1. "Position" has nothing to do with "positioning"
Because the adjustment is the "position" of the speaker, many people naturally think that the adjustment of the speaker position is to listen to the "positioning". In fact, right or wrong. And I can tell you with confidence: if you use audio-visual positioning as the reference standard for adjusting the position of the speaker, you will never find the correct placement position! Why? Because of the positioning, the focus is on the sound effect, and the sound effect Where is the truth? Don’t say you don’t know, I don’t know, even the producer, sound engineer, and performer of the recording won’t know it! It’s so vain and ethereal to use things that no one knows the truth as the standard for adjustment. Thing?
The positioning of the speaker is to find a point where the sound energy of each frequency band of the sound is evenly distributed. Why should the sound energy of each frequency band be balanced? Because only in this way can we hear the correct sound performance of the instrument without being distorted; only in this way can we hear what the music wants to express. I have already said in the previous article: What we hear is not the sound made by the speaker, but the sound produced by the entire space after the vibration of the speaker "triggers" the space. At certain points in the space, this trigger effect will be particularly balanced, and it is very effective for us to feel a clear sound wave, resulting in a "very real" and "very realistic" sound.
2. Please avoid developing burning films and use music well
Many people think that audio adjustments should be made with "fever films", and ordinary records should be used to listen to high-end speakers, but the real ability cannot be heard. Personally, I think it's just the opposite. What are fever films? Most fever films are made for the purpose of sound effects. In other words, the starting point of these records is not to "present better music" but to "use music to present exaggerated sound effects." Such exaggerated sound effects can have a good performance on most speakers, because it was originally recorded to please audio fans. If you only use audiophiles to adjust the sound, you can easily hear these sound effects and feel satisfied, and progress is limited. Moreover, the sound system adjusted in this way can only reproduce exaggerated sound effects, but it is unsatisfactory to listen to most records.
My suggestion is: Please use real good music to adjust the sound, and, please use classical music more, the best is symphony. Why use "good music"? Because real good music has connotations to be expressed. If a set of speakers cannot clearly express the connotations of good music, listening to good performances and mediocre performances will only get similar sound effects. Such a sound system has very limited expressiveness and does not help us appreciate music at all. In contrast, on a good sound system, we can clearly hear the rich musical connotation that a good performance wants to express. The information of these music was actually recorded by the microphone placed on the scene, and after the record was sealed, it was "decoded and restored" by the audio system. The stronger the reduction ability of the sound system, the clearer the music expression we can hear. If we take the barren performance as a reference for adjusting the sound, then after tuning for a long time, what we hear is still barren and contentless performances, which cannot allow us to find ways to improve closer to the music performance.
3. The concert hall is a real "reproduction of the original sound"
Is it because this manuscript was published on "MUZIK", I said that classical music should be used to adjust the sound? No, there is one biggest reason for using classical music to adjust the sound: the performance of classical music is the only thing left in the world. A musical performance amplified by a microphone. The scenes we hear in the concert hall are all "reproduction of the original sound", so anyone who has been to the concert can understand how the classical music sounds on the spot.
In contrast, whether it is jazz, rock or electronic music, the sound controller must adjust the volume of the microphone or instrument at the performance site, and even add the sound effect control such as echo and equalization to produce what we hear. the sound of. A rock band’s touring performance may have very different sound effects in each venue, and these different sound effects may not be the same as the sound on the record. The vast majority of non-classical music is not even recorded by all musicians at the same time in the studio, but is the result of several recordings and mixing. Such a "composite" is completely different from the experience of live music.
4. The mix is in line with the listening impression of the scene
Readers who have done a little research on recording may have questions: "Hey, this author is too ignorant. Most classical music is the result of multi-microphone recording and multi-track mixing! This is the same as others. Isn’t the music the same?” It’s not the same! Because when we listen to classical music in the concert hall, our experience of the distribution of the sound of the orchestra is roughly the same (because the performance in the concert hall is not distorted by the microphone, only through the space Enhancement). Therefore, the classical music mixing engineer may not listen to the recording site, but he can still follow the experience of classical music listening, and try to reproduce the balance of various frequency bands similar to the scene when mixing. In contrast, the mixing of other music is "represented by one site," and different mixing engineers may mix completely different sound effects.
Furthermore, although classical music recordings may have undergone many mixing and editing, they were all recorded at the same time in the same venue by the entire orchestra. Therefore, although the microphones may be distributed in ten different positions, they all picked up from The reverberation of the same space. In contrast, jazz recordings are also performed at the same time, but in order to clean the sound, usually the drummer or bassist will record in a separate small space, and these microphones cannot receive the complete spatial information.
Forget about the sound effects for a while, and embrace music with all our heart, we can better understand what high-quality sound reproduction is.
