mso-font-kerning: 0pt; mso-hansi-font-family: Calibri;">。對吉他音軌我也是這麼做的;一軌送耳機,一軌送喇叭。為了音樂的前後一致;通常來說,我會把壓縮器擺在輸入端之前,如果音量有什麼變動的話,會先打到壓縮器進而壓縮的多一點。如果吉他技師把音量調高了,它可以阻止音量在我們耳機裡的變動。在戴夫的三音路監聽喇叭裡,有樂團的完整混音。他的歌聲被分做兩軌:一軌經過壓縮,一軌無壓縮。壓縮過的那軌送進耳機監聽還有側面補償監聽,所以克里斯不會被戴夫的歌聲給弄耳聾了。沒有壓縮的那軌送進二音路監聽。克里斯的監聽混音幾乎跟戴夫的一樣,他只有一顆送樂器的監聽喇叭,是因為他離側面補償監聽很近;因此,我可以去</span><span lang="EN-US">EQ</span><span style="font-family: 新細明體; mso-ascii-font-family: Calibri; mso-bidi-font-family: 新細明體; mso-bidi-font-size: 12.0pt; mso-font-kerning: 0pt; mso-hansi-font-family: Calibri;">吉他,並拿掉監聽喇叭裡的許多高音</span><a href="file:///D:/%E7%9B%A7%E7%9B%A7%E7%9A%84%E6%9D%B1%E8%A5%BF/%E7%BF%BB%E8%AD%AF/%E5%B9%BD%E6%B5%AE%E4%B8%80%E6%97%8F.docx#_ftn59" name="_ftnref59" title=""><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: Calibri; mso-bidi-font-family: 新細明體; mso-bidi-font-size: 12.0pt; mso-font-kerning: 0pt;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-size: 12pt;">[59]</span></span><!--[endif]--></span></span></a><span style="font-family: 新細明體; mso-ascii-font-family: Calibri; mso-bidi-font-family: 新細明體; mso-bidi-font-size: 12.0pt; mso-font-kerning: 0pt; mso-hansi-font-family: Calibri;">。送給克里斯的混音裡,有一些貝斯跟吉他,還有很多的鼓聲。側面補償監聽基本上有送鼓聲,戴夫的吉他和他的歌聲。克里斯那側的側面補償監聽會大聲些,因為他的吉他音量很大;他的吉他音箱和監聽喇叭裡都有他的吉他訊號,因為側面補償監聽的關係,他可以決定要不要送戴夫的吉他到他前方的監聽裡。</span><span lang="EN-US"><o:p></o:p></span></div>
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<b><span lang="EN-US">Select Mic List</span></b><span lang="EN-US"> <b>DRUMS:</b> <o:p></o:p></span></h4>
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<b><span lang="EN-US">Kick:</span></b><span lang="EN-US"> Audix D6, Audio-Technica 2-channel<o:p></o:p></span></div>
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<b><span lang="EN-US">Snare:</span></b><span lang="EN-US"> Shure KSM137 (top), Shure SM57 (bottom)<o:p></o:p></span></div>
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<b><span lang="EN-US">Hi-Hat:</span></b><span lang="EN-US"> Shure KSM137<o:p></o:p></span></div>
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<b><span lang="EN-US">Racks:</span></b><span lang="EN-US"> Shure SM98<o:p></o:p></span></div>
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<b><span lang="EN-US">Roto tom/wood block:</span></b><span lang="EN-US"> Shure SM57<o:p></o:p></span></div>
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<b><span lang="EN-US">Cymbals:</span></b><span lang="EN-US"> Shure KSM32 (right, overhead)<o:p></o:p></span></div>
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<b><span lang="EN-US">BASS:</span></b><span lang="EN-US"> Two Avalon DIs (one pre and one post)<o:p></o:p></span></div>
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<b><span lang="EN-US">GUITAR:</span></b><span lang="EN-US"> Mesa Boogie cabinets, Shure KSM32 and SM57<o:p></o:p></span></div>
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<b><span lang="EN-US">VOCAL:</span></b><span lang="EN-US"> Audio-Technica 4100s<o:p></o:p></span></div>
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<span style="color: #666666; font-size: x-small;"><span style="font-family: 新細明體; mso-ascii-font-family: Calibri; mso-hansi-font-family: Calibri;">本文出自</span><span lang="EN-US">Mix magazine </span></span></div>
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<span lang="EN-US" style="color: #666666; font-size: x-small;">Aug 1, 2003 12:00 PM, By Candace Horgan</span></div>
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<span lang="EN-US" style="color: #666666; font-size: x-small;">http://mixonline.com/livesound/tours/audio_foo_fighters/</span></div>
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<span style="color: #666666; font-size: x-small;"><a href="file:///D:/%E7%9B%A7%E7%9B%A7%E7%9A%84%E6%9D%B1%E8%A5%BF/%E7%BF%BB%E8%AD%AF/%E5%B9%BD%E6%B5%AE%E4%B8%80%E6%97%8F.docx#_ftnref1" name="_ftn1" title=""><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: Calibri;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US">[1]</span></span><!--[endif]--></span></span></a><span lang="EN-US"> Foo Fighters</span></span></div>
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<div class="MsoFootnoteText">
<span style="color: #666666; font-size: x-small;"><a href="file:///D:/%E7%9B%A7%E7%9B%A7%E7%9A%84%E6%9D%B1%E8%A5%BF/%E7%BF%BB%E8%AD%AF/%E5%B9%BD%E6%B5%AE%E4%B8%80%E6%97%8F.docx#_ftnref2" name="_ftn2" title=""><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: Calibri;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US">[2]</span></span><!--[endif]--></span></span></a><span lang="EN-US"> Grammy Awards</span></span></div>
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<div id="ftn3">
<div class="MsoFootnoteText">
<span style="color: #666666; font-size: x-small;"><a href="file:///D:/%E7%9B%A7%E7%9B%A7%E7%9A%84%E6%9D%B1%E8%A5%BF/%E7%BF%BB%E8%AD%AF/%E5%B9%BD%E6%B5%AE%E4%B8%80%E6%97%8F.docx#_ftnref3" name="_ftn3" title=""><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: Calibri;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US">[3]</span></span><!--[endif]--></span></span></a><span lang="EN-US"> Dave Grohl</span></span></div>
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<div class="MsoFootnoteText">
<span style="color: #666666; font-size: x-small;"><a href="file:///D:/%E7%9B%A7%E7%9B%A7%E7%9A%84%E6%9D%B1%E8%A5%BF/%E7%BF%BB%E8%AD%AF/%E5%B9%BD%E6%B5%AE%E4%B8%80%E6%97%8F.docx#_ftnref4" name="_ftn4" title=""><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: Calibri;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US">[4]</span></span><!--[endif]--></span></span></a><span lang="EN-US"> There is Nothing Left to Lose</span></span></div>
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<div id="ftn5">
<div class="MsoFootnoteText">
<span style="color: #666666; font-size: x-small;"><a href="file:///D:/%E7%9B%A7%E7%9B%A7%E7%9A%84%E6%9D%B1%E8%A5%BF/%E7%BF%BB%E8%AD%AF/%E5%B9%BD%E6%B5%AE%E4%B8%80%E6%97%8F.docx#_ftnref5" name="_ftn5" title=""><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: Calibri;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US">[5]</span></span><!--[endif]--></span></span></a><span lang="EN-US"> Nirvana</span></span></div>
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<span style="color: #666666; font-size: x-small;"><a href="file:///D:/%E7%9B%A7%E7%9B%A7%E7%9A%84%E6%9D%B1%E8%A5%BF/%E7%BF%BB%E8%AD%AF/%E5%B9%BD%E6%B5%AE%E4%B8%80%E6%97%8F.docx#_ftnref6" name="_ftn6" title=""><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: Calibri;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US">[6]</span></span><!--[endif]--></span></span></a><span lang="EN-US"> MTV Unplugged in New York</span></span></div>
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<div id="ftn7">
<div class="MsoFootnoteText">
<span style="color: #666666; font-size: x-small;"><a href="file:///D:/%E7%9B%A7%E7%9B%A7%E7%9A%84%E6%9D%B1%E8%A5%BF/%E7%BF%BB%E8%AD%AF/%E5%B9%BD%E6%B5%AE%E4%B8%80%E6%97%8F.docx#_ftnref7" name="_ftn7" title=""><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: Calibri;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US">[7]</span></span><!--[endif]--></span></span></a><span lang="EN-US"> Chris Shiflett</span></span></div>
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<div id="ftn8">
<div class="MsoFootnoteText">
<span style="color: #666666; font-size: x-small;"><a href="file:///D:/%E7%9B%A7%E7%9B%A7%E7%9A%84%E6%9D%B1%E8%A5%BF/%E7%BF%BB%E8%AD%AF/%E5%B9%BD%E6%B5%AE%E4%B8%80%E6%97%8F.docx#_ftnref8" name="_ftn8" title=""><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: Calibri;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US">[8]</span></span><!--[endif]--></span></span></a><span lang="EN-US"> Nate Mendel</span></span></div>
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<div id="ftn9">
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<span style="color: #666666; font-size: x-small;"><a href="file:///D:/%E7%9B%A7%E7%9B%A7%E7%9A%84%E6%9D%B1%E8%A5%BF/%E7%BF%BB%E8%AD%AF/%E5%B9%BD%E6%B5%AE%E4%B8%80%E6%97%8F.docx#_ftnref9" name="_ftn9" title=""><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: Calibri;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US">[9]</span></span><!--[endif]--></span></span></a><span lang="EN-US"> Taylor Hawkins</span></span></div>
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<div id="ftn10">
<div class="MsoFootnoteText">
<span style="color: #666666; font-size: x-small;"><a href="file:///D:/%E7%9B%A7%E7%9B%A7%E7%9A%84%E6%9D%B1%E8%A5%BF/%E7%BF%BB%E8%AD%AF/%E5%B9%BD%E6%B5%AE%E4%B8%80%E6%97%8F.docx#_ftnref10" name="_ftn10" title=""><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: Calibri;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US">[10]</span></span><!--[endif]--></span></span></a><span lang="EN-US"> One by One</span></span></div>
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<div class="MsoFootnoteText">
<span style="color: #666666; font-size: x-small;"><a href="file:///D:/%E7%9B%A7%E7%9B%A7%E7%9A%84%E6%9D%B1%E8%A5%BF/%E7%BF%BB%E8%AD%AF/%E5%B9%BD%E6%B5%AE%E4%B8%80%E6%97%8F.docx#_ftnref11" name="_ftn11" title=""><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: Calibri;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US">[11]</span></span><!--[endif]--></span></span></a><span lang="EN-US"> Front Of House “FOH” Engineer</span></span></div>
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<div id="ftn12">
<div class="MsoFootnoteText">
<span style="color: #666666; font-size: x-small;"><a href="file:///D:/%E7%9B%A7%E7%9B%A7%E7%9A%84%E6%9D%B1%E8%A5%BF/%E7%BF%BB%E8%AD%AF/%E5%B9%BD%E6%B5%AE%E4%B8%80%E6%97%8F.docx#_ftnref12" name="_ftn12" title=""><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: Calibri;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US">[12]</span></span><!--[endif]--></span></span></a><span lang="EN-US"> Bryan Worthen</span></span></div>
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<div id="ftn13">
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<span style="color: #666666; font-size: x-small;"><a href="file:///D:/%E7%9B%A7%E7%9B%A7%E7%9A%84%E6%9D%B1%E8%A5%BF/%E7%BF%BB%E8%AD%AF/%E5%B9%BD%E6%B5%AE%E4%B8%80%E6%97%8F.docx#_ftnref13" name="_ftn13" title=""><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: Calibri;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US">[13]</span></span><!--[endif]--></span></span></a><span lang="EN-US"> Ratsound</span></span></div>
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<span style="color: #666666; font-size: x-small;"><a href="file:///D:/%E7%9B%A7%E7%9B%A7%E7%9A%84%E6%9D%B1%E8%A5%BF/%E7%BF%BB%E8%AD%AF/%E5%B9%BD%E6%B5%AE%E4%B8%80%E6%97%8F.docx#_ftnref14" name="_ftn14" title=""><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: Calibri;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US">[14]</span></span><!--[endif]--></span></span></a><span lang="EN-US"> Tucson, Arizona </span><span style="font-family: 新細明體; mso-ascii-font-family: Calibri; mso-hansi-font-family: Calibri;">亞利桑那州圖桑市</span></span></div>
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<div id="ftn15">
<div class="MsoFootnoteText">
<span style="color: #666666; font-size: x-small;"><a href="file:///D:/%E7%9B%A7%E7%9B%A7%E7%9A%84%E6%9D%B1%E8%A5%BF/%E7%BF%BB%E8%AD%AF/%E5%B9%BD%E6%B5%AE%E4%B8%80%E6%97%8F.docx#_ftnref15" name="_ftn15" title=""><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: Calibri;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US">[15]</span></span><!--[endif]--></span></span></a><span lang="EN-US"> Blink 182</span></span></div>
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<div id="ftn16">
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<span style="color: #666666; font-size: x-small;"><a href="file:///D:/%E7%9B%A7%E7%9B%A7%E7%9A%84%E6%9D%B1%E8%A5%BF/%E7%BF%BB%E8%AD%AF/%E5%B9%BD%E6%B5%AE%E4%B8%80%E6%97%8F.docx#_ftnref16" name="_ftn16" title=""><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: Calibri;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US">[16]</span></span><!--[endif]--></span></span></a><span lang="EN-US"> Eric Fermin</span></span></div>
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<div id="ftn17">
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<span style="color: #666666; font-size: x-small;"><a href="file:///D:/%E7%9B%A7%E7%9B%A7%E7%9A%84%E6%9D%B1%E8%A5%BF/%E7%BF%BB%E8%AD%AF/%E5%B9%BD%E6%B5%AE%E4%B8%80%E6%97%8F.docx#_ftnref17" name="_ftn17" title=""><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: Calibri;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US">[17]</span></span><!--[endif]--></span></span></a><span lang="EN-US"> Production Manager</span></span></div>
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<div id="ftn18">
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<span style="color: #666666; font-size: x-small;"><a href="file:///D:/%E7%9B%A7%E7%9B%A7%E7%9A%84%E6%9D%B1%E8%A5%BF/%E7%BF%BB%E8%AD%AF/%E5%B9%BD%E6%B5%AE%E4%B8%80%E6%97%8F.docx#_ftnref18" name="_ftn18" title=""><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: Calibri;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US">[18]</span></span><!--[endif]--></span></span></a><span lang="EN-US"> Tour Manager</span></span></div>
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<div id="ftn19">
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<span style="color: #666666; font-size: x-small;"><a href="file:///D:/%E7%9B%A7%E7%9B%A7%E7%9A%84%E6%9D%B1%E8%A5%BF/%E7%BF%BB%E8%AD%AF/%E5%B9%BD%E6%B5%AE%E4%B8%80%E6%97%8F.docx#_ftnref19" name="_ftn19" title=""><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: Calibri;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US">[19]</span></span><!--[endif]--></span></span></a><span lang="EN-US"> Gus Brandit</span></span></div>
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<div id="ftn20">
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<span style="color: #666666; font-size: x-small;"><a href="file:///D:/%E7%9B%A7%E7%9B%A7%E7%9A%84%E6%9D%B1%E8%A5%BF/%E7%BF%BB%E8%AD%AF/%E5%B9%BD%E6%B5%AE%E4%B8%80%E6%97%8F.docx#_ftnref20" name="_ftn20" title=""><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: Calibri;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US">[20]</span></span><!--[endif]--></span></span></a><span lang="EN-US"> Input</span></span></div>
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<div id="ftn21">
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<span style="color: #666666; font-size: x-small;"><a href="file:///D:/%E7%9B%A7%E7%9B%A7%E7%9A%84%E6%9D%B1%E8%A5%BF/%E7%BF%BB%E8%AD%AF/%E5%B9%BD%E6%B5%AE%E4%B8%80%E6%97%8F.docx#_ftnref21" name="_ftn21" title=""><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: Calibri;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US">[21]</span></span><!--[endif]--></span></span></a><span lang="EN-US"> Subs</span></span></div>
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<div id="ftn22">
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<span style="color: #666666; font-size: x-small;"><a href="file:///D:/%E7%9B%A7%E7%9B%A7%E7%9A%84%E6%9D%B1%E8%A5%BF/%E7%BF%BB%E8%AD%AF/%E5%B9%BD%E6%B5%AE%E4%B8%80%E6%97%8F.docx#_ftnref22" name="_ftn22" title=""><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: Calibri;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US">[22]</span></span><!--[endif]--></span></span></a><span lang="EN-US"> Gates</span></span></div>
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<div id="ftn23">
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<span style="color: #666666; font-size: x-small;"><a href="file:///D:/%E7%9B%A7%E7%9B%A7%E7%9A%84%E6%9D%B1%E8%A5%BF/%E7%BF%BB%E8%AD%AF/%E5%B9%BD%E6%B5%AE%E4%B8%80%E6%97%8F.docx#_ftnref23" name="_ftn23" title=""><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: Calibri;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US">[23]</span></span><!--[endif]--></span></span></a><span lang="EN-US"> Compressor</span></span></div>
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<div id="ftn24">
<div class="MsoFootnoteText">
<span style="color: #666666; font-size: x-small;"><a href="file:///D:/%E7%9B%A7%E7%9B%A7%E7%9A%84%E6%9D%B1%E8%A5%BF/%E7%BF%BB%E8%AD%AF/%E5%B9%BD%E6%B5%AE%E4%B8%80%E6%97%8F.docx#_ftnref24" name="_ftn24" title=""><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: Calibri;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US">[24]</span></span><!--[endif]--></span></span></a><span lang="EN-US"> Toms</span></span></div>
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<div id="ftn25">
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<span style="color: #666666; font-size: x-small;"><a href="file:///D:/%E7%9B%A7%E7%9B%A7%E7%9A%84%E6%9D%B1%E8%A5%BF/%E7%BF%BB%E8%AD%AF/%E5%B9%BD%E6%B5%AE%E4%B8%80%E6%97%8F.docx#_ftnref25" name="_ftn25" title=""><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: Calibri;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US">[25]</span></span><!--[endif]--></span></span></a><span lang="EN-US"> Denver</span></span></div>
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<div id="ftn26">
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<span style="color: #666666; font-size: x-small;"><a href="file:///D:/%E7%9B%A7%E7%9B%A7%E7%9A%84%E6%9D%B1%E8%A5%BF/%E7%BF%BB%E8%AD%AF/%E5%B9%BD%E6%B5%AE%E4%B8%80%E6%97%8F.docx#_ftnref26" name="_ftn26" title=""><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: Calibri;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US">[26]</span></span><!--[endif]--></span></span></a><span lang="EN-US"> Fillmore Auditorium</span></span></div>
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<div id="ftn27">
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<span style="color: #666666; font-size: x-small;"><a href="file:///D:/%E7%9B%A7%E7%9B%A7%E7%9A%84%E6%9D%B1%E8%A5%BF/%E7%BF%BB%E8%AD%AF/%E5%B9%BD%E6%B5%AE%E4%B8%80%E6%97%8F.docx#_ftnref27" name="_ftn27" title=""><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: Calibri;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US">[27]</span></span><!--[endif]--></span></span></a><span lang="EN-US"> Coaxial </span></span></div>
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<div id="ftn28">
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<span style="color: #666666; font-size: x-small;"><a href="file:///D:/%E7%9B%A7%E7%9B%A7%E7%9A%84%E6%9D%B1%E8%A5%BF/%E7%BF%BB%E8%AD%AF/%E5%B9%BD%E6%B5%AE%E4%B8%80%E6%97%8F.docx#_ftnref28" name="_ftn28" title=""><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: Calibri;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US">[28]</span></span><!--[endif]--></span></span></a><span lang="EN-US"> Arena</span></span></div>
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<div id="ftn29">
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<span style="color: #666666; font-size: x-small;"><a href="file:///D:/%E7%9B%A7%E7%9B%A7%E7%9A%84%E6%9D%B1%E8%A5%BF/%E7%BF%BB%E8%AD%AF/%E5%B9%BD%E6%B5%AE%E4%B8%80%E6%97%8F.docx#_ftnref29" name="_ftn29" title=""><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: Calibri;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US">[29]</span></span><!--[endif]--></span></span></a><span lang="EN-US"> Cabinet</span></span></div>
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<div id="ftn30">
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<span style="color: #666666; font-size: x-small;"><a href="file:///D:/%E7%9B%A7%E7%9B%A7%E7%9A%84%E6%9D%B1%E8%A5%BF/%E7%BF%BB%E8%AD%AF/%E5%B9%BD%E6%B5%AE%E4%B8%80%E6%97%8F.docx#_ftnref30" name="_ftn30" title=""><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: Calibri;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US">[30]</span></span><!--[endif]--></span></span></a><span lang="EN-US"> Andy Turner</span></span></div>
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<div id="ftn31">
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<span style="color: #666666; font-size: x-small;"><a href="file:///D:/%E7%9B%A7%E7%9B%A7%E7%9A%84%E6%9D%B1%E8%A5%BF/%E7%BF%BB%E8%AD%AF/%E5%B9%BD%E6%B5%AE%E4%B8%80%E6%97%8F.docx#_ftnref31" name="_ftn31" title=""><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: Calibri;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US">[31]</span></span><!--[endif]--></span></span></a><span lang="EN-US"> Roz Jones</span></span></div>
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<div id="ftn32">
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<span style="color: #666666; font-size: x-small;"><a href="file:///D:/%E7%9B%A7%E7%9B%A7%E7%9A%84%E6%9D%B1%E8%A5%BF/%E7%BF%BB%E8%AD%AF/%E5%B9%BD%E6%B5%AE%E4%B8%80%E6%97%8F.docx#_ftnref32" name="_ftn32" title=""><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: Calibri;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US">[32]</span></span><!--[endif]--></span></span></a><span lang="EN-US"> Ian Beveridge</span></span></div>
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<div id="ftn33">
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<span style="color: #666666; font-size: x-small;"><a href="file:///D:/%E7%9B%A7%E7%9B%A7%E7%9A%84%E6%9D%B1%E8%A5%BF/%E7%BF%BB%E8%AD%AF/%E5%B9%BD%E6%B5%AE%E4%B8%80%E6%97%8F.docx#_ftnref33" name="_ftn33" title=""><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: Calibri;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US">[33]</span></span><!--[endif]--></span></span></a><span lang="EN-US"> Edinburg, Scotland</span></span></div>
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<span style="color: #666666; font-size: x-small;"><a href="file:///D:/%E7%9B%A7%E7%9B%A7%E7%9A%84%E6%9D%B1%E8%A5%BF/%E7%BF%BB%E8%AD%AF/%E5%B9%BD%E6%B5%AE%E4%B8%80%E6%97%8F.docx#_ftnref34" name="_ftn34" title=""><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: Calibri;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US">[34]</span></span><!--[endif]--></span></span></a><span lang="EN-US"> Monitor Engineer</span></span></div>
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<span style="color: #666666; font-size: x-small;"><a href="file:///D:/%E7%9B%A7%E7%9B%A7%E7%9A%84%E6%9D%B1%E8%A5%BF/%E7%BF%BB%E8%AD%AF/%E5%B9%BD%E6%B5%AE%E4%B8%80%E6%97%8F.docx#_ftnref35" name="_ftn35" title=""><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: Calibri;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US">[35]</span></span><!--[endif]--></span></span></a><span lang="EN-US"> Greenday</span></span></div>
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<span style="color: #666666; font-size: x-small;"><a href="file:///D:/%E7%9B%A7%E7%9B%A7%E7%9A%84%E6%9D%B1%E8%A5%BF/%E7%BF%BB%E8%AD%AF/%E5%B9%BD%E6%B5%AE%E4%B8%80%E6%97%8F.docx#_ftnref36" name="_ftn36" title=""><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: Calibri;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US">[36]</span></span><!--[endif]--></span></span></a><span lang="EN-US"> Beck</span></span></div>
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<span style="color: #666666; font-size: x-small;"><a href="file:///D:/%E7%9B%A7%E7%9B%A7%E7%9A%84%E6%9D%B1%E8%A5%BF/%E7%BF%BB%E8%AD%AF/%E5%B9%BD%E6%B5%AE%E4%B8%80%E6%97%8F.docx#_ftnref37" name="_ftn37" title=""><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: Calibri;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US">[37]</span></span><!--[endif]--></span></span></a><span lang="EN-US"> The Hole</span></span></div>
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<span style="color: #666666; font-size: x-small;"><a href="file:///D:/%E7%9B%A7%E7%9B%A7%E7%9A%84%E6%9D%B1%E8%A5%BF/%E7%BF%BB%E8%AD%AF/%E5%B9%BD%E6%B5%AE%E4%B8%80%E6%97%8F.docx#_ftnref38" name="_ftn38" title=""><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: Calibri;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US">[38]</span></span><!--[endif]--></span></span></a><span lang="EN-US"> Manic Street Preachers</span></span></div>
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<span style="color: #666666; font-size: x-small;"><a href="file:///D:/%E7%9B%A7%E7%9B%A7%E7%9A%84%E6%9D%B1%E8%A5%BF/%E7%BF%BB%E8%AD%AF/%E5%B9%BD%E6%B5%AE%E4%B8%80%E6%97%8F.docx#_ftnref39" name="_ftn39" title=""><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: Calibri;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US">[39]</span></span><!--[endif]--></span></span></a><span lang="EN-US"> The Lemonheads</span></span></div>
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<span style="color: #666666; font-size: x-small;"><a href="file:///D:/%E7%9B%A7%E7%9B%A7%E7%9A%84%E6%9D%B1%E8%A5%BF/%E7%BF%BB%E8%AD%AF/%E5%B9%BD%E6%B5%AE%E4%B8%80%E6%97%8F.docx#_ftnref40" name="_ftn40" title=""><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: Calibri;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US">[40]</span></span><!--[endif]--></span></span></a><span lang="EN-US"> Pete Yorn</span></span></div>
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<span style="color: #666666; font-size: x-small;"><a href="file:///D:/%E7%9B%A7%E7%9B%A7%E7%9A%84%E6%9D%B1%E8%A5%BF/%E7%BF%BB%E8%AD%AF/%E5%B9%BD%E6%B5%AE%E4%B8%80%E6%97%8F.docx#_ftnref41" name="_ftn41" title=""><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: Calibri;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US">[41]</span></span><!--[endif]--></span></span></a><span lang="EN-US"> The Special Goodness</span></span></div>
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<span style="color: #666666; font-size: x-small;"><a href="file:///D:/%E7%9B%A7%E7%9B%A7%E7%9A%84%E6%9D%B1%E8%A5%BF/%E7%BF%BB%E8%AD%AF/%E5%B9%BD%E6%B5%AE%E4%B8%80%E6%97%8F.docx#_ftnref42" name="_ftn42" title=""><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: Calibri;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US">[42]</span></span><!--[endif]--></span></span></a><span lang="EN-US"> 16-band graphic EQ</span></span></div>
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<span style="color: #666666; font-size: x-small;"><a href="file:///D:/%E7%9B%A7%E7%9B%A7%E7%9A%84%E6%9D%B1%E8%A5%BF/%E7%BF%BB%E8%AD%AF/%E5%B9%BD%E6%B5%AE%E4%B8%80%E6%97%8F.docx#_ftnref43" name="_ftn43" title=""><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: Calibri;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US">[43]</span></span><!--[endif]--></span></span></a><span lang="EN-US"> Amps</span></span></div>
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<span style="color: #666666; font-size: x-small;"><a href="file:///D:/%E7%9B%A7%E7%9B%A7%E7%9A%84%E6%9D%B1%E8%A5%BF/%E7%BF%BB%E8%AD%AF/%E5%B9%BD%E6%B5%AE%E4%B8%80%E6%97%8F.docx#_ftnref44" name="_ftn44" title=""><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: Calibri;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US">[44]</span></span><!--[endif]--></span></span></a><span lang="EN-US"> 6-band parametric EQ</span></span></div>
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<span style="color: #666666; font-size: x-small;"><a href="file:///D:/%E7%9B%A7%E7%9B%A7%E7%9A%84%E6%9D%B1%E8%A5%BF/%E7%BF%BB%E8%AD%AF/%E5%B9%BD%E6%B5%AE%E4%B8%80%E6%97%8F.docx#_ftnref45" name="_ftn45" title=""><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: Calibri;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US">[45]</span></span><!--[endif]--></span></span></a><span lang="EN-US"> Notch filter</span></span></div>
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<span style="color: #666666; font-size: x-small;"><a href="file:///D:/%E7%9B%A7%E7%9B%A7%E7%9A%84%E6%9D%B1%E8%A5%BF/%E7%BF%BB%E8%AD%AF/%E5%B9%BD%E6%B5%AE%E4%B8%80%E6%97%8F.docx#_ftnref46" name="_ftn46" title=""><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: Calibri;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US">[46]</span></span><!--[endif]--></span></span></a><span lang="EN-US"> In-Ear Monitor</span></span></div>
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<span style="color: #666666; font-size: x-small;"><a href="file:///D:/%E7%9B%A7%E7%9B%A7%E7%9A%84%E6%9D%B1%E8%A5%BF/%E7%BF%BB%E8%AD%AF/%E5%B9%BD%E6%B5%AE%E4%B8%80%E6%97%8F.docx#_ftnref47" name="_ftn47" title=""><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: Calibri;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US">[47]</span></span><!--[endif]--></span></span></a><span lang="EN-US"> Three-way</span></span></div>
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<span style="color: #666666; font-size: x-small;"><a href="file:///D:/%E7%9B%A7%E7%9B%A7%E7%9A%84%E6%9D%B1%E8%A5%BF/%E7%BF%BB%E8%AD%AF/%E5%B9%BD%E6%B5%AE%E4%B8%80%E6%97%8F.docx#_ftnref48" name="_ftn48" title=""><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: Calibri;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US">[48]</span></span><!--[endif]--></span></span></a><span lang="EN-US"> Wedge</span></span></div>
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<span style="color: #666666; font-size: x-small;"><a href="file:///D:/%E7%9B%A7%E7%9B%A7%E7%9A%84%E6%9D%B1%E8%A5%BF/%E7%BF%BB%E8%AD%AF/%E5%B9%BD%E6%B5%AE%E4%B8%80%E6%97%8F.docx#_ftnref49" name="_ftn49" title=""><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: Calibri;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US">[49]</span></span><!--[endif]--></span></span></a><span lang="EN-US"> transmitter</span></span></div>
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<span style="color: #666666; font-size: x-small;"><a href="file:///D:/%E7%9B%A7%E7%9B%A7%E7%9A%84%E6%9D%B1%E8%A5%BF/%E7%BF%BB%E8%AD%AF/%E5%B9%BD%E6%B5%AE%E4%B8%80%E6%97%8F.docx#_ftnref50" name="_ftn50" title=""><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: Calibri;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US">[50]</span></span><!--[endif]--></span></span></a><span lang="EN-US"> Receiver</span></span></div>
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<span style="color: #666666; font-size: x-small;"><a href="file:///D:/%E7%9B%A7%E7%9B%A7%E7%9A%84%E6%9D%B1%E8%A5%BF/%E7%BF%BB%E8%AD%AF/%E5%B9%BD%E6%B5%AE%E4%B8%80%E6%97%8F.docx#_ftnref51" name="_ftn51" title=""><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: Calibri;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US">[51]</span></span><!--[endif]--></span></span></a><span lang="EN-US"> Two-way</span></span></div>
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<span style="color: #666666; font-size: x-small;"><a href="file:///D:/%E7%9B%A7%E7%9B%A7%E7%9A%84%E6%9D%B1%E8%A5%BF/%E7%BF%BB%E8%AD%AF/%E5%B9%BD%E6%B5%AE%E4%B8%80%E6%97%8F.docx#_ftnref52" name="_ftn52" title=""><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: Calibri;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US">[52]</span></span><!--[endif]--></span></span></a><span lang="EN-US"> Diaphragm</span></span></div>
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<span style="color: #666666; font-size: x-small;"><a href="file:///D:/%E7%9B%A7%E7%9B%A7%E7%9A%84%E6%9D%B1%E8%A5%BF/%E7%BF%BB%E8%AD%AF/%E5%B9%BD%E6%B5%AE%E4%B8%80%E6%97%8F.docx#_ftnref53" name="_ftn53" title=""><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: Calibri;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US">[53]</span></span><!--[endif]--></span></span></a><span lang="EN-US"> Driver</span></span></div>
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<span style="color: #666666; font-size: x-small;"><a href="file:///D:/%E7%9B%A7%E7%9B%A7%E7%9A%84%E6%9D%B1%E8%A5%BF/%E7%BF%BB%E8%AD%AF/%E5%B9%BD%E6%B5%AE%E4%B8%80%E6%97%8F.docx#_ftnref54" name="_ftn54" title=""><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: Calibri;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US">[54]</span></span><!--[endif]--></span></span></a><span lang="EN-US"> Sidefills</span></span></div>
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<span style="color: #666666; font-size: x-small;"><a href="file:///D:/%E7%9B%A7%E7%9B%A7%E7%9A%84%E6%9D%B1%E8%A5%BF/%E7%BF%BB%E8%AD%AF/%E5%B9%BD%E6%B5%AE%E4%B8%80%E6%97%8F.docx#_ftnref55" name="_ftn55" title=""><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: Calibri;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US">[55]</span></span><!--[endif]--></span></span></a><span lang="EN-US"> Crossover</span></span></div>
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<span style="color: #666666; font-size: x-small;"><a href="file:///D:/%E7%9B%A7%E7%9B%A7%E7%9A%84%E6%9D%B1%E8%A5%BF/%E7%BF%BB%E8%AD%AF/%E5%B9%BD%E6%B5%AE%E4%B8%80%E6%97%8F.docx#_ftnref56" name="_ftn56" title=""><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: Calibri;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US">[56]</span></span><!--[endif]--></span></span></a><span lang="EN-US"> Floor tom</span></span></div>
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<span style="color: #666666; font-size: x-small;"><a href="file:///D:/%E7%9B%A7%E7%9B%A7%E7%9A%84%E6%9D%B1%E8%A5%BF/%E7%BF%BB%E8%AD%AF/%E5%B9%BD%E6%B5%AE%E4%B8%80%E6%97%8F.docx#_ftnref57" name="_ftn57" title=""><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: Calibri;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US">[57]</span></span><!--[endif]--></span></span></a><span lang="EN-US"> An intense-sounding mix</span></span></div>
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<span style="color: #666666; font-size: x-small;"><a href="file:///D:/%E7%9B%A7%E7%9B%A7%E7%9A%84%E6%9D%B1%E8%A5%BF/%E7%BF%BB%E8%AD%AF/%E5%B9%BD%E6%B5%AE%E4%B8%80%E6%97%8F.docx#_ftnref58" name="_ftn58" title=""><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: Calibri;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US">[58]</span></span><!--[endif]--></span></span></a><span lang="EN-US"> Hard left and hard right</span></span></div>
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<span style="color: #666666; font-size: x-small;"><a href="file:///D:/%E7%9B%A7%E7%9B%A7%E7%9A%84%E6%9D%B1%E8%A5%BF/%E7%BF%BB%E8%AD%AF/%E5%B9%BD%E6%B5%AE%E4%B8%80%E6%97%8F.docx#_ftnref59" name="_ftn59" title=""><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: Calibri;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US">[59]</span></span><!--[endif]--></span></span></a><span lang="EN-US"> High end</span></span></div>
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Anonymoushttp://www.blogger.com/profile/06377922510595008070noreply@blogger.com0tag:blogger.com,1999:blog-6021576624325993297.post-6596417573438950542012-09-21T01:20:00.001-07:002013-09-16T06:16:10.781-07:00喬伊‧卡斯提洛[1]在石器時代女王[2]所使用的鼓組展示<br />
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<span style="font-family: 新細明體; mso-ascii-font-family: Calibri; mso-hansi-font-family: Calibri;">在沙漠搖滾</span><a href="file:///D:/%E7%9B%A7%E7%9B%A7%E7%9A%84%E6%9D%B1%E8%A5%BF/%E7%BF%BB%E8%AD%AF/%E5%96%AC%E4%BC%8A%E5%8D%A1%E6%96%AF%E6%8F%90%E6%B4%9B%E5%9C%A8%E7%9F%B3%E5%99%A8%E6%99%82%E4%BB%A3%E5%A5%B3%E7%8E%8B%E6%89%80%E4%BD%BF%E7%94%A8%E7%9A%84%E9%BC%93%E7%B5%84%E5%B1%95%E7%A4%BA.docx#_ftn3" name="_ftnref3" title=""><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: Calibri;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-size: 12pt;">[3]</span></span><!--[endif]--></span></span></a><span style="font-family: 新細明體; mso-ascii-font-family: Calibri; mso-hansi-font-family: Calibri;">重傷害背後將近十年的鼓組</span></div>
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<b><span style="font-family: 新細明體; mso-ascii-font-family: Calibri; mso-hansi-font-family: Calibri;">喬伊</span></b><b><span style="font-family: 新細明體;">‧卡斯提洛做為<a href="http://www.qotsa.com/" target="_blank">石器時代女王</a>的搖滾驅動能量將近十年了,這便是他富有技巧、能力及耐力的最佳證明。</span><span lang="EN-US"><o:p></o:p></span></b></div>
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<span style="font-family: 新細明體; mso-ascii-font-family: Calibri; mso-hansi-font-family: Calibri;">在這組大麻搖滾</span><a href="file:///D:/%E7%9B%A7%E7%9B%A7%E7%9A%84%E6%9D%B1%E8%A5%BF/%E7%BF%BB%E8%AD%AF/%E5%96%AC%E4%BC%8A%E5%8D%A1%E6%96%AF%E6%8F%90%E6%B4%9B%E5%9C%A8%E7%9F%B3%E5%99%A8%E6%99%82%E4%BB%A3%E5%A5%B3%E7%8E%8B%E6%89%80%E4%BD%BF%E7%94%A8%E7%9A%84%E9%BC%93%E7%B5%84%E5%B1%95%E7%A4%BA.docx#_ftn4" name="_ftnref4" title=""><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: Calibri;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-size: 12pt;">[4]</span></span><!--[endif]--></span></span></a><span style="font-family: 新細明體; mso-ascii-font-family: Calibri; mso-hansi-font-family: Calibri;">先鋒生涯的前六年裡</span><span style="font-family: 新細明體;">,已見證了四位鼓手,在他們那如有針氈的鼓椅上來來去去。不只如此,樂團的領袖喬許‧哈米</span><a href="file:///D:/%E7%9B%A7%E7%9B%A7%E7%9A%84%E6%9D%B1%E8%A5%BF/%E7%BF%BB%E8%AD%AF/%E5%96%AC%E4%BC%8A%E5%8D%A1%E6%96%AF%E6%8F%90%E6%B4%9B%E5%9C%A8%E7%9F%B3%E5%99%A8%E6%99%82%E4%BB%A3%E5%A5%B3%E7%8E%8B%E6%89%80%E4%BD%BF%E7%94%A8%E7%9A%84%E9%BC%93%E7%B5%84%E5%B1%95%E7%A4%BA.docx#_ftn5" name="_ftnref5" title=""><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: 新細明體; mso-hansi-font-family: Calibri;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-size: 12pt;">[5]</span></span><!--[endif]--></span></span></a><span style="font-family: 新細明體;">,和長期合作的吉他手夥伴特洛伊‧凡‧路文</span><a href="file:///D:/%E7%9B%A7%E7%9B%A7%E7%9A%84%E6%9D%B1%E8%A5%BF/%E7%BF%BB%E8%AD%AF/%E5%96%AC%E4%BC%8A%E5%8D%A1%E6%96%AF%E6%8F%90%E6%B4%9B%E5%9C%A8%E7%9F%B3%E5%99%A8%E6%99%82%E4%BB%A3%E5%A5%B3%E7%8E%8B%E6%89%80%E4%BD%BF%E7%94%A8%E7%9A%84%E9%BC%93%E7%B5%84%E5%B1%95%E7%A4%BA.docx#_ftn6" name="_ftnref6" title=""><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: 新細明體; mso-hansi-font-family: Calibri;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-size: 12pt;">[6]</span></span><!--[endif]--></span></span></a><span style="font-family: 新細明體;">都是很有造詣的鼓手,這是一份艱苦的差事。</span><span lang="EN-US" style="font-family: 新細明體; mso-hansi-font-family: Calibri;"><o:p></o:p></span></div>
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<span style="font-family: 新細明體; mso-ascii-font-family: Calibri; mso-hansi-font-family: Calibri;">但喬伊成功地讓他成為樂團不可或缺的一項元素</span><span style="font-family: 新細明體;">;不只是</span><span style="font-family: 新細明體; mso-ascii-font-family: Calibri; mso-hansi-font-family: Calibri;">用他令人喘不過氣的粗獷力量和流暢的技巧</span><span style="font-family: 新細明體;">,還有因為他取代喬許成為<a href="http://www.eaglesofdeathmetal.com/" target="_blank">死亡金屬之鷹</a></span><a href="file:///D:/%E7%9B%A7%E7%9B%A7%E7%9A%84%E6%9D%B1%E8%A5%BF/%E7%BF%BB%E8%AD%AF/%E5%96%AC%E4%BC%8A%E5%8D%A1%E6%96%AF%E6%8F%90%E6%B4%9B%E5%9C%A8%E7%9F%B3%E5%99%A8%E6%99%82%E4%BB%A3%E5%A5%B3%E7%8E%8B%E6%89%80%E4%BD%BF%E7%94%A8%E7%9A%84%E9%BC%93%E7%B5%84%E5%B1%95%E7%A4%BA.docx#_ftn7" name="_ftnref7" title=""><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: 新細明體; mso-hansi-font-family: Calibri;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-size: 12pt;">[7]</span></span><!--[endif]--></span></span></a><span style="font-family: 新細明體;">的鼓手,而與其建立起來的音樂凝聚力。</span><span lang="EN-US" style="font-family: 新細明體; mso-hansi-font-family: Calibri;"><o:p></o:p></span></div>
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<span style="font-family: 新細明體;">喬伊自<span lang="EN-US">2002</span>年加入石器時代女王,接下戴夫‧葛羅</span><a href="file:///D:/%E7%9B%A7%E7%9B%A7%E7%9A%84%E6%9D%B1%E8%A5%BF/%E7%BF%BB%E8%AD%AF/%E5%96%AC%E4%BC%8A%E5%8D%A1%E6%96%AF%E6%8F%90%E6%B4%9B%E5%9C%A8%E7%9F%B3%E5%99%A8%E6%99%82%E4%BB%A3%E5%A5%B3%E7%8E%8B%E6%89%80%E4%BD%BF%E7%94%A8%E7%9A%84%E9%BC%93%E7%B5%84%E5%B1%95%E7%A4%BA.docx#_ftn8" name="_ftnref8" title=""><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: 新細明體; mso-hansi-font-family: Calibri;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-size: 12pt;">[8]</span></span><!--[endif]--></span></span></a><span style="font-family: 新細明體;">的棒子之後,他被帶去做了三趟世界巡迴。並因</span><span lang="EN-US">2005</span><span style="font-family: 新細明體;">年發行的專輯「著魔催眠曲</span><a href="file:///D:/%E7%9B%A7%E7%9B%A7%E7%9A%84%E6%9D%B1%E8%A5%BF/%E7%BF%BB%E8%AD%AF/%E5%96%AC%E4%BC%8A%E5%8D%A1%E6%96%AF%E6%8F%90%E6%B4%9B%E5%9C%A8%E7%9F%B3%E5%99%A8%E6%99%82%E4%BB%A3%E5%A5%B3%E7%8E%8B%E6%89%80%E4%BD%BF%E7%94%A8%E7%9A%84%E9%BC%93%E7%B5%84%E5%B1%95%E7%A4%BA.docx#_ftn9" name="_ftnref9" title=""><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: 新細明體; mso-hansi-font-family: Calibri;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-size: 12pt;">[9]</span></span><!--[endif]--></span></span></a><span style="font-family: 新細明體;">」和下一張的專輯「平凡年代</span><a href="file:///D:/%E7%9B%A7%E7%9B%A7%E7%9A%84%E6%9D%B1%E8%A5%BF/%E7%BF%BB%E8%AD%AF/%E5%96%AC%E4%BC%8A%E5%8D%A1%E6%96%AF%E6%8F%90%E6%B4%9B%E5%9C%A8%E7%9F%B3%E5%99%A8%E6%99%82%E4%BB%A3%E5%A5%B3%E7%8E%8B%E6%89%80%E4%BD%BF%E7%94%A8%E7%9A%84%E9%BC%93%E7%B5%84%E5%B1%95%E7%A4%BA.docx#_ftn10" name="_ftnref10" title=""><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: 新細明體; mso-hansi-font-family: Calibri;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-size: 12pt;">[10]</span></span><!--[endif]--></span></span></a><span style="font-family: 新細明體;">」取得商業上的成功,而享受著甜美的勝利果實。</span><span lang="EN-US" style="font-family: 新細明體; mso-hansi-font-family: Calibri;"><o:p></o:p></span></div>
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<span style="font-family: 新細明體; mso-ascii-font-family: Calibri; mso-hansi-font-family: Calibri;">在發行他們上一張專輯的四年後</span><span style="font-family: 新細明體;">,喬伊和其他的女王們返回團隊,重新上膛,準備在今年再進錄音室。他們已經重上軌道了,為了他們重新發行的首張同名專輯,他們踏上歐洲巡迴的旅途,而這趟宣傳的門票已經完售了。</span><span lang="EN-US" style="font-family: 新細明體; mso-hansi-font-family: Calibri;"><o:p></o:p></span></div>
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<b><span style="font-family: 新細明體; font-size: 14.0pt; mso-ascii-font-family: Calibri; mso-hansi-font-family: Calibri;">鼓組</span></b><b><span lang="EN-US" style="font-size: 14.0pt;"><o:p></o:p></span></b></div>
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<b><span lang="EN-US" style="font-family: Calibri;"><a href="http://www.dwdrums.com/drums/jazz/" target="_blank">DW JazzSeries</a>: 24x16-inch kick drum; 14x10-inch rack tom; 18x16-inch floor tom<o:p></o:p></span></b></div>
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<span style="font-family: 新細明體; mso-ascii-font-family: Calibri; mso-hansi-font-family: Calibri;">喬伊喜愛去蕪存菁的鼓組</span></div>
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<b><span style="font-family: 新細明體; mso-ascii-font-family: Calibri; mso-hansi-font-family: Calibri;">對於新唱片要用的設備</span></b><b><span style="font-family: 新細明體;">,你心裡有什麼更明智的見解呢?</span></b><b><span lang="EN-US" style="font-family: 新細明體; mso-hansi-font-family: Calibri;"><o:p></o:p></span></b></div>
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<span style="font-family: 新細明體; mso-ascii-font-family: Calibri; mso-hansi-font-family: Calibri;">在過去</span><span style="font-family: 新細明體;">,</span><span style="font-family: 新細明體; mso-ascii-font-family: Calibri; mso-hansi-font-family: Calibri;">我會依照不同的歌曲搭配不同的鼓組</span><span style="font-family: 新細明體;">。我有固定兩套使用的鼓組:一套是聽起來很粗鄙的</span><a href="file:///D:/%E7%9B%A7%E7%9B%A7%E7%9A%84%E6%9D%B1%E8%A5%BF/%E7%BF%BB%E8%AD%AF/%E5%96%AC%E4%BC%8A%E5%8D%A1%E6%96%AF%E6%8F%90%E6%B4%9B%E5%9C%A8%E7%9F%B3%E5%99%A8%E6%99%82%E4%BB%A3%E5%A5%B3%E7%8E%8B%E6%89%80%E4%BD%BF%E7%94%A8%E7%9A%84%E9%BC%93%E7%B5%84%E5%B1%95%E7%A4%BA.docx#_ftn11" name="_ftnref11" title=""><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: 新細明體; mso-hansi-font-family: Calibri;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-size: 12pt;">[11]</span></span><!--[endif]--></span></span></a><span style="font-family: 新細明體;">;一套是大尺寸的套鼓。對於我自己來說,我是真的很喜歡我現場用的這套鼓,因為我得跟最少四把吉他還有鍵盤來做競爭。我跟我的音控哈區</span><a href="file:///D:/%E7%9B%A7%E7%9B%A7%E7%9A%84%E6%9D%B1%E8%A5%BF/%E7%BF%BB%E8%AD%AF/%E5%96%AC%E4%BC%8A%E5%8D%A1%E6%96%AF%E6%8F%90%E6%B4%9B%E5%9C%A8%E7%9F%B3%E5%99%A8%E6%99%82%E4%BB%A3%E5%A5%B3%E7%8E%8B%E6%89%80%E4%BD%BF%E7%94%A8%E7%9A%84%E9%BC%93%E7%B5%84%E5%B1%95%E7%A4%BA.docx#_ftn12" name="_ftnref12" title=""><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: 新細明體; mso-hansi-font-family: Calibri;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-size: 12pt;">[12]</span></span><!--[endif]--></span></span></a><span style="font-family: 新細明體;">花了很多工夫去找有哪些頻率要砍的,怎麼樣可以跟許多的中高頻匹敵的方法。我想我們做到了。</span><span lang="EN-US" style="font-family: 新細明體; mso-hansi-font-family: Calibri;"><o:p></o:p></span></div>
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<b><span style="font-family: 新細明體; font-size: 14.0pt; mso-ascii-font-family: Calibri; mso-hansi-font-family: Calibri;">小鼓</span></b><b><span lang="EN-US" style="font-size: 14.0pt;"><o:p></o:p></span></b></div>
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<b><span lang="EN-US" style="font-family: Calibri;">14x8-inch
Sonor snare<o:p></o:p></span></b></div>
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<b><span style="font-family: 新細明體; font-weight: normal; mso-ascii-font-family: Calibri; mso-bidi-font-weight: bold; mso-hansi-font-family: Calibri;">喬伊最驕傲的收藏</span></b><b><span lang="EN-US" style="font-family: Calibri; font-weight: normal; mso-bidi-font-weight: bold;"><o:p></o:p></span></b></div>
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<b><span style="font-family: 新細明體; font-weight: normal; mso-ascii-font-family: Calibri; mso-bidi-font-weight: bold; mso-hansi-font-family: Calibri;">喬伊談論這顆令他驕傲的小鼓</span></b><b><span style="font-family: 新細明體; font-weight: normal; mso-bidi-font-weight: bold;">:</span></b><b><span lang="EN-US" style="font-family: Calibri; font-weight: normal; mso-bidi-font-weight: bold;"><o:p></o:p></span></b></div>
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<span style="font-family: 新細明體; mso-ascii-font-family: Calibri; mso-hansi-font-family: Calibri;">我這顆</span><span lang="EN-US">14x8</span><span style="font-family: 新細明體; mso-ascii-font-family: Calibri; mso-hansi-font-family: Calibri;">吋的小鼓其實本來是屬於查克</span><span style="font-family: 新細明體;">.比斯吉特</span><a href="file:///D:/%E7%9B%A7%E7%9B%A7%E7%9A%84%E6%9D%B1%E8%A5%BF/%E7%BF%BB%E8%AD%AF/%E5%96%AC%E4%BC%8A%E5%8D%A1%E6%96%AF%E6%8F%90%E6%B4%9B%E5%9C%A8%E7%9F%B3%E5%99%A8%E6%99%82%E4%BB%A3%E5%A5%B3%E7%8E%8B%E6%89%80%E4%BD%BF%E7%94%A8%E7%9A%84%E9%BC%93%E7%B5%84%E5%B1%95%E7%A4%BA.docx#_ftn13" name="_ftnref13" title=""><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: 新細明體; mso-hansi-font-family: Calibri;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-size: 12pt;">[13]</span></span><!--[endif]--></span></span></a><span style="font-family: 新細明體;">的。它完全損壞了,根本就是一團糟,每次我的技師都會問說:「我們可以修它嗎?」但我都故意忽略,而讓它保持原來的樣子。它不再是完整的圓形體了,但它依然是顆非常、非常棒的一顆小鼓。我很愛它,而且它好的出奇。查克是我的英雄。我看過每一個他待過的樂團,他真的是啟發我最深的一個人。就算是我看、或靠近他再多次,都會被他的魅力給折服。他真是太神奇了。</span><span lang="EN-US" style="font-family: 新細明體; mso-hansi-font-family: Calibri;"><o:p></o:p></span></div>
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<b><span style="font-family: 新細明體; font-size: 14.0pt; mso-ascii-font-family: Calibri; mso-hansi-font-family: Calibri;">銅鈸</span></b><b><span lang="EN-US" style="font-size: 14.0pt;"><o:p></o:p></span></b></div>
<b><span lang="EN-US" style="font-family: Calibri;">Zildjian: 24-inch K
Light ride; 21-inch Prototype K crash; 19-inch K Hybrid crash; 14-inch
Soundmaster hi-hats.</span></b><span lang="EN-US" style="font-family: Calibri;"><o:p></o:p></span><br />
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<span style="font-family: 新細明體; mso-ascii-font-family: Calibri; mso-hansi-font-family: Calibri;">我知道</span><span style="font-family: 新細明體;">「少即是多</span><a href="file:///D:/%E7%9B%A7%E7%9B%A7%E7%9A%84%E6%9D%B1%E8%A5%BF/%E7%BF%BB%E8%AD%AF/%E5%96%AC%E4%BC%8A%E5%8D%A1%E6%96%AF%E6%8F%90%E6%B4%9B%E5%9C%A8%E7%9F%B3%E5%99%A8%E6%99%82%E4%BB%A3%E5%A5%B3%E7%8E%8B%E6%89%80%E4%BD%BF%E7%94%A8%E7%9A%84%E9%BC%93%E7%B5%84%E5%B1%95%E7%A4%BA.docx#_ftn14" name="_ftnref14" title=""><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: 新細明體; mso-hansi-font-family: Calibri;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-size: 12pt;">[14]</span></span><!--[endif]--></span></span></a><span style="font-family: 新細明體;">」這條道裡,但是我知道我怎麼做最好。</span></div>
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<b><span style="font-family: 新細明體; mso-ascii-font-family: Calibri; mso-hansi-font-family: Calibri;">喬伊談論他的簡單鼓組</span></b><b><span style="font-family: 新細明體;">:</span><span lang="EN-US"><o:p></o:p></span></b></div>
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<span style="font-family: 新細明體; mso-ascii-font-family: Calibri; mso-hansi-font-family: Calibri;">我每次總是在實驗</span><span style="font-family: 新細明體;">,但我真的很享受基本款設定帶來的樂趣;一顆中鼓、一顆落地鼓,再加上幾片銅鈸。同時,我在死亡金屬之鷹的設定是沒有中鼓的。只有落地鼓、大鼓、小鼓、兩片鈸,還有一些打擊樂器。我想這樣的設備能強迫我在極少的設備裡提升出創造力。</span><span style="font-family: 新細明體; mso-ascii-font-family: Calibri; mso-hansi-font-family: Calibri;">我知道</span><span style="font-family: 新細明體;">「少即是多」這條道裡,但是我知道我怎麼做最好;我能在我所擁有的裡面得到最多。但是,我也總是在尋找一些新的聲音來增添鼓組的色彩;我也很願意去嘗試一些別人所使用,但我沒有的設備。在做現場的時候,我會用上兩片</span><span lang="EN-US">Crash</span><span style="font-family: 新細明體;">、一片</span><span lang="EN-US">Ride</span><span style="font-family: 新細明體;">、一組</span><span lang="EN-US">Hi-hats</span><span style="font-family: 新細明體;">,有時候在某些歌曲我會用到</span><span lang="EN-US">China</span><span style="font-family: 新細明體;">。大致上就是這樣了。</span><span lang="EN-US" style="font-family: 新細明體; mso-hansi-font-family: Calibri;"><o:p></o:p></span></div>
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<b><span style="font-family: 新細明體; font-size: 14.0pt; mso-ascii-font-family: Calibri; mso-hansi-font-family: Calibri;">另外</span></b><b><span lang="EN-US" style="font-size: 14.0pt;"><o:p></o:p></span></b></div>
<b><span lang="EN-US" style="font-family: Calibri;"><a href="http://www.eaglesofdeathmetal.com/" target="_blank">Latin Percussion 160Cyclops Tambourine</a>; <a href="http://www.lpmusic.com/products/subpage/?modelNo=LP1207" target="_blank">Latin Percussion cowbell</a>; <a href="http://www.dwdrums.com/hardware/9000/pedals.asp" target="_blank">Remo Black Dot heads</a>; DW
hardware: 6710 straight cymbal stands; <a href="http://www.dwdrums.com/hardware/9000/pedals.asp" target="_blank">DW 9000 bass pedal</a>; <a href="http://www.vicfirth.com/product/buynow/product.php?button=X5B" target="_blank">Vic Firth Super 5Bsticks</a>.<o:p></o:p></span></b><br />
我喜歡乾的、「在你面前<a href="file:///D:/%E7%9B%A7%E7%9B%A7%E7%9A%84%E6%9D%B1%E8%A5%BF/%E7%BF%BB%E8%AD%AF/%E5%96%AC%E4%BC%8A%E5%8D%A1%E6%96%AF%E6%8F%90%E6%B4%9B%E5%9C%A8%E7%9F%B3%E5%99%A8%E6%99%82%E4%BB%A3%E5%A5%B3%E7%8E%8B%E6%89%80%E4%BD%BF%E7%94%A8%E7%9A%84%E9%BC%93%E7%B5%84%E5%B1%95%E7%A4%BA.docx#_ftn15" name="_ftnref15" title=""><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: Calibri;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-size: 12pt;">[15]</span></span><!--[endif]--></span></span></a>」的那種聲音,那並不是一種很美的聲音。<span lang="EN-US" style="font-family: Calibri;"><o:p></o:p></span><br />
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<b><span style="font-family: 新細明體; mso-ascii-font-family: Calibri; mso-hansi-font-family: Calibri;">你錄音的時候的鼓聲是如何的</span></b><b><span style="font-family: 新細明體;">?</span></b><b><span lang="EN-US" style="font-family: 新細明體; mso-hansi-font-family: Calibri;"><o:p></o:p></span></b></div>
我真的很喜歡單面鼓皮的聲音,那種舊式的演奏鼓聲<a href="file:///D:/%E7%9B%A7%E7%9B%A7%E7%9A%84%E6%9D%B1%E8%A5%BF/%E7%BF%BB%E8%AD%AF/%E5%96%AC%E4%BC%8A%E5%8D%A1%E6%96%AF%E6%8F%90%E6%B4%9B%E5%9C%A8%E7%9F%B3%E5%99%A8%E6%99%82%E4%BB%A3%E5%A5%B3%E7%8E%8B%E6%89%80%E4%BD%BF%E7%94%A8%E7%9A%84%E9%BC%93%E7%B5%84%E5%B1%95%E7%A4%BA.docx#_ftn16" name="_ftnref16" title=""><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: 新細明體;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-size: 12pt;">[16]</span></span><!--[endif]--></span></span></a>。基本上,我的鼓組都是上面裝<span lang="EN-US" style="font-family: Calibri;">Black Dot</span>鼓皮,下面不裝鼓皮的;非常演奏鼓的聲音,而且效果似乎非常好。因為人們總是談論我們的鼓聲,而且常常受到很棒的讚賞。<br />
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我喜歡乾乾的、「在你面前」的那種聲音。那並不是一種很美的聲音,但是對於樂團而言,那真是個很令人吃驚的音色。就像任何事情一樣,也許這方法對其他人不適用,但對於我們所做的音樂真的很契合。<span lang="EN-US" style="font-family: Calibri;"><o:p></o:p></span><br />
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<iframe allowfullscreen='allowfullscreen' webkitallowfullscreen='webkitallowfullscreen' mozallowfullscreen='mozallowfullscreen' width='320' height='266' src='https://www.youtube.com/embed/548RyOVa6M8?feature=player_embedded' frameborder='0'></iframe>實際上,我真的想用這樣的方式來錄音(用演奏鼓)。「平凡年代」裡的有些歌是這樣子錄的,但並非全部。這是我現在最大的計劃。很顯然的,一個大的、乾的鼓聲是我的最愛,我們走著瞧。<span lang="EN-US" style="font-family: Calibri;"><o:p></o:p></span><br />
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跟石器時代女王錄音總會是一場遊戲,錄每首歌的感覺也都相當的不同。每首歌總是會有什麼問題,但我們試著不去在意。我很確信每次錄鼓都會有什麼奇怪的地方,一直都是。<span lang="EN-US" style="font-family: Calibri;"><o:p></o:p></span><br />
為了音色,我使用一點點的<span lang="EN-US" style="font-family: Calibri;">Moogel</span><a href="file:///D:/%E7%9B%A7%E7%9B%A7%E7%9A%84%E6%9D%B1%E8%A5%BF/%E7%BF%BB%E8%AD%AF/%E5%96%AC%E4%BC%8A%E5%8D%A1%E6%96%AF%E6%8F%90%E6%B4%9B%E5%9C%A8%E7%9F%B3%E5%99%A8%E6%99%82%E4%BB%A3%E5%A5%B3%E7%8E%8B%E6%89%80%E4%BD%BF%E7%94%A8%E7%9A%84%E9%BC%93%E7%B5%84%E5%B1%95%E7%A4%BA.docx#_ftn17" name="_ftnref17" title=""><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: Calibri;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-size: 12pt;">[17]</span></span><!--[endif]--></span></span></a>黏在中鼓還有落地鼓上。在小鼓上,我會放弱音圈<a href="file:///D:/%E7%9B%A7%E7%9B%A7%E7%9A%84%E6%9D%B1%E8%A5%BF/%E7%BF%BB%E8%AD%AF/%E5%96%AC%E4%BC%8A%E5%8D%A1%E6%96%AF%E6%8F%90%E6%B4%9B%E5%9C%A8%E7%9F%B3%E5%99%A8%E6%99%82%E4%BB%A3%E5%A5%B3%E7%8E%8B%E6%89%80%E4%BD%BF%E7%94%A8%E7%9A%84%E9%BC%93%E7%B5%84%E5%B1%95%E7%A4%BA.docx#_ftn18" name="_ftnref18" title=""><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: Calibri;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-size: 12pt;">[18]</span></span><!--[endif]--></span></span></a>還有一點<span lang="EN-US" style="font-family: Calibri;">Moogel</span>。<span lang="EN-US" style="font-family: Calibri;"><o:p></o:p></span><br />
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<b><span style="font-size: 14.0pt; mso-ascii-font-family: Calibri; mso-hansi-font-family: Calibri;">談論與喬許‧哈米共事的經驗</span></b><b><span lang="EN-US" style="font-family: Calibri; font-size: 14.0pt;"><o:p></o:p></span></b><br />
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喬伊告訴我們他跟石器時代女王樂團頭頭的關係<span lang="EN-US" style="font-family: Calibri;"><o:p></o:p></span><br />
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你似乎很喜歡繞著喬許的吉他部分來寫鼓的編曲,在這個方面,你倆之間有很棒的化學作用:<span lang="EN-US" style="font-family: Calibri;"><o:p></o:p></span><br />
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是的。喬許很喜歡鼓,而且他自己也是個鼓手,所以我份外覺得石器時代女王是個用吉他、鼓來驅動音樂<a href="file:///D:/%E7%9B%A7%E7%9B%A7%E7%9A%84%E6%9D%B1%E8%A5%BF/%E7%BF%BB%E8%AD%AF/%E5%96%AC%E4%BC%8A%E5%8D%A1%E6%96%AF%E6%8F%90%E6%B4%9B%E5%9C%A8%E7%9F%B3%E5%99%A8%E6%99%82%E4%BB%A3%E5%A5%B3%E7%8E%8B%E6%89%80%E4%BD%BF%E7%94%A8%E7%9A%84%E9%BC%93%E7%B5%84%E5%B1%95%E7%A4%BA.docx#_ftn19" name="_ftnref19" title=""><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: Calibri;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-size: 12pt;">[19]</span></span><!--[endif]--></span></span></a>的樂團。因為這份化學作用,我明白這個團的現場可以做得很好:急速停止<a href="file:///D:/%E7%9B%A7%E7%9B%A7%E7%9A%84%E6%9D%B1%E8%A5%BF/%E7%BF%BB%E8%AD%AF/%E5%96%AC%E4%BC%8A%E5%8D%A1%E6%96%AF%E6%8F%90%E6%B4%9B%E5%9C%A8%E7%9F%B3%E5%99%A8%E6%99%82%E4%BB%A3%E5%A5%B3%E7%8E%8B%E6%89%80%E4%BD%BF%E7%94%A8%E7%9A%84%E9%BC%93%E7%B5%84%E5%B1%95%E7%A4%BA.docx#_ftn20" name="_ftnref20" title=""><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: Calibri;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-size: 12pt;">[20]</span></span><!--[endif]--></span></span></a>跟周轉不停<a href="file:///D:/%E7%9B%A7%E7%9B%A7%E7%9A%84%E6%9D%B1%E8%A5%BF/%E7%BF%BB%E8%AD%AF/%E5%96%AC%E4%BC%8A%E5%8D%A1%E6%96%AF%E6%8F%90%E6%B4%9B%E5%9C%A8%E7%9F%B3%E5%99%A8%E6%99%82%E4%BB%A3%E5%A5%B3%E7%8E%8B%E6%89%80%E4%BD%BF%E7%94%A8%E7%9A%84%E9%BC%93%E7%B5%84%E5%B1%95%E7%A4%BA.docx#_ftn21" name="_ftnref21" title=""><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: Calibri;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-size: 12pt;">[21]</span></span><!--[endif]--></span></span></a>的演奏。那真的很適合我們大家。<span lang="EN-US" style="font-family: Calibri;"><o:p></o:p></span><br />
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身為一個樂手,你可以跟一起演奏的人使用相同的語言。不用說話,你就能和一起演奏的樂手進行溝通,也能知道發生了什麼事情。<span lang="EN-US" style="font-family: Calibri;"><o:p></o:p></span><br />
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現在和喬許玩音樂這麼久時間了,我可以知道他何時要收、何時要放、何時要來點刺激的,那對我來說都非常淺顯易懂。<span lang="EN-US" style="font-family: Calibri;"><o:p></o:p></span><br />
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本文載自<span lang="EN-US" style="font-family: Calibri;">Rhythm magazine 193<o:p></o:p></span><br />
<span lang="EN-US" style="font-family: Calibri;">Tue 20 Sep 2011, 2:05 pm UTC<o:p></o:p></span><br />
<span lang="EN-US" style="font-family: Calibri;">http://www.musicradar.com/news/drums/joey-castillos-queens-of-the-stone-age-drum-setup-in-pictures-499402<o:p></o:p></span><br />
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<a href="file:///D:/%E7%9B%A7%E7%9B%A7%E7%9A%84%E6%9D%B1%E8%A5%BF/%E7%BF%BB%E8%AD%AF/%E5%96%AC%E4%BC%8A%E5%8D%A1%E6%96%AF%E6%8F%90%E6%B4%9B%E5%9C%A8%E7%9F%B3%E5%99%A8%E6%99%82%E4%BB%A3%E5%A5%B3%E7%8E%8B%E6%89%80%E4%BD%BF%E7%94%A8%E7%9A%84%E9%BC%93%E7%B5%84%E5%B1%95%E7%A4%BA.docx#_ftnref1" name="_ftn1" title=""><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: Calibri;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-size: 10pt;">[1]</span></span><!--[endif]--></span></span></a><span lang="EN-US"> Joey Castillo</span></div>
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<a href="file:///D:/%E7%9B%A7%E7%9B%A7%E7%9A%84%E6%9D%B1%E8%A5%BF/%E7%BF%BB%E8%AD%AF/%E5%96%AC%E4%BC%8A%E5%8D%A1%E6%96%AF%E6%8F%90%E6%B4%9B%E5%9C%A8%E7%9F%B3%E5%99%A8%E6%99%82%E4%BB%A3%E5%A5%B3%E7%8E%8B%E6%89%80%E4%BD%BF%E7%94%A8%E7%9A%84%E9%BC%93%E7%B5%84%E5%B1%95%E7%A4%BA.docx#_ftnref2" name="_ftn2" title=""><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: Calibri;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-size: 10pt;">[2]</span></span><!--[endif]--></span></span></a><span lang="EN-US"> Queens of the Stone Age</span></div>
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<a href="file:///D:/%E7%9B%A7%E7%9B%A7%E7%9A%84%E6%9D%B1%E8%A5%BF/%E7%BF%BB%E8%AD%AF/%E5%96%AC%E4%BC%8A%E5%8D%A1%E6%96%AF%E6%8F%90%E6%B4%9B%E5%9C%A8%E7%9F%B3%E5%99%A8%E6%99%82%E4%BB%A3%E5%A5%B3%E7%8E%8B%E6%89%80%E4%BD%BF%E7%94%A8%E7%9A%84%E9%BC%93%E7%B5%84%E5%B1%95%E7%A4%BA.docx#_ftnref3" name="_ftn3" title=""><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: Calibri;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-size: 10pt;">[3]</span></span><!--[endif]--></span></span></a><span lang="EN-US"> Desert Rock</span></div>
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<a href="file:///D:/%E7%9B%A7%E7%9B%A7%E7%9A%84%E6%9D%B1%E8%A5%BF/%E7%BF%BB%E8%AD%AF/%E5%96%AC%E4%BC%8A%E5%8D%A1%E6%96%AF%E6%8F%90%E6%B4%9B%E5%9C%A8%E7%9F%B3%E5%99%A8%E6%99%82%E4%BB%A3%E5%A5%B3%E7%8E%8B%E6%89%80%E4%BD%BF%E7%94%A8%E7%9A%84%E9%BC%93%E7%B5%84%E5%B1%95%E7%A4%BA.docx#_ftnref4" name="_ftn4" title=""><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: Calibri;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-size: 10pt;">[4]</span></span><!--[endif]--></span></span></a><span lang="EN-US"> Stoner Rock</span></div>
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<a href="file:///D:/%E7%9B%A7%E7%9B%A7%E7%9A%84%E6%9D%B1%E8%A5%BF/%E7%BF%BB%E8%AD%AF/%E5%96%AC%E4%BC%8A%E5%8D%A1%E6%96%AF%E6%8F%90%E6%B4%9B%E5%9C%A8%E7%9F%B3%E5%99%A8%E6%99%82%E4%BB%A3%E5%A5%B3%E7%8E%8B%E6%89%80%E4%BD%BF%E7%94%A8%E7%9A%84%E9%BC%93%E7%B5%84%E5%B1%95%E7%A4%BA.docx#_ftnref5" name="_ftn5" title=""><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: Calibri;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-size: 10pt;">[5]</span></span><!--[endif]--></span></span></a><span lang="EN-US"> Josh Homme</span></div>
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<a href="file:///D:/%E7%9B%A7%E7%9B%A7%E7%9A%84%E6%9D%B1%E8%A5%BF/%E7%BF%BB%E8%AD%AF/%E5%96%AC%E4%BC%8A%E5%8D%A1%E6%96%AF%E6%8F%90%E6%B4%9B%E5%9C%A8%E7%9F%B3%E5%99%A8%E6%99%82%E4%BB%A3%E5%A5%B3%E7%8E%8B%E6%89%80%E4%BD%BF%E7%94%A8%E7%9A%84%E9%BC%93%E7%B5%84%E5%B1%95%E7%A4%BA.docx#_ftnref6" name="_ftn6" title=""><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: Calibri;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-size: 10pt;">[6]</span></span><!--[endif]--></span></span></a><span lang="EN-US"> Troy Van Leeuwen</span></div>
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<a href="file:///D:/%E7%9B%A7%E7%9B%A7%E7%9A%84%E6%9D%B1%E8%A5%BF/%E7%BF%BB%E8%AD%AF/%E5%96%AC%E4%BC%8A%E5%8D%A1%E6%96%AF%E6%8F%90%E6%B4%9B%E5%9C%A8%E7%9F%B3%E5%99%A8%E6%99%82%E4%BB%A3%E5%A5%B3%E7%8E%8B%E6%89%80%E4%BD%BF%E7%94%A8%E7%9A%84%E9%BC%93%E7%B5%84%E5%B1%95%E7%A4%BA.docx#_ftnref7" name="_ftn7" title=""><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: Calibri;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-size: 10pt;">[7]</span></span><!--[endif]--></span></span></a><span lang="EN-US"> Eagles of Death Metal</span></div>
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<a href="file:///D:/%E7%9B%A7%E7%9B%A7%E7%9A%84%E6%9D%B1%E8%A5%BF/%E7%BF%BB%E8%AD%AF/%E5%96%AC%E4%BC%8A%E5%8D%A1%E6%96%AF%E6%8F%90%E6%B4%9B%E5%9C%A8%E7%9F%B3%E5%99%A8%E6%99%82%E4%BB%A3%E5%A5%B3%E7%8E%8B%E6%89%80%E4%BD%BF%E7%94%A8%E7%9A%84%E9%BC%93%E7%B5%84%E5%B1%95%E7%A4%BA.docx#_ftnref8" name="_ftn8" title=""><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: Calibri;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-size: 10pt;">[8]</span></span><!--[endif]--></span></span></a><span lang="EN-US"> Dave Grohl</span></div>
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<a href="file:///D:/%E7%9B%A7%E7%9B%A7%E7%9A%84%E6%9D%B1%E8%A5%BF/%E7%BF%BB%E8%AD%AF/%E5%96%AC%E4%BC%8A%E5%8D%A1%E6%96%AF%E6%8F%90%E6%B4%9B%E5%9C%A8%E7%9F%B3%E5%99%A8%E6%99%82%E4%BB%A3%E5%A5%B3%E7%8E%8B%E6%89%80%E4%BD%BF%E7%94%A8%E7%9A%84%E9%BC%93%E7%B5%84%E5%B1%95%E7%A4%BA.docx#_ftnref9" name="_ftn9" title=""><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: Calibri;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-size: 10pt;">[9]</span></span><!--[endif]--></span></span></a><span lang="EN-US"> Lullabies to Paralyze</span></div>
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<a href="file:///D:/%E7%9B%A7%E7%9B%A7%E7%9A%84%E6%9D%B1%E8%A5%BF/%E7%BF%BB%E8%AD%AF/%E5%96%AC%E4%BC%8A%E5%8D%A1%E6%96%AF%E6%8F%90%E6%B4%9B%E5%9C%A8%E7%9F%B3%E5%99%A8%E6%99%82%E4%BB%A3%E5%A5%B3%E7%8E%8B%E6%89%80%E4%BD%BF%E7%94%A8%E7%9A%84%E9%BC%93%E7%B5%84%E5%B1%95%E7%A4%BA.docx#_ftnref10" name="_ftn10" title=""><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: Calibri;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-size: 10pt;">[10]</span></span><!--[endif]--></span></span></a><span lang="EN-US"> Era Vulgaris</span></div>
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<a href="file:///D:/%E7%9B%A7%E7%9B%A7%E7%9A%84%E6%9D%B1%E8%A5%BF/%E7%BF%BB%E8%AD%AF/%E5%96%AC%E4%BC%8A%E5%8D%A1%E6%96%AF%E6%8F%90%E6%B4%9B%E5%9C%A8%E7%9F%B3%E5%99%A8%E6%99%82%E4%BB%A3%E5%A5%B3%E7%8E%8B%E6%89%80%E4%BD%BF%E7%94%A8%E7%9A%84%E9%BC%93%E7%B5%84%E5%B1%95%E7%A4%BA.docx#_ftnref11" name="_ftn11" title=""><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: Calibri;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-size: 10pt;">[11]</span></span><!--[endif]--></span></span></a><span lang="EN-US"> Trashy</span></div>
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<a href="file:///D:/%E7%9B%A7%E7%9B%A7%E7%9A%84%E6%9D%B1%E8%A5%BF/%E7%BF%BB%E8%AD%AF/%E5%96%AC%E4%BC%8A%E5%8D%A1%E6%96%AF%E6%8F%90%E6%B4%9B%E5%9C%A8%E7%9F%B3%E5%99%A8%E6%99%82%E4%BB%A3%E5%A5%B3%E7%8E%8B%E6%89%80%E4%BD%BF%E7%94%A8%E7%9A%84%E9%BC%93%E7%B5%84%E5%B1%95%E7%A4%BA.docx#_ftnref12" name="_ftn12" title=""><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: Calibri;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-size: 10pt;">[12]</span></span><!--[endif]--></span></span></a><span lang="EN-US"> Hutch</span></div>
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<a href="file:///D:/%E7%9B%A7%E7%9B%A7%E7%9A%84%E6%9D%B1%E8%A5%BF/%E7%BF%BB%E8%AD%AF/%E5%96%AC%E4%BC%8A%E5%8D%A1%E6%96%AF%E6%8F%90%E6%B4%9B%E5%9C%A8%E7%9F%B3%E5%99%A8%E6%99%82%E4%BB%A3%E5%A5%B3%E7%8E%8B%E6%89%80%E4%BD%BF%E7%94%A8%E7%9A%84%E9%BC%93%E7%B5%84%E5%B1%95%E7%A4%BA.docx#_ftnref13" name="_ftn13" title=""><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: Calibri;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-size: 10pt;">[13]</span></span><!--[endif]--></span></span></a><span lang="EN-US"> Chuck Biscuit</span></div>
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<a href="file:///D:/%E7%9B%A7%E7%9B%A7%E7%9A%84%E6%9D%B1%E8%A5%BF/%E7%BF%BB%E8%AD%AF/%E5%96%AC%E4%BC%8A%E5%8D%A1%E6%96%AF%E6%8F%90%E6%B4%9B%E5%9C%A8%E7%9F%B3%E5%99%A8%E6%99%82%E4%BB%A3%E5%A5%B3%E7%8E%8B%E6%89%80%E4%BD%BF%E7%94%A8%E7%9A%84%E9%BC%93%E7%B5%84%E5%B1%95%E7%A4%BA.docx#_ftnref14" name="_ftn14" title=""><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: Calibri;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-size: 10pt;">[14]</span></span><!--[endif]--></span></span></a><span lang="EN-US"> Less is more</span></div>
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<a href="file:///D:/%E7%9B%A7%E7%9B%A7%E7%9A%84%E6%9D%B1%E8%A5%BF/%E7%BF%BB%E8%AD%AF/%E5%96%AC%E4%BC%8A%E5%8D%A1%E6%96%AF%E6%8F%90%E6%B4%9B%E5%9C%A8%E7%9F%B3%E5%99%A8%E6%99%82%E4%BB%A3%E5%A5%B3%E7%8E%8B%E6%89%80%E4%BD%BF%E7%94%A8%E7%9A%84%E9%BC%93%E7%B5%84%E5%B1%95%E7%A4%BA.docx#_ftnref15" name="_ftn15" title=""><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: Calibri;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-size: 10pt;">[15]</span></span><!--[endif]--></span></span></a><span lang="EN-US"> In-your-face</span></div>
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<a href="file:///D:/%E7%9B%A7%E7%9B%A7%E7%9A%84%E6%9D%B1%E8%A5%BF/%E7%BF%BB%E8%AD%AF/%E5%96%AC%E4%BC%8A%E5%8D%A1%E6%96%AF%E6%8F%90%E6%B4%9B%E5%9C%A8%E7%9F%B3%E5%99%A8%E6%99%82%E4%BB%A3%E5%A5%B3%E7%8E%8B%E6%89%80%E4%BD%BF%E7%94%A8%E7%9A%84%E9%BC%93%E7%B5%84%E5%B1%95%E7%A4%BA.docx#_ftnref16" name="_ftn16" title=""><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: Calibri;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-size: 10pt;">[16]</span></span><!--[endif]--></span></span></a><span lang="EN-US"> The old-style concert toms</span></div>
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<a href="file:///D:/%E7%9B%A7%E7%9B%A7%E7%9A%84%E6%9D%B1%E8%A5%BF/%E7%BF%BB%E8%AD%AF/%E5%96%AC%E4%BC%8A%E5%8D%A1%E6%96%AF%E6%8F%90%E6%B4%9B%E5%9C%A8%E7%9F%B3%E5%99%A8%E6%99%82%E4%BB%A3%E5%A5%B3%E7%8E%8B%E6%89%80%E4%BD%BF%E7%94%A8%E7%9A%84%E9%BC%93%E7%B5%84%E5%B1%95%E7%A4%BA.docx#_ftnref17" name="_ftn17" title=""><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: Calibri;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-size: 10pt;">[17]</span></span><!--[endif]--></span></span></a><span lang="EN-US"> </span><span style="font-family: 新細明體; mso-ascii-font-family: Calibri; mso-hansi-font-family: Calibri;">弱音貼片的一種牌子,用來作為其代稱</span></div>
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<a href="file:///D:/%E7%9B%A7%E7%9B%A7%E7%9A%84%E6%9D%B1%E8%A5%BF/%E7%BF%BB%E8%AD%AF/%E5%96%AC%E4%BC%8A%E5%8D%A1%E6%96%AF%E6%8F%90%E6%B4%9B%E5%9C%A8%E7%9F%B3%E5%99%A8%E6%99%82%E4%BB%A3%E5%A5%B3%E7%8E%8B%E6%89%80%E4%BD%BF%E7%94%A8%E7%9A%84%E9%BC%93%E7%B5%84%E5%B1%95%E7%A4%BA.docx#_ftnref18" name="_ftn18" title=""><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: Calibri;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-size: 10pt;">[18]</span></span><!--[endif]--></span></span></a><span lang="EN-US"> ring</span></div>
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<a href="file:///D:/%E7%9B%A7%E7%9B%A7%E7%9A%84%E6%9D%B1%E8%A5%BF/%E7%BF%BB%E8%AD%AF/%E5%96%AC%E4%BC%8A%E5%8D%A1%E6%96%AF%E6%8F%90%E6%B4%9B%E5%9C%A8%E7%9F%B3%E5%99%A8%E6%99%82%E4%BB%A3%E5%A5%B3%E7%8E%8B%E6%89%80%E4%BD%BF%E7%94%A8%E7%9A%84%E9%BC%93%E7%B5%84%E5%B1%95%E7%A4%BA.docx#_ftnref19" name="_ftn19" title=""><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: Calibri;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-size: 10pt;">[19]</span></span><!--[endif]--></span></span></a><span lang="EN-US"> Guitar and drum-driven</span></div>
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<a href="file:///D:/%E7%9B%A7%E7%9B%A7%E7%9A%84%E6%9D%B1%E8%A5%BF/%E7%BF%BB%E8%AD%AF/%E5%96%AC%E4%BC%8A%E5%8D%A1%E6%96%AF%E6%8F%90%E6%B4%9B%E5%9C%A8%E7%9F%B3%E5%99%A8%E6%99%82%E4%BB%A3%E5%A5%B3%E7%8E%8B%E6%89%80%E4%BD%BF%E7%94%A8%E7%9A%84%E9%BC%93%E7%B5%84%E5%B1%95%E7%A4%BA.docx#_ftnref21" name="_ftn21" title=""><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: Calibri;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-size: 10pt;">[21]</span></span><!--[endif]--></span></span></a><span lang="EN-US"> Turning things around</span></div>
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Anonymoushttp://www.blogger.com/profile/06377922510595008070noreply@blogger.com0tag:blogger.com,1999:blog-6021576624325993297.post-54289960165541598762012-09-19T05:09:00.000-07:002013-10-03T01:28:14.251-07:00讓DI和麥克風的相位相稱<br />
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<b><span style="font-family: 新細明體; font-size: 14.0pt; mso-ascii-font-family: Arial; mso-bidi-font-family: Arial; mso-font-kerning: 0pt; mso-hansi-font-family: Arial;">克雷格.安德頓</span></b><b><span style="font-family: 新細明體; font-size: 14.0pt; mso-ascii-font-family: Arial; mso-bidi-font-family: Arial; mso-font-kerning: 0pt; mso-hansi-font-family: Arial;">告訴你如何得到混合</span></b><b><span lang="EN-US" style="font-family: Arial; font-size: 14.0pt; mso-font-kerning: 0pt;">DI</span></b><b><span style="font-family: 新細明體; font-size: 14.0pt; mso-ascii-font-family: Arial; mso-bidi-font-family: Arial; mso-font-kerning: 0pt; mso-hansi-font-family: Arial;">和麥克風訊號的最佳成效。</span></b></div>
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<span style="font-family: 新細明體;">錄貝斯有兩個主要的方法</span><span style="font-family: 新細明體;">:用麥克風從音箱上收音,音色會因音箱和喇叭的配對而不同;還有直接錄進去,透過<span lang="EN-US">DI</span>或其他的介面,能避開音箱,而將樂器的訊號直接錄進你的混音器或多軌錄音座,可以得到比較乾淨的聲音。</span></div>
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為了得到這兩種效果,有些工程師會尋求同時使用這兩種方式的做法。問題是麥克風收到的訊號總是比<span lang="EN-US">DI</span>的訊號還稍微慢了些。因為聲音透過空氣,從音箱到麥克風的傳遞時間所造成的時間差<span lang="EN-US">—</span>接近約一毫秒的傳遞時間,這樣的時間延遲造成這兩軌相似的訊號有了相位的差異。所以將它們混在一起,會因為反射音相位、聲波起伏的不同,而造成訊號衰減。<br />
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好消息是,你可以將這延遲抵銷掉,好去維持聲音的強度。更棒的是,不論是錄音時或錄音後,都有方法可以達成目的。<br />
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<b><span lang="EN-US" style="font-family: Arial; font-size: 14.0pt;"> </span></b><b><span style="font-size: 14.0pt; mso-ascii-font-family: Arial; mso-bidi-font-family: Arial; mso-hansi-font-family: Arial;">在錄音時做相位相稱</span></b><span lang="EN-US" style="font-size: 14.0pt;"><o:p></o:p></span></div>
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如果你想在錄音時讓<span lang="EN-US" style="font-family: Arial;">DI</span>和<span lang="EN-US" style="font-family: Arial;">Mic</span>收到的訊號相稱,為了配合訊號比較慢的麥克風收音,最簡單的解決辦法就是人工延遲<span lang="EN-US" style="font-family: Arial;">DI</span>的訊號。外接延遲效果器是一種選擇,但是你千萬不能使用任何舊式的機器。這樣說吧,你最好是用一台有良好解析度的延遲效果器。排除掉任何的類比式延遲器,因為它們通常不能做低於毫秒以下的延遲。再來,數位延遲的處理設定基本上要設在低於毫秒一半,甚至是設在機器所擁有的最小延遲時間。這樣一來,如果麥克風是擺設在離音箱單體六英呎處或更遠的地方,機器才能夠處理;有時候麥克風甚至會被架在離音箱單體只有幾吋的位置。<br />
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如果你想要一個校正麥克風跟<span lang="EN-US" style="font-family: Arial;">DI</span>訊號的最佳方法,第一步就是把他們的訊號分到不同的音軌上。將兩個音軌<span lang="EN-US" style="font-family: Arial;">PAN</span>到中間,這樣子做,會讓檢視反射音相位的問題可以比較容易發現。如果你是用外接延遲效果器的話,把訊號弄到直接途徑的嵌入點上,或是在<span lang="EN-US" style="font-family: Arial;">DI</span>跟混音器之間。而另一個相似的做法,是使用數位混音器的內建效果器來處理。雖然,將兩個音軌都分別接上延遲器的功效會來得更好(麥克風音軌上的的延遲時間要調成零),這是為了要避免程式所造成的處理上的延遲。<span lang="EN-US" style="font-family: Arial;"> <o:p></o:p></span><br />
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只要你這麼做了,接下來就叫貝斯手用平均的音量來持續地彈奏一條弦。為了簡化這個調整音量的過程,或是避免貝斯手感到無聊;你可以暫時把樂器導線拔掉,用一個低頻率的合成器訊號來代替,把低頻等化器用大約五赫茲的範圍來調整<span lang="EN-US" style="font-family: Arial;">—</span>你也許需要把曲調給錄下來,還有調整振幅和波封濾過器,為了避免衰減的聲波過長。<span lang="EN-US" style="font-family: Arial;"><o:p></o:p></span><br />
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<iframe allowfullscreen='allowfullscreen' webkitallowfullscreen='webkitallowfullscreen' mozallowfullscreen='mozallowfullscreen' width='320' height='266' src='https://www.youtube.com/embed/8CEDwn9JTiE?feature=player_embedded' frameborder='0'></iframe><span style="font-family: 新細明體; mso-ascii-font-family: Arial; mso-bidi-font-family: Arial; mso-bidi-font-size: 12.0pt; mso-font-kerning: 0pt; mso-hansi-font-family: Arial;">只要你得到了來自這兩個音軌的訊號,輪流獨自播放它們,並將他們設定在一樣的音量。然後,不時用混音器上的反相鈕來翻轉</span><span lang="EN-US" style="font-family: Arial; mso-bidi-font-size: 12.0pt; mso-font-kerning: 0pt;">DI</span><span style="font-family: 新細明體; mso-ascii-font-family: Arial; mso-bidi-font-family: Arial; mso-bidi-font-size: 12.0pt; mso-font-kerning: 0pt; mso-hansi-font-family: Arial;">的反相聲波。現在是做實驗的時刻了,來測試看看</span><span lang="EN-US" style="font-family: Arial; mso-bidi-font-size: 12.0pt; mso-font-kerning: 0pt;">DI</span><span style="font-family: 新細明體; mso-ascii-font-family: Arial; mso-bidi-font-family: Arial; mso-bidi-font-size: 12.0pt; mso-font-kerning: 0pt; mso-hansi-font-family: Arial;">音軌的延遲時間設定。從最小的延遲量開始,盡可能用最小的量來慢慢地增加延遲。同時間,麥克風和</span><span lang="EN-US" style="font-family: Arial; mso-bidi-font-size: 12.0pt; mso-font-kerning: 0pt;">DI</span><span style="font-family: 新細明體; mso-ascii-font-family: Arial; mso-bidi-font-family: Arial; mso-bidi-font-size: 12.0pt; mso-font-kerning: 0pt; mso-hansi-font-family: Arial;">訊號混合的總音量會開始下降,然後你就可以試著找出讓音量掉最多的設定。</span><span lang="EN-US" style="font-family: Arial; mso-bidi-font-size: 12.0pt; mso-font-kerning: 0pt;"><o:p></o:p></span></div>
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<span style="font-family: 新細明體;">如果你的音量沒有掉,那可能是你的延遲效果器的延遲時間不夠短,或是解析度不夠好。這樣的話,建議你最好把麥克風跟</span><span lang="EN-US" style="font-family: Arial;">DI</span><span style="font-family: 新細明體;">的訊號錄到個別獨立的音軌上,然後試著去解決混音中反射音相位的問題。音量不掉也有可能是接線導致反相的問題,但那就是另外一回事了…</span></div>
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<span style="font-family: 新細明體; mso-ascii-font-family: Arial; mso-bidi-font-family: Arial; mso-bidi-font-size: 12.0pt; mso-font-kerning: 0pt; mso-hansi-font-family: Arial;">找到音量的最小值後,試著用更低的音量和最小的動作,來移動麥克風跟音箱單體間的遠近</span><span lang="EN-US" style="font-family: Arial; mso-bidi-font-size: 12.0pt; mso-font-kerning: 0pt;">—</span><span style="font-family: 新細明體; mso-ascii-font-family: Arial; mso-bidi-font-family: Arial; mso-bidi-font-size: 12.0pt; mso-font-kerning: 0pt; mso-hansi-font-family: Arial;">用四分之一英吋為單位來執行是最安全的。如果你沒有別人可以幫你看你移動麥克風時的音量,也可以在每次移動後,用手寫的方式記下音量的單位,好讓動作保持在合理範圍裡。</span><span lang="EN-US" style="font-family: 新細明體; mso-bidi-font-family: 新細明體; mso-bidi-font-size: 12.0pt; mso-font-kerning: 0pt; mso-hansi-font-family: Calibri;"><o:p></o:p></span></div>
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<span style="font-family: 新細明體; mso-ascii-font-family: Arial; mso-bidi-font-family: Arial; mso-bidi-font-size: 12.0pt; mso-font-kerning: 0pt; mso-hansi-font-family: Arial;">如果你參照這些指示來做,現在你麥克風訊號中的延遲效果,應該幾乎是完全抵銷的,所以現在是去除</span><span lang="EN-US" style="font-family: Arial; mso-bidi-font-size: 12.0pt; mso-font-kerning: 0pt;">DI</span><span style="font-family: 新細明體; mso-ascii-font-family: Arial; mso-bidi-font-family: Arial; mso-bidi-font-size: 12.0pt; mso-font-kerning: 0pt; mso-hansi-font-family: Arial;">音軌上的變動的時刻了。線在這兩軌訊號的相位應該是契合的了,而且訊號應該比之前還要強。這全是適當地調整音軌之間平衡的功勞。</span><span lang="EN-US" style="font-family: 新細明體; mso-bidi-font-family: 新細明體; mso-bidi-font-size: 12.0pt; mso-font-kerning: 0pt; mso-hansi-font-family: Calibri;"><o:p></o:p></span></div>
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<span lang="EN-US"> </span><span style="font-family: 新細明體;">如果你沒在錄音的時候做適當的延遲時</span><span style="font-family: 新細明體;">,那你就需要把麥克風跟<span lang="EN-US">DI</span>的訊號分別錄到不同的音軌,你才有校正訊號的機會。不管你是用類比錄音座或用數位錄音座,你會需要選擇相同性能的延遲效果器,來配合錄音的方式。有些數位錄音座,尤其是很受歡迎的</span><span lang="EN-US" style="font-family: Arial;">Alesis ADATs</span><span style="font-family: 新細明體;">,提供一些功能去延遲各個獨立音軌,可以相當簡單地做修正,並且不需要外部連接的的延遲效果器。</span></div>
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<span style="font-family: 新細明體; mso-ascii-font-family: Calibri; mso-hansi-font-family: Calibri;">至於使用硬碟錄音座和其他隨機存取的錄音座的話</span><span style="font-family: 新細明體;">,他們的波型顯示跟非破壞性剪輯功能,可以用來代替用延遲效果來調整聲音的方法。你所要做的就是,將聲波顯示視窗放得夠大,讓你可以清楚地看見兩軌聲音的起始波;你會看見麥克風收音的訊號比<span lang="EN-US">DI</span>的訊號稍微慢一點。簡單地使用你自己器材的剪輯功能來校正麥克風和<span lang="EN-US">DI</span>的訊號。</span></div>
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<span style="color: #666666; font-size: x-small;"><span style="font-family: 新細明體;">※請參照完整本</span><span style="font-family: 新細明體; mso-ascii-font-family: Calibri; mso-hansi-font-family: Calibri;">文: </span><span lang="EN-US">http://www.soundonsound.com/sos/jul01/articles/micdi.asp</span></span></div>
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<span style="color: #666666; font-size: x-small;"><span style="font-family: Calibri;">Craig Anderton</span><span style="font-family: 新細明體; mso-ascii-font-family: Calibri; mso-hansi-font-family: Calibri;">是位美國的搖滾</span><span lang="EN-US">/</span><span style="font-family: 新細明體; mso-ascii-font-family: Calibri; mso-hansi-font-family: Calibri;">電子音樂家,資深的錄音工程師,聲音設計師,也是位知名音樂製作專欄作家,曾出版多本音樂製作書籍。</span><span lang="EN-US">http://www.craiganderton.com</span></span></div>
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