How to apply the technology of sound processing in

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How to apply the sound processing technology of the studio to the live real-time performance

dweezil Zappa Orchestra applies the wave emotion LV1 to the interview records of their tour performance:

the basic composition of this orchestra includes not only musicians, but also a foh: front of house division and a stage Monitoring Engineer, which we generally call technicians or voice control in Taiwan, The stage monitor engineer is the production manager of the orchestra. You may wish to think about the significance of their organization/organizational functions, and look at whether there are these + two vacancies in their Orchestra

they used waves emotion LV1 to complete the task that was absolutely difficult in their traditional technology in the past, but they did. They successfully combined the studio quality with the scene, that is, to make the effect heard by the musicians and the audience the same as the studio work, and fully ensure that singers and every musician can get their best monitoring mix on the basis of this quality, To achieve incisive performance

musicians who have participated in the production process of studio works must understand that from recording, mixing to the completion of the final product, modern products have been digitized in production, and a large number of sound processing tools (plug-ins/plug-ins) on computers have been used; Because in the digital world, there are infinite possibilities for sound processing. However, for live performances, computerization has become the most headache for engineers, because once the computation delay in the digital world obviously appears on the scene, it will be enough to make musicians/singers unbearable, and even forced to interrupt the performance. Therefore, the production of studio works and live performances have to go their own way, using their own equipment, As a result, the orchestra can hardly make the same sound quality as the studio works when performing after releasing the records (except for those works that have not been mixed at all after recording). It's hard for a clever woman to make bricks without straw. The audience who came to listen to the live performance was disappointed again and again, and there were fewer and fewer supporters

make good use of software plug-ins and move the settings of the studio to the scene. We need to design the studio works to facilitate future performances. If the orchestra can master these tools and technologies, it will no longer be so difficult to maintain the consistency of its performance level

▲ examples of waves plug-in/plug-in: scheps parallel particles

if the orchestra in this era wants to be as expected, and these materials should have recyclable potential development and foothold in the market, it is bound that some members should be able to master the technology of on-site sound processing, be able to design, store and arrange in advance for onstage musicians' monitoring and front-end sound respectively, and communicate with PA equipment rental company in the early stage during the preparation of the performance, Achieve high efficiency and efficiency in every live performance

but how to start the dynamic and cyclic tests such as technical fracture growth and fatigue in a long period of time? We might as well start with knowing the plug-in software, such as the "scheps parallel particles" recently launched by waves company. This plug-in divides the sound into four frequency bands for individual processing. It feels like a four segment multi band compression processor. The interface is quite easy to understand. It uses four words "sub, thick, bite, air", To express the traditional four professional terms "low frequency, medium frequency, low part, medium comprehensive inspection of quality! High frequency, high frequency". Through its processing ability, we can further strengthen the sound characteristics of the musician/singer himself, including the equipment he uses, so that the audience can have a clearer feeling and make an impression

there are quite a lot of brands and choices for plug-ins like this, but I strongly recommend using waves' plug-ins, and it is best to choose all plug-ins that support the waves soundgrid network protocol. The reason is that soundgrid technology uses its own hardware server to calculate independently, so that the plug-ins are completely separated from the uncertainty of the computer itself, reaching a delay close to zero, This is very helpful for real-time plug-ins in live performances

to put it bluntly, if there is no soundgrid network system and its supporting system, During the live performance, make a plug on the signals from various sources about the relationship between stress and strain when the data is subjected to attack (when succumbing, INS processing will face many unexpected risks, and it is difficult to ensure the real-time and stability of the signal after plug-in processing.

▲ waves soundgrid

soundgrid is a mature technology. It takes soundgriddsp server as the core, which can enable multiple computers and soundgird i/o on the soundgrid network to realize the real-time transmission of sound flow and plug-in operation among each other, and divert the signals to different The computer carries out different follow-up processing, such as transmitting the main output of console a computer to B computer that does TV broadcasting and C computer that does network live broadcasting at the same time, and at the same time making multi track recording in D computer for the reuse of resources for this performance in the future, or even designing it so that people who want to learn electric bass performance can experience the monitoring mix of bass players at the time of this performance in the future. Soundgrid has many possibilities in application, depending on how the user designs it

I would like to use this article to attract more thoughts and actions from the local Orchestra, improve the staffing of my Orchestra, and also look forward to the recording studios, music production circles, and mixers actively participating in the orchestra's performance. This blue ocean is waiting for you to come forward

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