現在的時間是 週六 7月 20, 2019 1:19 pm

所有顯示的時間為 UTC + 8 小時

發表新文章 回覆主題  [ 1 篇文章 ] 
發表人 內容
 文章主題 : 分享DaveHill的一段文章
文章發表於 : 週日 1月 10, 2010 1:59 am 
MidiMall 天王大首領
MidiMall 天王大首領

註冊時間: 週三 1月 16, 2002 2:30 am
文章: 13674
很偶然在Cranesong Avocet的說明書後面看到這段話,節錄給大家參考

Near Field Monitoring?
I wouldn’t master with near-field monitors, but I will mix with them. Near-field monitoring was devised
to reduce the effects of adverse room acoustics, but if your room acoustics are good, then “Mid-field”
or “Far-field” will provide a more accurate depth and spatial picture. There must be an obstruction-free
path between the monitors and the listener. What is the biggest impediment to good sound
reproductionin a recording studio? The console. No matter how you position the monitors, the
console’s surface reflects sound back to your ears, which causes comb filtering, the same tunnel
effect you get if you put your hand in front of your face and talk into it. Or if you wear a wide-brimmed
hat, which produces an irregular dip around 2 kHz. It amazes me that some engineers aren’t aware of
the deterioration caused by a simple hat brim! Similarly, I shudder when I see a professional
loudspeaker sitting on a shelf inches back from the edge, which compromises the reproduction. The
acoustic compromise of the console can only be minimized, not eliminated, by positioning the
loudspeakers and console to increase the ratio of the direct to reflected path. Lou Burroughs’ 3 to 1
rule can be applied to acoustic reflections as well as microphones, meaning that the reflected path to
the ear should ideally be at least 3 times the distance of the direct path.

Paul Fang

 個人資料 E-mail  
顯示文章 :  排序  
發表新文章 回覆主題  [ 1 篇文章 ] 

所有顯示的時間為 UTC + 8 小時


正在瀏覽這個版面的使用者:沒有註冊會員 和 1 位訪客

不能 在這個版面發表主題
不能 在這個版面回覆主題
不能 在這個版面編輯您的文章
不能 在這個版面刪除您的文章
不能 在這個版面上傳附加檔案

前往 :  
Powered by phpBB © 2000, 2002, 2005, 2007 phpBB Group
正體中文語系由 竹貓星球 維護製作