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MLI AUDIO BLOG

2023-03-21
B&K + DPA (Feature 4099) #14

  呢篇文就係想 Sell 大家大手購入 DPA 4099 呢支性價比天花板嘅咪。 本身諗住 Hard Sell 一波就算，寫寫下忽然諗起一位前輩嘅說話，就決定拾前輩牙慧，嘗試寫篇文分享下，順便又梳理下自己。 —————————————————————————————— 先講少少歷史 1992 年嘅時候 Ole Brøsted Sørensen & Morten Støve 離開咗 Brüel & Kjær 之後建立咗今日大家都非常熟悉嘅DPA (B&K其實係DPA老豆） 而 1945 建立嘅 Brüel & Kjær 最出名一定係 Measurement Microphones 或者其他Audio 測量工具。 講到呢兩間公司，一定要提及 DPA’s 4006, 4007 （P48v) 呢兩咪。如果經歷過APA Sound Balance 嘅朋友仔一定唔會陌生😂 呢支可以話喺世界上數一數二準確嘅咪其實都係直接沿用咗Brüel & Kjær嘅技術而成。 仲有4003, 4004 (130v Power Supply Type 2818)嘅版本。前輩就同我講因為多左正負每邊40v 嘅 Dynamic Range，拎黎錄Orchestra 就非常恰當。當我求證睇吓多左嘅v 姐係多左幾多嘅時候，見到支咪嘅Spec Sheet寫個Max. Sound Pressure Level 可以去到168dB。你知唔知168dB有幾大聲？168dB係好撚大聲😂。（上網睇個啲dB Reference Chart 就話仲大聲過飛機同槍聲） —————————————————————————————— 樓上提及到嘅咪當然比較貴，對於普通玩家黎講可能難啲入場。所以介紹一支性價比天花板嘅咪比大家 – DPA 4099。 每當有人有問我錄樂器用咩咪好？唔同環境用咩咪好？ 錄Violin？4099囉。 錄Viola？4099囉。 錄Banjo？4099囉。 錄mandolin？4099囉。 錄Drum？4099囉。 錄Piano？4099囉。 錄Guitar？4099囉。 錄Ukulele？4099囉。 錄Dobro？4099囉。 錄Saxophone？4099囉。 錄Trumpet？4099囉。 錄Trombone？4099囉。 錄Brass？4099囉。 錄Bass？4099囉。 錄Cello？4099囉。 錄Accordion？4099囉。 錄Oboe？4099囉。 錄Clarinet？4099囉。 錄Bassoon？4099囉。 錄Recorder？4099囉。 錄Flute？4099囉。 Studio 錄音？4099囉。 屋企錄音？4099囉。 Live 錄音？4099囉。 Live PA ？4099囉。 Theatre & Orchestra Pit？4099囉。 全部揀咪嘅問題一律建議4099 （除左人聲） 4000蚊有找，換個Clip 又一條好漢！😃 所有人一律建議買兩打！🔥

2023-03-21
Auto-Tune 講經篇 #13

  *是次內容極度主觀 Auto-Tune 今時今日喺香港面對緊嘅野就好似20年前嘅美國一樣，都係受到”主流”嘅各種批評。 貴古賤今好似一向都喺人類嘅普遍習慣。而音樂每一秒都喺度不停改變緊，Middle Ages, Renaissance, Baroque, Classical, Romantic, Contemporary 每個時代嘅音樂都有屬於佢自己嘅特色。當時代更替時，革命黨同保守黨嘅對立矛盾似乎喺必然存在。新舊黨爭，戊戌維新同埋 Auto-Tune In Hong Kong 其實都喺如出一轍。 誰是主流？ 不過最後誰勝誰負我其實就唔太注重，最緊要喺有得揀，大家都可以有自己嘅喜好、立場。我緊係希望香港音樂產業可以多啲元化，個客觀環境可以接受同容下多啲唔同嘅聲音，就算最後唔鍾意都好，都可以有個空間發表偉論。 Andy Hildebrand said “Someone asked me, you know, this is all your fault, you have an excuse? I said I just build the car, I don’t drive it down the wrong side of the freeway.” 鍾意聽多啲，唔鍾意都可以聽吓，了解自己點解唔鍾意，唔洗一聽到Auto-Tune 就不了嘅！不論你鍾意又好，唔鍾意又好，Auto-Tune 毫無疑問已經名留青史。 Simon Retnolds: When we look back on this era. We will ask what was the sound of the 21st century, it is going to be autotune. Autotune is an indispensable element in today’s music production.    

2023-03-21
Auto-Tune T-PAIN #12

  T-Pain 毫無疑問係 Auto-Tune 之鬼，佢用一啲極端Setting 去做一啲以前完全未聽過、完全唔同嘅聲，用 Auto-Tune 創造咗無限嘅可能性。而 T-Pain 嘅出現同以佢命名嘅 ”T-Pain Setting” 更加影響咗無數嘅 Artists，例如有 Snoop Dogg, Lil Wayne, Kanye West, Future, Travis Scott，以上全部都係大師中嘅大師！ 喺呢度我最想帶出嘅係 T-Pain 對 Auto-Tune 嘅睇法，睇吓聽完佢嘅講法會唔會改變你某啲固有嘅諗法！ 其實 T-Pain 唔用 Auto-Tune 嘅情況下唱歌係超好聽！（Youtube : Watch T-Pain Sing Without Auto-Tune And Prepare To Be Shocked!!!) 佢之所以用 Auto-Tune 唔係因為佢唔識唱歌，而係因為佢唔係淨係想Sound Great, 而係想 Sound Different 👍🏻 但同時亦都唔代表任何一個人可以毫無準備行入去 Studio 開住個 Auto-Tune 亂唱就得。 T-Pain 指出準備先係最緊要，最基本你一定要知道所有嘅 Parameters 點樣影響到你把聲，從而創造或者攞你想要嘅聲，絕對唔係屎忽撞棍！ Jace Clayton: “autotune got to help us reimagine ways of exploring the human voice. It literally gave us a new dimension” Auto-Tune 除咗可以喺聲音層面上發掘到無限嘅可能性之外，呢個科技更加方便咗人去創作。 T-Pain 深信下一個製作出膾炙人口歌曲嘅人，係可以完全唔識彈琴、彈結他，只要佢哋搵到一個辦法可以將佢腦入邊嘅想法呈現出嚟就可以，而 Auto-Tune 毫無疑問係其中一個橋樑。 ——————————————————————————————- 講完 T-Pain 循例都講返少少 HARMONY ENGINE。其實一開頭都係呢間Antares Audio Technologies公司整嘅產物，大概就係你唱一粒音入去，佢自動幫你Generate Harmony. (Kanye West 嘅 808s & Heartbreak 都有少少例子可以聽吓！） 最後講少少 Auto-Tune Artist（Live)。越來越多歌喺創作嘅部份已經加入咗唔少 Auto-tune 元素， Auto-Tune Effect 其實已經係隻歌嘅一部份。唱 Live 嘅時候當然要將呢個元素一齊呈現，如果冇咗個 Auto-Tune 元素，成隻歌可能已經唔同曬！(Youtube : travis scott is the god of live autotune) ——————————————————————————————— 下一次最後一集我哋講吓 Auto-Tune 喺香港嘅發展同埋喺成個音樂歷史嘅意義！

2023-03-21
Auto-Tune 的年幼時期 #11

  Auto-Tune 一開波毫無疑問係飽受批評。 JASON ZELDES: “When auto-tune just came out, I remember people used to sit around listening to the radio and going, “ I can tell which song has Autotune on it”. It was the thing that you could hear. It was a way the software worked that sounded like cheating.” 就算連 Paul McCartney, Kevin Parker, King Princess & Nick Rhodes 呢堆大師早期嘅時候都係怒屌Auto-Tune，批評 Auto-Tune 一用就聽得出、用 Auto-Tune 就等如作弊、用 Auto-Tune 係因為唔識唱歌、Auto-Tune 係Modern Music 嘅敵人等等。 （今日的我當然已經打倒曬昨天的我，就好似JAY-Z 早期都係反對用 Auto-Tune，而家咪都係一樣用 Auto-Tune🤣。其實呢點小弟本人幾欣賞，呢個位之後再講多啲） ———————————————————————— 後來大家都進步咗，提升咗用 Auto-Tune 嘅技術，去到一個位喺用咗 Auto-Tune 你都唔知嘅地步。 Hrishikesh hirway: If it’s done well, you never know that it is being used, it’s only when you use it in a really creative forceful way, that you can think of it as this sort of music-making tool. Otherwise, it should be invisible. 呢個時候又有人會話你 Tune 到岩曬會無曬感情，藝術或音樂有陣時就係要有瑕疵，It is Perfect to be Imperfect! （大家又點睇呢？盡最大努力唔Tune？定其實 Tune 都係無法避免？定要 Tune 得嚟保留感情？） —————————————————————————— 但講到第一個將 Auto-Tune 當一個 Vocal Effect 咁用嘅人，一定要提到 Cher – Believe 呢首歌(自己去 Youtube 聽！）。當年Mark Taylor 同 Brian Rawling（Producers of Believe) 將個 Auto-Tune 嘅 ”Return Speed” Perimeter Set 做零，整走曬所有 Portamento （Pitch sliding from one note to another)，副歌個效果就喺咁整出嚟！ *Believe 係42nd Annual Grammy Awards, 2000 嘅以下範疇都被提名或得獎 Record of the Year Best Dance Recording Best Pop Collaboration with Vocals Best Pop Album 呢個時候隨即就掀起左一場一發不可收拾嘅 Auto-Tune 熱潮。 下次我地講吓講Auto-Tune 不可不提嘅一位猛人 T-Pain, 講吓佢點樣將 Auto-Tune 帶去另一個層次！之後講吓Auto-Tune – Harmony Engine 同埋 Auto-Tune 係 Live Stage 嘅發展！

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