昨晚,在为一位著名的女艺术家混音监测器后,我开始思考:如果不是艺术家自己,那么是谁最终要对艺术家的听觉负责?

从我的观点来看,认为艺术家之外的下一个人承担这种负担似乎是合理的,在一个典型的音乐会环境中,那就是监控工程师。我们都知道,你可以坦诚地与一些艺术家交流并表达你的担忧,但有些艺术家却不能直接与你交流。你必须通过管理部门或其他部门。让这些人把你的想法和顾虑传达给你的可能性是0%,甚至完全没有。
艺术家几乎总是声称他们需要“觉得”它在舞台上,我得到它,但它是以牺牲他们的听力为代价。他们不是意识到他们危害自己的职业生涯吗?没有任何人从Pete Townsend学到?许多人不意识到他们也通过涂抹与阶段洗涤的泡沫混合来破坏自己的展示。如果有任何艺术家将承担责任,他们将整个混乱放在手中。实际上,如果艺术家在舞台上疯狂地向你动手转动一切,我们就不能在展会期间做得很多。昨晚是这种情况。场地是一部旧剧院,容量约为1,200个座位。PA是一个调整的Meyer M3D线条阵列,具有充足的Aux-Fed子潜艇。在舞台上,我在顶部使用了一个meyer cq,用m3d sub for side填充。 I ended up not using the subs since the artist only wanted vox and some tracks in the fills. Downstage wedges were Clair 12AMs with a few Meyer powered wedges upstage for the band. During soundcheck everything was within reason and sounded great. Everything was rung out tightly with not a hint of feedback and I still had plenty of headroom if needed. Band and artist were all thrilled, at least from what they told me. Then comes showtime and all of a sudden the artist wants the fills CRANKED far beyond what we had at soundcheck. I’m pushing up faders and I’m soon seeing lots of red lights, both from the CQs and then also the aux outs of the desk (Avid SC48.) After the artist motioned for me to turn things up further I indicated to her that we had hit the limit of what we had available. She wasn’t happy but soldiered on. After the show I spoke to the MD and he confessed that they have been trying for the last ten years to get her on IEMs. I told him that they should update the rider (from 2006) to indicate a larger side fill rig. I didn’t get the chance to talk directly to the artist who, by the way, is someone I first met at the very beginning of my career, working on her second album as an assistant engineer in the studio. If I had had the chance to talk to her I would have tried to openly discuss the options available that would enable her to continue to perform without damaging her hearing… FOREVER. It’s clear to me that she already must have some hearing loss and at the rate she’s going it’s likely she’ll be nearly deaf in a few years.
当我们看到越来越多的艺术家使用IEMs时,似乎有些疯狂的是,仍然有人想要在舞台上使用115dBA(或更多)。它可能更简单一些音乐家的乐队,因为即使iem你至少可以给鼓手“桑普”附在他或她的王位,甚至好几位贝斯手可以站在“隆隆声垫”给了他们一个触觉反应他们在玩音乐。所有这些工具都很棒,但它们对歌手没有任何帮助。我一直在绞尽脑汁,试图想出更好的方法,把IEMs与侧边和/或楔形项目强烈的歌手不完全满意的IEMs。到目前为止,我的实验结果好坏参半,但最重要的是,舞台音量仍然可能失控。到目前为止,最好的方案是只使用潜艇作为侧填充,这样艺术家就能感受到鼓点和底端。此时,除了标准的楔子和填充之外,真的没有其他工具或资源,所以尝试和想出替代方案是令人沮丧的,但我正在努力。
我现在为Cee Lo Green混音,他的舞台音量大得吓人。我第一次见到他并和他一起工作是在为一个大型公司演出混音时,他是一个嘉宾表演者。当时他正在使用IEMs和楔形和侧边的标准补充。在那场演出中,舞台音量得到了控制,没有失控,也没有潜在的破坏性。当我得到演出,混合FOH为他,我发现他不再使用IEMs,已经回到使用只是楔子和侧填补舞台。这支乐队已经完全入迷了。所以为了让Cee Lo在舞台上“感觉”它,我们的监控工程师(Aaron“Double A”Dilks)必须把一切都调到明显的破坏性水平。我们讨论过让Cee Lo回IEMs,但到目前为止没有结果。有很多次,当我们检查声音的时候,人们都在评论这个装置有多吵,我会指着我的主渐变器,当然,它一直在下面。他们震惊地发现,所有的音量都来自舞台本身。 To say it interferes with my FOH mix is an understatement. It’s at the point now that if I were for some reason asked to mix monitors for Cee Lo I would refuse based on the simple fact that I don’t want to be the one responsible for ruining his hearing. I’m at the point now where I’m comfortable enough with my own ability and ethos that I can approach an artist and discuss with them the damaging effect that loud stage volume can have on them. Unfortunately it seems that for the most part they just don’t listen or don’t care. To this day not one single performer has done anything to change their ways. I almost wish I had started in this industry sooner so I could have been one of the engineers that was able to change a band or solo artist over from wedges to IEMs, just to feel like I had accomplished something.