Recording Acoustic DrumsJnK犀牛网--声音与影像
JnK犀牛网--声音与影像
声学鼓的录制JnK犀牛网--声音与影像JnK犀牛网--声音与影像By Jay Graydon | September 2006 译：Margindge
JnK犀牛网--声音与影像JnK犀牛网--声音与影像If you’re looking for a “one size fits all” solution to recording acoustic drums, forget it! When it comes to miking and EQing drums or anything else, every recording engineer has different opinions and techniques. While that may seem chaotic, it’s also liberating: Never be afraid to experiment in your quest for the ultimate sound, as there are no rules . . . and if there actually are, maybe you’ll discover some new ones.
JnK犀牛网--声音与影像JnK犀牛网--声音与影像如果你想找到一种通用的录声学鼓的办法，还是放弃这个念头吧！当提到鼓的拾音和频率均衡或者其他什么，每个录音师都有不同的见解和手法。虽然有些摸不着头脑，但也确实是个解脱：不要害怕在你寻找心中最终的声音的过程中不断摸索实践，因为根本没有一个规范……如果你发现确实有，可能你已经发现了一些新的东西。JnK犀牛网--声音与影像JnK犀牛网--声音与影像BUT FIRST, SOME PROBLEMSJnK犀牛网--声音与影像
JnK犀牛网--声音与影像
首先，说明一些问题JnK犀牛网--声音与影像JnK犀牛网--声音与影像Recording acoustic drums defines the meaning of “give and take.” A common technique is miking each drum, so all the mics will pick up leakage from each drum/cymbal but with a slight time delay. This delay can cause “comb filtering” (phase cancellation and addition), which alters the miked signal’s tone. The less leakage the better, but it’s impractical to baffle other drums and cymbals within the set. A work-around to cut down on leakage is to use fewer mics, and try to capture the set with a couple mics on the set itself, and maybe some room mics.
JnK犀牛网--声音与影像JnK犀牛网--声音与影像声学鼓的录制很好的解释了“互相迁就，相辅相成”的含义。通常的手段是分别录每一个鼓，所以所有的MIC都会拾到其他各个鼓和镲的带着轻微延迟的串音。这些延迟会造成“梳状滤波效应”（相位的抵消和叠加），这会改变拾取信号的音质。虽然串音越少越好，但是要阻挡其他鼓或者镲的声音到拾音范围内是不切实际的。一个减少串音的较好的办法是使用较少的MIC，和尝试把一对 MIC放在鼓组上方来捕获它们的声音，或者用一些Room Mics（房间麦克）。JnK犀牛网--声音与影像JnK犀牛网--声音与影像Another problem is that the drum head tuning will likely change over a relatively short period of time, due to the constant hitting of the drums as well as temperature changes within the studio environment. Keep lighting and air conditioning consistent, as they’re the main causes of temperature variations. Remember to check tom and snare tuning throughout the session.
JnK犀牛网--声音与影像JnK犀牛网--声音与影像另一个问题是，由于对鼓持续的击打以及录音环境内的温度变化，鼓皮的音高将很可能在一个相对短的时间周期后改变。采光和通风作为温度变化的主要因素，要保持调节的一致。JnK犀牛网--声音与影像JnK犀牛网--声音与影像Also note miking the full set leads to lots of mics, booms, and cables running around your studio. This multiplies the chances of an accident, like the mic stand falling over and killing your oh-so-expensive vintage tube mic. We’ll address this topic as well.
JnK犀牛网--声音与影像JnK犀牛网--声音与影像另外需要注意的是，在录制整个鼓组的时候会用到许多麦克，麦架，和线材，让你在录音棚里跑来跑去。这样就会增加事故发生的概率，比如碰倒麦架导致你非常昂贵的经典电子管麦克损坏。我们倒不如也作为一个话题谈谈。JnK犀牛网--声音与影像JnK犀牛网--声音与影像ISOLATION AND AVOIDING REFLECTIONSJnK犀牛网--声音与影像
JnK犀牛网--声音与影像
隔音和消除反射JnK犀牛网--声音与影像JnK犀牛网--声音与影像Isolate the mics from the floor as much as possible so that they don’t pick up any rumbling noises. If your studio was not built with a floating floor (a second foundation over the first supported by rubber and styrofoam, as used in most pro studios; see Figure 1), a drum riser will help isolate the mics. Even if the studio has a floating floor, a drum riser may still be helpful. (When constructing a drum riser, make sure that it is solid and includes some type of rubber on the bottom of all surfaces that rest on the floor. Cover the platform with rugged, indoor/outdoor carpet.)
JnK犀牛网--声音与影像JnK犀牛网--声音与影像为了不拾到任何隆隆的噪音，要尽可能的把麦克和地板隔离。如果你的录音间不是建立在浮动地板上（第二基架是在首先被橡胶和泡沫支撑之上的，这办法同样用在很多专业工作室，见图1），鼓台（中空的台子用于抬高鼓组）也可以对隔离麦克有帮助。即使录音棚有浮动地板，鼓台也依然会有帮助。（在制作鼓台的时候，要确认它是坚固并且在和地板接触的所有底部的表面都有一些橡胶之类的填充。平台的表面要覆盖着粗糙的户内用或户外使用的地毯。）
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