作者：美国音乐创作家 Vivek Maddala（以下根据作者原文编译）

图1：Vivek Maddala

Vivek Maddala is an international award-winning composer for film, TV, theater, and dance.  He is also a multi-instrumental performer and record producer who has worked with a range of artists from around the world.  Find him on the web at www.maddala.com

Vivek Maddala 是位获得过国际大奖的为电影、电视、戏剧、舞蹈制作 编曲的作曲家（如图1）。 也是位精通多种乐器的演奏家,同世界各地的艺术家 都有合作的录音制作人。请浏览 Vivek 的个人网页了解更多

图2：NuEar Wave6

图3：Vivek 在工作室

As a film music score composer and record-album producer, I find myself wearing many different “hats” in the course of completing a project—composing themes, designing soundscapes, orchestrating, playing instruments, recording performances, and mixing and mastering the recordings.  These varied functions have one common feature:  I am constantly listening attentively to the output of my studio loudspeakers (sometimes up to 16 hours a day) to monitor the quality of each stage of the project.

作为一名电影配乐作曲家和专辑录音制作人,在项目完成期间我发现自己扮演着很多不同 的角色——主旋律创作,管弦乐创作,声景设计,乐器演奏,现场录音,混音以及灌录唱 片。这些不同的工作都具有一个共同的特点,那就是我必须长时间持续聚精会神地倾听我 录音棚监听音箱的输出(有时候一天听 16 个小时),从而监听整个项目当中每个阶段的 声音质量。

Of course, this raises the question: how good do the studio loudspeakers need to be?  The aphorism about the quality of a carpenter’s work being limited by his tools has parallels here.  What I hear coming out of my loudspeakers is the only information I have with which to make judgment calls about tonal and level balance, dramatic effectiveness of music to picture, etc.  In my studio, I have employed a range of high-quality reference monitors to ensure I have the proper tools to make accurate decisions—from speakers made by Dynaudio, to original V-series KRK, to boutique designs.  I am continually searching for new tools to help me do my work… and to this end, I recently acquired a pair of NuEar Wave 6 powered studio monitors.

显然,这就会产生一个问题,到底录音室采用的监听音箱要多好才行?这或许就印证了 “工欲善其事,必先利其器”那句格言。我从个人监听音箱里所听到的东西就是我能掌握 的判断声调、声压平衡性、剧本影音配合效果等方面的唯一信息。在我个人的录音工作室 里,我已经采用了一系列的高品质参考级监听音箱来保证自己能拥有合适的工具,做出精 确的判断决定—从 Dynaudio 到最早期的 KRK V 系列音箱,再到后来的精品设计。我仍在 不断寻找能帮助我更好地完成工作的新工具--- 为此,我最近获得了一对 NuEar 的 Wave 6 有源监听音箱。

图4：Vivek 在工作室

The Wave 6 monitors are direct-field bi-amped speakers with 6.5-inch Kevlar woofers and a front bass-reflex port that reminds me visually of KRK’s industrial design for compact studio monitors.  But there’s a salient difference here—both visually and substantively:  instead of the expected dome (or inverted dome) tweeter, the Wave 6 contains a 2-square-inch velocity ribbon high-frequency transducer.  All the other monitors in my studio contain more traditional pistonic tweeters, so the ribbon design on the Wave 6 provides a substantially different aural experience.  As much as I rely on my traditional loudspeaker monitors for accurate sound reproduction, the Wave 6 offers an added level of information because the ribbon tweeters provide better transient response and high-frequency extension out to 30 kHz.  In this regard, the Wave 6 is an ideal complement to the standard-driver models I have been using in my studio (variously containing silk, aluminum, and Kevlar dome tweeters)..

这款 Wave6 监听音箱是直场双功放驱动设计,采用了 6.5 英寸凯夫拉尔低音扬声器单元和 前置回音孔。单从视觉上说,这种设计也让我想起了 KRK 工业设计的小型监听音箱。但 实际上两者有着显著的不同——不但从视觉上,也从实质上:相对于我们常用的球顶或者 反球顶高音,Wave6 采用的是 2 英寸高速丝带高频驱动扬声器。我录音工作室里所有其他 监听音箱使用的均是传统的活塞式高音,所以丝带高音的采用带给了我本质上不一样的听 觉体验。

当我越是依赖我传统监听音箱来获取精确的声音重现时,Wave6 就越能提供更进一步的信 息,因为丝带高音有着更好的瞬态响应而且高频甚至能突破 30KHz。在这点上,Wave6 是对我目前所使用的常规高音音箱的理想补充(常规高音包括蚕丝、铝制和凯夫拉球顶 式)。

In my studio, I set up the Wave 6 monitors in a standard 2-channel configuration, placing myself at the apex of an isosceles triangle with the speakers (toed-in slightly), with tweeters at ear-level.  The monitors come with 24-bit/192-kHz-capable AES3 and S/PDIF inputs, although I chose to use my trusty RME converters and go into the Wave 6 using its balanced analog inputs.  There are several response contour controls on the back panel of the speakers’ chassis, including: “acoustic space” (to counter bass buildup when the speakers are against a wall or in a corner); LF cutoff, for use with a subwoofer; and HF adjustment, which adjusts the gain of the HF amp.  Originally, I set all controls to their neutral positions, and the first thing I noticed was the Wave 6’s clarity, depth, and tight bottom end.  The top-to-bottom tonal balance was exceptional; however, when listening to mixes I had already made using other speakers, I began to feel that the Wave 6 response was a bit subdued above 5 kHz; so I opted to boost the speakers’ HF setting by 2 dB, which brought the overall tonality into proper balance.  Still, the upper-mid region has a bit less energy that what I’m used to—but rather than a detriment, this made the Wave 6 a useful complement when monitoring mixes relative to the rich upper-mid response of my M-Audio EX66 monitors (containing aluminum dome tweeters).

在我的录音工作室里,我把 Wave6 监听音箱设置成标准双声道模式,我自己位于两只音 箱等腰三角形的顶点(稍微呈内八字脚形状),高音和耳朵齐平。Wave6 带有 24-bit/192- kHz-的 AES3 和 S/PDIF 数字输入,但我选择使用的是我比较信任的 RME 转换器,输入到 音箱的平衡模拟输入接口。这款音箱的功放背板上有几个频率调节控制开关,包括 “acoustic space”(当音箱靠近墙壁或墙角时,可以对低频的累积进行调节);"LF cutoff,",接低音炮输出时使用;"HF adjustment",调节功放高频的增益。起初,我把所有 调控开关打到中间位置,我的第一印象就是 Wave6 的清晰、深度、和紧凑的低音。声音 从高到低的声调平衡非常出色,但是,当我试听使用其他音箱制作的混音作品时,我开始 感觉 Wave 6 的响应在 5kHz 以上不够强烈;所以我选择把音箱的高频调高 2dB, 这样就能 使得整体的音调保持最佳的平衡。而且,我也发现中频前端部分的能量和我以前习惯使用 的音箱比较相对少了一点点,然而这也使得 Wave6 在监听混音时,成为具有强大中高频 响应的 M-Audio EX66 监听音箱(铝制球顶式高音)的有益补充。

图5：Vivek 在工作室

One of the active projects I’m currently producing is a pop record for singer Wendy Starland.  From the first mix I pulled up, I marveled at the way the Wave 6 delivers a solid center image while simultaneously providing wide stereo separation—absolutely necessary for a vocal-based pop record of this sort.  It was very easy to localize instruments in the stereo field.  In some cases, the Wave 6 revealed areas where the material was smeared or lacked focus due to misjudged application of reverb and delay.  In this regard, the Wave 6 proved to be a magnificent tool for exposing undetected problems.  After making adjustments, the results translated well on the M-Audio and KRK monitors.

我目前正在着手的一个项目就是为歌手 Wendy Starland 录制流行歌曲唱片。从我的第一遍 混合音中,我惊讶地发现 Wave6 能发出坚实的中场声像,同时又能提供宽阔的立体声分 离度——这个特性对于这一类基于人声的流行乐唱片录制来说是绝对必不可少的,可以很 容易的在立体声声场中定位各种乐器。在某些情况下,Wave6 能够揭示出由于错误的判 断、或使用混响效果和延迟效果而导致一些元素被涂改或缺失的地方。在这点上,证明了 Wave6 在用于暴露未发现的问题上确实是一个了不起的工具。通过 Wave6 的辅助去发现 问题,进行调节后,再用其他监听音箱播放就可以得到很好的诠释。

I also checked out some recent mixes I made for Grammy- and Oscar-nominated artist Stephen Bishop.  As with the previous example, I found the Wave 6 to be clear, and to be useful for picking out detail.

我也使用 Wave6 检查了一些最近为格莱美和奥斯卡奖提名的艺术家 Stephen Bishop 制作的 混合音作品。和先前的测试结果一样,我发现 Wave6 非常清晰,对分辨细节很有用。

My next project was a score for an HBO television show.  When mixing audio for TV, it is always necessary to balance the material on the bright side so that it translates well in that medium.  The gentle accuracy of the Wave 6’s ribbon tweeters made the process of creating a deliberately strident mix actually listenable and enjoyable over the course of the 8-hour session.  Typically, listening fatigue sets in after a few hours in a project such as this—but not with the Wave 6 monitors.

我的下一个项目是为 HBO 电视节目做配乐。当为电视节目混音的时候,保持各方面素材 的均衡总是必须的,尤其是平衡太亮的音色部分,这样就可以使得配乐在电视媒体中获得 更好的诠释。Wave6 柔和精准的丝带高音将我花费在创作那些尖锐刺耳混音作品上的 8 小 时变成了一个享受和陶醉的过程。 一般来说,做类似的项目,经过几个小时的听音就会 产生听觉疲劳——但是使用 Wave6 就不会。

In composing musical structures and creating palettes of sonic colors for film scores, it is of utmost importance that it be easy to assess small EQ changes in the music,  Also, judging depth and spatial changes due to varying dynamics processing and FX needs to be effortless.  In my experience with the Wave 6 monitors, they’re quite up to the task—which is no trivial feat.

在创作音乐的结构框架和制作电影配乐的音色调试板时,能够在音乐中很容易的就评估到 非常微小的 EQ 均衡效果变化是至关重要的。而且,要想创造出好的音乐效果,在工具的 帮助下,也要非常容易的判断出由于各种不同的音乐力度处理和特殊声场效果而导致的音 乐深度和立体空间的变化。从我和 Wave6 一起工作的经历来说,他完全能胜任这些任务-- -这可不简单。

I’ve now used the Wave 6 monitors during composing, tracking, and mixing stages of a variety of projects—and I am quite pleased with the experience.  During long sessions, the Wave 6’s gentle HF ribbon response can deliver much-needed relief from the timbrally strident (and painfully accurate) HF response of the aluminum tweeters I typically use.  I recently employed the Wave 6 speakers in extended tracking sessions with electric guitar, where normally I would expect the concentrated upper-mid range monitoring to causes significant listening fatigue.  At this point I had come to expect that the Wave 6 would be kind to my ears, and I was not disappointed.

我现在在很多不同项目的作曲,操作音轨,混音阶段中都使用 Wave6——我非常满意 Wave6 的表现。在长时间的听音过程中,Wave6 的柔和丝带高频响应使我能从那些铝制高 音所发出的尖锐(精准的使人痛苦)高频响应中得到非常必要的缓解。我最近使用了 Wave6 音箱来操作音轨扩展电吉他的伴奏部分,如果按照原来继续使用中高频前端太集中 的监听音箱肯定会造成非常严重的听觉疲劳。在这点上,我已经预料到了 Wave6 肯定有 助于延长听音时间,我的耳朵也不用再饱受折磨了,事实证明 Wave6 没有让我失望。

A big factor in determining the usability of a set of studio monitors is how easy it is to create a “portable” mix—that is, a mix that translates well in a variety of other playback systems (cars, home theaters, professional dub stages, THX-calibrated screening rooms, portable playback systems with mp3 compression, etc.).  In pulling up unmixed material on the Wave 6 monitors and making adjustments—moving levels, shaping filters, carving transients, adjusting release times—I found that my visceral first impulses translated well in other systems.  This is the true test of a studio loudspeaker monitor, and the Wave 6 passed with flying colors.  I’m looking forward to employing the Wave 6 monitors from now on to check (and improve) my mixes, and to provide a non-fatiguing but detailed listening response during all my stages of creating music.

决定一套监听音箱可用性的一个很大因素就是:使用他是否可以很简单的创作出“便携 式”混音——这个混音必须可以在不同的重放系统中很好的诠释(像汽车、家庭影院、专 业的混音舞台、THX-标准放映室、便携式重放设备或者 MP3 等等)。当使用 Wave6 监听 音箱来整合那些没有混合的素材并且做必要的调解时——调解电平,调解滤波,调解瞬态 响应,调解释放时间——我发现我内心深处的第一次冲动真的可以得到很好的诠释,这是 一次真正的监听音箱 测试,而 Wave6 以骄人的成绩通过。我正在期待着从现在开始使用 Wave6 监听音箱去检测(和改善)我制作的混音,在我创作音乐的各个阶段 Wave6 能提 供一个不会觉得疲劳但体现更多细节的听觉响应。

图6：Vivek Maddala

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Vivek Maddala 简介:

Vivek 的音乐巧妙地融合了爵士风格和现代民族的神韵,他的灵感被诠释为来自于一种对吉他及其他打击乐、管弦乐的狂热激情。2000 年,26 岁的 Vivek 获得了国内青年电影作曲竞赛的头奖,2 年后被邀加入“美国作曲家、 作家与出版商协会”电影配乐机构进行学习。2005 年,Vevik 为“Patsy”配乐并获得了由 JPF 颁发的年度最佳 声带专辑奖。2006 年 10 月,Vevik 担当了“第三届天使新音乐合奏团“的指挥嘉宾,在 2006 至 2007 年的团体 演奏期间尽其所职。2007 年,Vevik 为 James Franco 配乐的电影“Grasshopper”获得了“电影&电视音乐 奖”提名,由他配乐的三部电影均在 2008 和 2009 年由观众授予的帕克城市电影音乐节上获过金奖,并且 Vevik 曾一贯作为电影音乐作曲家中的圣丹斯协会成员。

除电影配乐, Vevik 也制作并谱写音乐其中包含诸多摇滚、爵士以及世界音乐作品的出版,也包括了与艺术 家 Stephen Bishop、Wendy Starl 合作。更值得一提的是,Vevik 的音乐现已被 NPR,联合出版社,CNN, Democracy Now!, Variety, 以及 Entertainment Tonight 多家机构采用为特色新闻报道。2008 年,受国际顶尖 舞蹈公司 BodyVox 委任为现代芭蕾舞团配乐。作品“Fuses”的舞蹈设计融和上 Vevik 创作的后现代音乐曲调, 在 08 年夏季一贯包揽剧场,座无虚席。

奖项及荣誉:

• 2009:最佳艺术家金奖,观众最喜爱的,帕克城市电影音乐节,作品《They Turned Our Desert Into Fire》
• 2009:BMI 指挥演出
• 2008:最佳艺术家金奖,帕克城市电影音乐节,作品《Wild Oranges》
• 2008:最佳艺术金奖,观众最喜爱的,帕克城市电影音乐节,作品《Grasshopper》
• 2008:圣丹斯作曲成员
• 2007:电子音乐人“编辑精选奖”。
• 2007:未来音乐 ACE 奖
• 2007:电影&电视音乐提名,作品《Grasshopper》
• 2007:Music Tech 杂志精选奖
• 2006:专业音频评论,
• 2006 评论家精选
• 2005:国际 JPF 授权为年度最佳声带专辑《Patsy》
• 2002:美国作曲家、作家与出版商协会电影配乐成员
• 2000:青年电影作曲竞赛一等奖

著名的配乐作品：