本文關(guān)鍵詞：論音樂混音技術(shù)中的聲音掩蔽效應(yīng)　出處：《上海音樂學(xué)院》2014年碩士論文　論文類型：學(xué)位論文

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【摘要】：自20世紀(jì)初第一臺(tái)留聲機(jī)誕生以來,聲音的記錄技術(shù)在源源不斷的科技發(fā)展洪流中開始逐漸嶄露頭角。尤其是21世紀(jì)以來,隨著數(shù)字科技的發(fā)展,音樂錄音與混音技術(shù)更加凸顯出其在音樂產(chǎn)業(yè)領(lǐng)域中的重要地位。由于聲音本身具有音高、響度、音色等物理特性,由其物理特性衍生出的一系列聲學(xué)現(xiàn)象是錄音與混音中尤其要注意的環(huán)節(jié)。如何利用好某些對(duì)得到更完美音質(zhì)有利的聲學(xué)現(xiàn)象,如何在音樂制作中避免某些聲學(xué)現(xiàn)象來破壞音樂作品的完成度,都將是當(dāng)今混音中要特別注意的環(huán)節(jié)。 在諸多聲學(xué)效應(yīng)中,本文將以聲音的掩蔽效應(yīng)(Masking Effect)為重點(diǎn)研究對(duì)象。目前國(guó)內(nèi)外對(duì)掩蔽效應(yīng)的理論及應(yīng)用研究多見于建筑聲學(xué)及醫(yī)學(xué)領(lǐng)域。尤其在我國(guó),掩蔽效應(yīng)在音樂領(lǐng)域的研究多見于作曲技術(shù)理論的配器理論中,而在音樂制作領(lǐng)域中尚且是以宏觀描述的形式為多見。掩蔽效應(yīng)在音樂錄音混音中是一個(gè)十分常見的聲學(xué)現(xiàn)象。尤其在音樂混音的過程中,不同聲軌之間因?yàn)槟承┮蛩氐南嗨苹蛳嘟鼘?huì)產(chǎn)生很嚴(yán)重的相互掩蔽。如果從事混音工作的工作者不能及時(shí)加以處理,對(duì)混音得到的整體音響效果將會(huì)產(chǎn)生很大的不利。 本文將使用定性分析法、描述性研究法、觀察法、實(shí)驗(yàn)法、實(shí)例分析法等研究方法,通過客觀數(shù)據(jù)分析及主觀聽覺感受,從聲音的頻率與頻譜分布、響度與等響曲線等聲學(xué)理論入手,通過四組聽覺實(shí)驗(yàn)探究出掩蔽效應(yīng)產(chǎn)生的條件——與頻率和響度有著直接關(guān)系,又與聲像設(shè)置有著間接關(guān)系,進(jìn)而從聲像、響度及頻率這幾個(gè)因素入手,重點(diǎn)分析如何在音樂混音中減少聲軌之間的掩蔽,其中以底鼓與貝斯為例進(jìn)行了主要探討。關(guān)于掩蔽效應(yīng)的所有研究都是以如何得到具有平衡飽滿音響效果的音樂作品為最終目的。
[Abstract]:Since the birth of the first phonograph in 20th century, the recording technology of sound has begun to emerge gradually in the continuous development of science and technology, especially since 21th century, with the development of digital technology. Music recording and mixing technology more highlights its important position in the field of music industry. Because the sound itself has the physical characteristics of pitch, loudness, tone color and so on. A series of acoustical phenomena derived from their physical properties are especially important in recording and mixing. How to make good use of some acoustical phenomena which are beneficial to the more perfect sound quality. How to avoid some acoustical phenomena in music production to destroy the degree of completion of music works will be a special link in the present mixing. In many acoustic effects. The masking effect of masking will be used in this article. At present, the theory and application of masking effect are mostly found in the field of architectural acoustics and medicine, especially in our country. The study of masking effect in the field of music is often found in the orchestration theory of composition technology. However, in the field of music production, it is more often in the form of macro description. Masking effect is a very common acoustic phenomenon in music recording mixing, especially in the process of music mixing. Because of the similarity or proximity of certain factors between different tracks, there will be very serious mutual masking. If the workers engaged in mixing work can not be dealt with in time. The overall sound effect of mixing will have a great disadvantage. This paper will use qualitative analysis, descriptive research, observation, experimental, case analysis and other research methods, through objective data analysis and subjective auditory perception, from the frequency and spectrum distribution of sound. Based on the acoustical theory of loudness and equiaural curve, four groups of auditory experiments were conducted to find out that the conditions of masking effect were directly related to frequency and loudness, and indirectly related to the setting of sound and image. The loudness and frequency of these factors start with the emphasis on how to reduce the masking between tracks in music mixing. Taking the bottom drum and bass as an example, the main purpose of all the studies on masking effect is how to get a musical work with balanced and full sound effect as the ultimate goal.
【學(xué)位授予單位】：上海音樂學(xué)院
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2014
【分類號(hào)】：J611.1

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相關(guān)期刊論文 前1條

1 李鴻賓;調(diào)音技巧(七) 各種不同頻率的音色[J];音響技術(shù);2000年02期

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本文編號(hào)：1426495