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环绕声技术已经不是一个新名词了,但是近来在环绕声的制作模式和听音系统观点上出现了两种声音。同样的5.1环绕声听音系统,听感的主动寻求和被动感知却是迥然不同:是崇尚真实再现的临场感,还是追求夸张动态的多声道强制渲染?临场感和强制渲染作为对“临场感”极致追求的典范,Hi—Fi的信仰从来都是如此坚定。追溯至业界发展的初衷,早期的环绕声制作就是为了再现现实的声场,比如音乐厅的交响乐演奏。作为录音师,除了设置拾取乐队直达声的主话筒组之外,我通常会根据录音现场的实际情况,计算声场
Surround technology is no longer a new term, but recently two voices have emerged in the surround sound production and listening systems. The same 5.1 surround sound listening system, the active sense of hearing and passive perception are very different: is advocating a real sense of presence, or the pursuit of exaggerated dynamic multichannel mandatory rendering? Telepresence and forced rendering as the “ Presence ”" the ultimate pursuit of a model, Hi-Fi’s faith has always been so firm. Tracing back to the original intention of the industry, early surround sound production is to reproduce the reality of the sound field, such as the concert hall symphony. As a sound engineer, in addition to setting up the main mic group that picks up the band’s direct sound, I usually calculate the sound field based on the actual situation at the recording site