分享DaveHill的一段文章
Posted: Sun Jan 10, 2010 1:59 am
很偶然在Cranesong Avocet的說明書後面看到這段話，節錄給大家參考
原文出自
http://www.cranesong.com/downloads/avocet%20manual%20rev4S1f.pdf
Near Field Monitoring?
I wouldn’t master with near-field monitors, but I will mix with them. Near-field monitoring was devised
to reduce the effects of adverse room acoustics, but if your room acoustics are good, then “Mid-field”
or “Far-field” will provide a more accurate depth and spatial picture. There must be an obstruction-free
path between the monitors and the listener. What is the biggest impediment to good sound
reproductionin a recording studio? The console. No matter how you position the monitors, the
console’s surface reflects sound back to your ears, which causes comb filtering, the same tunnel
effect you get if you put your hand in front of your face and talk into it. Or if you wear a wide-brimmed
hat, which produces an irregular dip around 2 kHz. It amazes me that some engineers aren’t aware of
the deterioration caused by a simple hat brim! Similarly, I shudder when I see a professional
loudspeaker sitting on a shelf inches back from the edge, which compromises the reproduction. The
acoustic compromise of the console can only be minimized, not eliminated, by positioning the
loudspeakers and console to increase the ratio of the direct to reflected path. Lou Burroughs’ 3 to 1
rule can be applied to acoustic reflections as well as microphones, meaning that the reflected path to
the ear should ideally be at least 3 times the distance of the direct path.
原文出自
http://www.cranesong.com/downloads/avocet%20manual%20rev4S1f.pdf
Near Field Monitoring?
I wouldn’t master with near-field monitors, but I will mix with them. Near-field monitoring was devised
to reduce the effects of adverse room acoustics, but if your room acoustics are good, then “Mid-field”
or “Far-field” will provide a more accurate depth and spatial picture. There must be an obstruction-free
path between the monitors and the listener. What is the biggest impediment to good sound
reproductionin a recording studio? The console. No matter how you position the monitors, the
console’s surface reflects sound back to your ears, which causes comb filtering, the same tunnel
effect you get if you put your hand in front of your face and talk into it. Or if you wear a wide-brimmed
hat, which produces an irregular dip around 2 kHz. It amazes me that some engineers aren’t aware of
the deterioration caused by a simple hat brim! Similarly, I shudder when I see a professional
loudspeaker sitting on a shelf inches back from the edge, which compromises the reproduction. The
acoustic compromise of the console can only be minimized, not eliminated, by positioning the
loudspeakers and console to increase the ratio of the direct to reflected path. Lou Burroughs’ 3 to 1
rule can be applied to acoustic reflections as well as microphones, meaning that the reflected path to
the ear should ideally be at least 3 times the distance of the direct path.