| Цитата |
|---|
просто Моргот пишет:
раз у нас пошел обмен печатными изданиями - Вам я советую почитать любую книжку Филиппа Ньюэла, они все есть в сети. Потому что Вы очень сильно заблждаетесь . Когда "очень громко" - это концертные порталы, а не студийные мэйны. |
Маша, да мы с Вами читаем одни и те же книжки!
Вот как раз цитата про main monitors из того самого Ньюэлла, которого я Вам выше рекомендовал. Опять же из моей любимой главы "Form follows function".
Он как раз очень четко разделяет "recording monitors" (или main monitors), которые используются в основном при записи, и "mixing monitors", которые используют звукорежиссеры при сведении.
As time progressed, and the musicians began to become more involved
in the whole process, they began to spend much more time in the control
rooms, and they began to expect to feel the same sensations as they
ventured from the performing studios to the control rooms, in order not
to lose the ‘vibe’. Volume levels in the control rooms began to rise in
order to avoid the deflationary sensation of playing in the studio at 100 dB
SPL then listening to the ‘take’ in the control room at 85 dB SPL. If the
levels changed, the perception changed, and with it the ‘buzz’ of excitement
could change, leaving the musicians in doubt about whether they
had achieved their aims, or not. Within a very few years, and especially
after the advent of synthesisers and other portable keyboard instruments,
it began to become commonplace to actually perform in the control room.
It can be argued that if what is perceived at 100 dB will not translate to
85 dB or less, then there is an inconsistency that suggests that the recording
may disappoint when reproduced domestically. However, it should be well
understood that, at least for multitrack recordings, the recording phase is
about capturing a performance. The experience of the recording staff will
be important in deciding if the sounds can be optimised at lower levels,
but the achievement of the maximum impact of the performance can only
effectively be captured during the recordings.
Around 100 dB SPL, music begins to affect perception and emotions in
a different way to what we perceive at lower levels. Chemical changes take
place in the brain, which are not unlike those caused by sex and certain
drugs. This explains why music at discothèques needs to be loud, or the
sensation to dance will not be stimulated and the tendency towards exhibitionism
will not be aroused. The exhibitionist tendency is also important
in the recording process, because musicians are performers, and a performance
is an exhibition. Therefore, if musicians are to perform at their best,
they may well need a stimulus, very similar to the disco dancers needing
a stimulus. Obviously, the type of stimulus depends on musical style, but
under almost all circumstances, the correct stimulus will not be achieved
unless the musicians are performing in a control room at reasonably similar
levels of sound pressure to those which they would normally be receiving
during a concert performance.
. Там есть идеальные конструкции на порядок дешевле современных и со звуком, который никому, собирающему на современных динах, не наваять никогда. Это стоит дешевле крыловок, и с этим связан второй тип форумных советов. Когда человек ищет высокое и незадорого 
, ему сразу пиарят либо Крылова, либо винтаж. Винтаж вам, по моим воспоминаниям, не нравится, и на появление "барыг-винтажистов" вы всегда реагируете остро 
. Могу сказать как человек, побывавший на концертах всех культовых коллективов по своей тематике (из тех, что почтили своим присутствием Россию). Чего-чего, а концертного звука металлических групп мне дома точно не нать