NuEarWave6音箱VevikMaddala聽音評(píng)測

美國音樂創(chuàng)作家VivekMaddala〔以下依據(jù)作者原文編譯〕1：VivekMaddalaVivekMaddalaisaninternationalaward-winningcomposerforfilm,TV,theater,anddance. Heisalsoamulti-instrumentalperformerandrecordproducerwhohasworkedwitharangeofartistsfromaroundtheworld. Findhimonthewebat“://maddala/“maddalaVivekMaddala是位獲得過國際大獎(jiǎng)的為電影、電視、戲劇、舞蹈制作編曲的作曲家〔如1〕。也是位精通多種樂器的演奏家,同世界各地的藝術(shù)家都有合作的錄音制作人。請(qǐng)Vivek的個(gè)人網(wǎng)頁了解更多2：NuEarWave63：Vivek在工作室Asafilmmusicscorecomposerandrecord-albumproducer,Ifindmyselfwearingmanydifferent“hats”inthecourseofcompletingaproject—composingthemes,designingsoundscapes,orchestrating,playinginstruments,recordingperformances,andmixingandmasteringtherecordings. Thesevariedfunctionshaveonecommonfeature: Iamconstantlylisteningattentivelytotheoutputofmystudioloudspeakers(sometimesupto16hoursaday)tomonitorthequalityofeachstageoftheproject.作為一名電影配樂作曲家和專輯錄音制作人,在工程完成期間我覺察自己扮演著很多不同的角色——主旋律創(chuàng)作,管弦樂創(chuàng)作,聲景設(shè)計(jì),樂器演奏,現(xiàn)場錄音,不同的工作都具有一個(gè)共同的特點(diǎn),那就是我必需長時(shí)間持續(xù)聚精會(huì)神地傾聽我錄音棚監(jiān)聽音箱的輸出(有時(shí)候一天聽16個(gè)小時(shí)),從而監(jiān)聽整個(gè)工程當(dāng)中每個(gè)階段的聲音質(zhì)量。Ofcourse,thisraisesthequestion:howgooddothestudioloudspeakersneedtobe? Theaphorismaboutthequalityofacarpenter’sworkbeinglimitedbyhistoolshasparallelshere. WhatIhearcomingoutofmyloudspeakersistheonlyinformationIhavewithwhichtomakejudgmentcallsabouttonalandlevelbalance,dramaticeffectivenessofmusictopicture,etc. Inmystudio,Ihaveemployedarangeofhigh-qualityreferencemonitorstoensureIhavethepropertoolstomakeaccuratedecisions—fromspeakersmadebyDynaudio,tooriginalV-seriesKRK,toboutiquedesigns.Iamcontinuallysearchingfornewtoolstohelpmedomywork…andtothisend,IrecentlyacquiredapairofNuEarWave6poweredstudiomonitors.明顯,這就會(huì)產(chǎn)生一個(gè)問題,到底錄音室承受的監(jiān)聽音箱要多好才行?這或許就印證了“工欲善其事,必先利其器”那句格言。我從個(gè)人監(jiān)聽音箱里所聽到的東西就是我能把握的推斷聲調(diào)、聲壓平衡性、劇本影音協(xié)作效果等方面的唯一信息。在我個(gè)人的錄音工作室里,我已經(jīng)承受了一系列的高品質(zhì)參考級(jí)監(jiān)聽音箱來保證自己能擁有適宜的工具,做出精確的推斷打算—DynaudioKRKV系列音箱,我更好地完成工作的工具---為此,NuEarWave6有源監(jiān)聽音箱。4：Vivek在工作室TheWave6monitorsaredirect-fieldbi-ampedspeakerswith6.5-inchKevlarwoofersandafrontbass-reflexportthatremindsmevisuallyofKRK’sindustrialdesignforcompactstudiomonitors. Butthere’sasalientdifferencehere—bothvisuallyandsubstantively: insteadoftheexpecteddome(orinverteddome)tweeter,theWave6containsa2-square-inchvelocityribbonhigh-frequencytransducer.Alltheothermonitorsinmystudiocontainmoretraditionalpistonictweeters,sotheribbondesignontheWave6providesasubstantiallydifferentauralexperience.AsmuchasIrelyonmytraditionalloudspeakermonitorsforaccuratesoundreproduction,theWave6offersanaddedlevelofinformationbecausetheribbontweetersprovidebettertransientresponseandhigh-frequencyextensionoutto30kHz. Inthisregard,theWave6isanidealcomplementtothestandard-drivermodelsIhavebeenusinginmystudio(variouslycontainingsilk,aluminum,andKevlardometweeters)..這款Wave6監(jiān)聽音箱是直場雙功放驅(qū)動(dòng)設(shè)計(jì),承受了6.5英寸凱夫拉爾低音揚(yáng)聲器單元和前置回音孔。單從視覺上說,這種設(shè)計(jì)也讓我想起了KRK實(shí)際上兩者有著顯著的不同——不但從視覺上,也從實(shí)質(zhì)上:相對(duì)于我們常用的球頂或者反球頂高音,Wave6承受的是2聽音箱使用的均是傳統(tǒng)的活塞式高音,所以絲帶高音的承受帶給了我本質(zhì)上不一樣的聽覺體驗(yàn)。當(dāng)我越是依靠我傳統(tǒng)監(jiān)聽音箱來獵取準(zhǔn)確的聲音重現(xiàn)時(shí),Wave6就越能供給更進(jìn)一步的信息,由于絲帶高音有著更好的瞬態(tài)響應(yīng)而且高頻甚至能突破30KHz。在這點(diǎn)上,Wave6是對(duì)我目前所使用的常規(guī)高音音箱的抱負(fù)補(bǔ)充(常規(guī)高音包括蠶絲、鋁制和凱夫拉球頂式)。Inmystudio,IsetuptheWave6monitorsinastandard2-channelconfiguration,placingmyselfattheapexofanisoscelestrianglewiththespeakers(toed-inslightly),withtweetersatear-level. Themonitorscomewith24-bit/192-kHz-capableAES3andS/PDIFinputs,althoughIchosetousemytrustyRMEconvertersandgointotheWave6usingitsbalancedanaloginputs. Thereareseveralresponsecontourcontrolsonthebackpanelofthespeakers’chassis,including:“acousticspace”(tocounterbassbuildupwhenthespeakersareagainstawallorinacorner);LFcutoff,forusewithasubwoofer;andHFadjustment,whichadjuststhegainoftheHFamp. Originally,Isetallcontrolstotheirneutralpositions,andthefirstthingInoticedwastheWave6’sclarity,depth,andtightbottomend. Thetop-to-bottomtonalbalancewasexceptional;however,whenlisteningtomixesIhadalreadymadeusingotherspeakers,IbegantofeelthattheWave6responsewasabitsubduedabove5kHz;soIoptedtoboostthespeakers’HFsettingby2dB,whichbroughttheoveralltonalityintoproperbalance. Still,theupper-midregionhasabitlessenergythatwhatI’musedto—butratherthanadetriment,thismadetheWave6ausefulcomplementwhenmonitoringmixesrelativetotherichupper-midresponseofmyM-AudioEX66monitors(containingaluminumdometweeters).在我的錄音工作室里,我把Wave6監(jiān)聽音箱設(shè)置成標(biāo)準(zhǔn)雙聲道模式,我自己位于兩只音箱),高音和耳朵齊平。Wave6帶有24-bit/192-kHz-的AES3和S/PDIF數(shù)字輸入,RME轉(zhuǎn)換器,輸入到音箱的平衡模擬輸入接口。這款音箱的功放背板上有幾個(gè)頻率調(diào)整把握開關(guān),包括“acousticspace”(當(dāng)音箱靠近墻壁或墻角時(shí),可以對(duì)低頻的累積進(jìn)展調(diào)整);“LFcutoff,“,接低音炮輸出時(shí)使用;“HFadjustment“,,我把全部調(diào)控開關(guān)打到中間位置,我的第一印象就是Wave6的清楚、深度、和緊湊的低音。聲音從高到低的聲調(diào)平衡格外精彩,但是,當(dāng)我試聽使用其他音箱制作的混音作品時(shí),Wave65kHz以上不夠猛烈;所以我選擇把音箱的高頻調(diào)高2dB,這樣就能使得整體的音調(diào)保持最正確的平衡。而且,我也覺察中頻前端局部的能量和我以前習(xí)慣使用的音箱比較相對(duì)少了一點(diǎn)點(diǎn),然Wave6在監(jiān)聽混音時(shí),M-AudioEX66監(jiān)聽音箱(鋁制球頂式高音)的有益補(bǔ)充。5：Vivek在工作室OneoftheactiveprojectsI’mcurrentlyproducingisapoprecordforsingerWendyStarland. FromthefirstmixIpulledup,ImarveledatthewaytheWave6deliversasolidcenterimagewhilesimultaneouslyprovidingwidestereoseparation—absolutelynecessaryforavocal-basedpoprecordofthissort. Itwasveryeasytolocalizeinstrumentsinthestereofield. Insomecases,theWave6revealedareaswherethematerialwassmearedorlackedfocusduetomisjudgedapplicationofreverbanddelay.Inthisregard,theWave6provedtobeamagnificenttoolforexposingundetectedproblems.Aftermakingadjustments,theresultstranslatedwellontheM-AudioandKRKmonitors.我目前正在著手的一個(gè)工程就是為歌手WendyStarland錄制流行歌曲唱片。從我的第一遍混合音中,我驚異地覺察Wave6能發(fā)出堅(jiān)實(shí)的中場聲像,同時(shí)又能供給寬闊的立體聲分別度——這個(gè)特性對(duì)于這一類基于人聲的流行樂唱片錄制來說是確定必不行少的,可以很,Wave6能夠提示出由于錯(cuò)誤的判斷、,證明白Wave6Wave6的關(guān)心去覺察問題,進(jìn)展調(diào)整后,再用其他監(jiān)聽音箱播放就可以得到很好的詮釋。IalsocheckedoutsomerecentmixesImadeforGrammy-andOscar-nominatedartistStephenBishop. Aswiththepreviousexample,IfoundtheWave6tobeclear,andtobeusefulforpickingoutdetail.Wave6StephenBishop制作的混合音作品。和從前的測試結(jié)果一樣,我覺察Wave6格外清楚,對(duì)區(qū)分細(xì)節(jié)很有用。MynextprojectwasascoreforanHBOtelevisionshow.WhenmixingaudioforTV,itisalwaysnecessarytobalancethematerialonthebrightsidesothatittranslateswellinthatmedium. ThegentleaccuracyoftheWave6’sribbontweetersmadetheprocessofcreatingadeliberatelystridentmixactuallylistenableandenjoyableoverthecourseofthe8-hoursession. Typically,listeningfatiguesetsinafterafewhoursinaprojectsuchasthis—butnotwiththeWave6monitors.我的下一個(gè)工程是為HBO,保持各方面素材的均衡總是必需的,尤其是平衡太亮的音色局部,這樣就可以使得配樂在電視媒體中獲得更好Wave68小時(shí)變成了一個(gè)享受和沉醉的過程。一般來說,做類似的工程,經(jīng)過幾個(gè)小時(shí)的聽音就會(huì)產(chǎn)生聽覺疲乏——Wave6就不會(huì)。Incomposingmusicalstructuresandcreatingpalettesofsoniccolorsforfilmscores,itisofutmostimportancethatitbeeasytoassesssmallEQchangesinthemusic,Also,judgingdepthandspatialchangesduetovaryingdynamicsprocessingandFXneedstobeeffortless. InmyexperiencewiththeWave6monitors,they’requiteuptothetask—whichisnotrivialfeat.在創(chuàng)作音樂的構(gòu)造框架和制作電影配樂的音色調(diào)試板時(shí),能夠在音樂中很簡潔的就評(píng)估到格外微小的EQ均衡效果變化是至關(guān)重要的。而且,要想制造出好的音樂效果,在工具的幫助下,也要格外簡潔的推斷出由于各種不同的音樂力度處理和特別聲場效果而導(dǎo)致的音樂深Wave6一起工作的經(jīng)受來說,他完全能勝任這些任務(wù)---這可不簡潔。I’venowusedtheWave6monitorsduringcomposing,tracking,andmixingstagesofavarietyofprojects—andIamquitepleasedwiththeexperience. Duringlongsessions,theWave6’sgentleHFribbonresponsecandelivermuch-neededrelieffromthetimbrallystrident(andpainfullyaccurate)HFresponseofthealuminumtweetersItypicallyuse.IrecentlyemployedtheWave6speakersinextendedtrackingsessionswithelectricguitar,wherenormallyIwouldexpecttheconcentratedupper-midrangemonitoringtocausessignificantlisteningfatigue. AtthispointIhadcometoexpectthattheWave6wouldbekindtomyears,andIwasnotdisappointed.我現(xiàn)在在很多不同工程的作曲,操作音軌,混音階段中都使用Wave6——我格外滿足Wave6的表現(xiàn)。在長時(shí)間的聽音過程中,Wave6的嚴(yán)峻絲帶高頻響應(yīng)使我能從那些鋁制高音所發(fā)出的銳利(精準(zhǔn)的使人苦痛)高頻響應(yīng)中得到格外必要的緩解。我最近使用了Wave6音箱來操作音軌擴(kuò)展電吉他的伴奏局部,假設(shè)依據(jù)原來連續(xù)使用中高頻前端太集中的監(jiān)聽音箱確定會(huì),我已經(jīng)預(yù)料到了Wave6確定有助于延長聽音時(shí)間,我的耳朵也不用再飽受熬煎了,Wave6沒有讓我無望。Abigfactorindeterminingtheusabilityofasetofstudiomonitorsishoweasyitistocreatea“portable”mix—thatis,amixthattranslateswellinavarietyofotherplaybacksystems(cars,hometheaters,professionaldubstages,THX-calibratedscreeningrooms,portableplaybacksystemswithmp3compression,etc.).InpullingupunmixedmaterialontheWave6monitorsandmakingadjustments—movinglevels,shapingfilters,carvingtransients,adjustingreleasetimes—Ifoundthatmyvisceralfirstimpulsestranslatedwellinothersystems. Thisisthetruetestofastudioloudspeakermonitor,andtheWave6passedwithflyingcolors. I’mlookingforwardtoemployingtheWave6monitorsfromnowontocheck(andimprove)mymixes,andtoprovideanon-fatiguingbutdetailedlisteningresponseduringallmystagesofcreatingmusic.打算一套監(jiān)聽音箱可用性的一個(gè)很大因素就是:使用他是否可以很簡潔的創(chuàng)作出“便攜式”混音——這個(gè)混音必需可以在不同的重放系統(tǒng)中很好的詮釋(像汽車、家庭影院、專業(yè)的混音舞臺(tái)、THX-MP3等等)Wave6整合那些沒有混合的素材并且做必要的調(diào)解時(shí)——調(diào)解電平,調(diào)解濾波,調(diào)解瞬態(tài)響應(yīng),調(diào)解釋放時(shí)間——我覺察我內(nèi)心深處的第一次沖動(dòng)真的可以得到很好的詮釋,這是一次真正的監(jiān)聽音箱測試,而Wave6Wave6監(jiān)聽音箱去檢測(和改善)我制作的混音,在我創(chuàng)作音樂的各個(gè)階段Wave6能提供一個(gè)不會(huì)覺得疲乏但表達(dá)更多細(xì)節(jié)的聽覺響應(yīng)。6：VivekMaddalaNuEar歡送各位感興趣人士來電垂詢,我們將熱誠效勞于您：: