#68

Focusrite 套野抵買，由其跟 ableton軟件 (limit 8 track). 但耳機當送算了。

發燒友會認為立體聲效果係錄出嚟---以前無知地以為係
錄音師會認為立體聲效果係執出嚟---唔同咪都唔同, SM58 同 SM57都唔同, 擺位又超大影響
混音師會認為立體聲效果係做出嚟---原來 mixer有 "Pan'制!!!唔同 tracks都係咁入 mixer。Hi唔Hi Fi就有處理
工程師會認為立體聲效果係計出嚟---連最基本knowledge都冇，唔識 comment


最後修改時間: 2020-10-21 20:12:26

發燒友會認為立體聲效果係錄出嚟，
錄音師會認為立體聲效果係執出嚟，
混音師會認為立體聲效果係做出嚟，
工程師會認為立體聲效果係計出嚟。

#80

絕對同意，而且真係唔可以用"玩HiFi"去睇 pro audio.做了N年所謂"音響控制員"!!冇人教，用自己"LoFi" understanding, 以為較大細聲，adjust high/mid/low, 搞 inputs / outputs。直至幾前前上堂跟 pro學基本音響控制先知到 mixer點用，極之慚愧!!!起碼宜家識 set gain然後先至郁 fader。上完堂後就覺得錄音/studio/live concert, 收音/mic setting......好多好多學問，亦都好玩。

我都覺得錄音可以係一個好博大精深嘅 topic，實制操作經驗與理論兩者都同樣重要。

且看樓主今回買嘅裝備、錄音及重播嘅方式能否達到佢心目中嘅效果及期望。

#78

多謝長長影子兄 sharings. 做了業餘音響控制員多年.幾年前上個十星期堂先開始認識mixer, 咪的操作及原理,係幼稚園低B班level, 有講3:1.你 Shure 的link 資料正,我都唔知cardioid 咪同omnidirectional咪的optimum distance factor. 通常講台用SM58或 condenser咪之類去就梗係cardioid pattern.耳仔或睇住Audacity 調校就收貨.收錄音樂又係另一門大而深的學問.

最後修改時間: 2020-10-19 12:06:29

用 cardioid mic 有啲 practical 嘢例如距離等等錄音時要注意，到時試咗睇吓達唔達到你預期嘅效果先知。

https://www.teachmeaudio.com/recording/microphones/recording-distance

https://service.shure.com/s/article/what-is-the-distance-factor-of-a-microphone?language=en_US

https://service.shure.com/s/article/how-far-away-will-my-microphone-pick-up?language=en_US

長長兄你不如講下用呢隻unidirectional咪收音有乜問題?因為有啲師兄都有用緊。如果唔用呢種咪，噉你建議用邊一種咪?

因爲我都可以齋買機唔買套餐。


最後修改時間: 2020-10-18 22:55:48

睇返UR22C嘅輸入線路，似乎只係響HI-Z輸入狀態嘅時候輸入幅度先至要求比較低，噉就可能免去搞個衰減器嘅問題。



最後修改時間: 2020-10-18 22:44:26

都可以咁試，不過咁試唔出啲乜嘢出嚟。

佢分離式嘅設計都係有個好處，就係可以直接由Line level輸入轉做file，唔使再經喇叭出再收音，係另一個玩法。可能作線材比試嘅時候，更加容易分別出互相之間嘅些微變化。

Unbalanced line i/p +9dBv 如果從DAC輸出，可能要適當衰減先可以輸入嗰部機。



最後修改時間: 2020-10-18 22:26:42

喱啲我明，我讀書時學過設計 microphone，但問題係你 get 唔 get 到用喱支 condenser cardioid 嚟錄你套 hi-fi 時會遇到啲咩問題? 不過咁抵，買咗返嚟試咗先，之後遇到啲咩問題先至再討論。

下次唔係貼得咁辛苦，放條 link 落嚟大家自己睇就得喇。
https://www.musicianonamission.com/types-of-microphones/

最後修改時間: 2020-10-18 21:59:31

其實之前睇啱嗰隻H4N pro，佢支咪嘅特性都係Unidirectional，所以應該冇問題。問題反而係佢得一支咪，如果要錄立體聲即是話要買多一支咪，呢個就真係問題。同埋呢隻大震膜，睇返佢以下嘅形容就似乎極高頻可能會有衰減，但係靈敏度同埋中低頻可能會比較理想。

Condenser microphones are the rich, frilly cousins of dynamics.

They're more complicated than their dynamic counterparts, so they're more fragile and expensive (though they have gotten much, much cheaper than they were in the past).

That said, condenser microphones are much clearer in comparison to dynamics. They are more balanced, accurate, and “sweeter” than their powerful counterparts. They're also much more sensitive, which makes them perfect for softer and brighter sounds.

As a studio microphone, they're very powerful.

Condensers can't be used on quite as many sound sources as dynamics. The ones they can be used on, though, sound much better because of them. Condensers pride themselves on being able to make sounds even better than they were before.

Because of their top-end bump, condensers give extra “air” to what they pick up, making them sound less muffled than a dynamic would.

They also have more polar patterns than a dynamic would, making them more versatile for creative miking techniques. Many condenser mics have switches that change their patterns between:

Unidirectional (or cardioid), which you saw above…



Bidirectional, which picks up sound from the front AND the back, while canceling out sounds on the sides…



And Omnidirectional, which picks up sound from all over, canceling nothing.



These help to make condensers a versatile mic in their own right.

There are two different types of condenser microphones, which can be swapped out depending on the instruments.

The first is the Large Diaphragm Condenser (like the Audio Technica AT2035 and the se2200). These pick up more lows and low mids, but a little less of the highs. These are great on full-bodied instruments.

audio-technica microphone
And there is the Small Diaphragm Condenser (like the Rode NT5 or the Shure SM81). These pick up less lows and low mids, but add a lot to the top end. These are also known as pencil condensers. They're better for capturing brighter instruments.

small diaphragm pencil condenser microphones

Both would be a great addition to your mic collection! All in all, condensers are great mics for home studio recording.



最後修改時間: 2020-10-18 22:00:42

喱個價OK抵用喇，但佢個 package 跟嗰支係 cardioid mic 嚟喎。

最後修改時間: 2020-10-18 20:53:44

哈哈，唔好意思，冇做網紅好耐，佢汁左都唔知，真慘，上次經過都幾年前了。你講那套裝，外面都有賣，好似係2050，未用過，唔知效果如何。

mcc師兄好介紹，去到長島酒店問長島小姐間鋪頭響邊度，佢嘅答覆係呢間公司已經煙消雲散咗一段長時間，我當堂O咗嘴。

噉唯有去東利公司睇睇，不過講真尖沙咀嗰間就真係非常大啲嘢比較齊全。原來直上三樓ZOOM差不多所有model都有展示出嚟，當場有個鬼佬買咗部H5。我望下望下竟然俾我望到一啲抵食夾大件嘅套裝，不如大家比比意見。

依部取樣頻率可以去到192kHz



呢部仲厲害內置DSP，可錄32bit


最後修改時間: 2020-10-18 18:59:54

試吓 share 一段用手機拍嘅 video。

https://www.dropbox.com/s/zy4r40m1b1yulhd/%E5%B0%8F%E9%A2%A8%E6%B3%A2.MOV?dl=0

市面上隻隻耳機都唔同聲畀你唔同音色嘅選擇，如果用唔一樣嘅耳機或經同樣修正，咁就會你可能聽到高、低頻比例同原先預期唔一致嘅問題，視乎想做到有幾嚴謹。 不過我喱幾條 track 都預咗唔係用一樣嘅耳機，只係約略做少少修正。 一般 diffuse-field 耳機唔算貴，經修正後嘅 Sennheiser HD600 都已經好夠用，我自己就用 660s 易推啲。

"唔似從喇叭出聲再響個空間嗰度收錄，感覺好不一樣。"
＜- 我嘅空間有做聲學處理，例如三個 active basstrap，殘響時間控制喺 100 Hz ~0.3 s, 200 Hz 以上 ~0.2 s，錄出嚟的確唔似一般有低頻駐波嘅空間。 一方面係帶出錄音時空間嘅影響，如果你唔係用耳機重播，用喇叭重播會又加多次空間嘅影響。 不過漸漸明白到兄台嘅要求其實都係冇乜所謂。

"網上分享其實有埋影像會比較好" ＜- 我之前都有諗過錄埋畫面，但加咗好似冇乜用因為唔係映啲會郁嘅嘢，最多加張相，錄埋畫面又可能錄埋 projector 嘅風扇聲，而且個 cam 放喺頭頂諗落都好奇怪，不過主要原因係剩係聲錄成 flac 慳位啲放便 share。

Thx thx thx for those recording , but not yet go to Tom lee...thx thx

As busy with some toy

Have a nice day