浅谈钢琴音乐会现场录音及后期处理——以拉赫玛尼诺夫《g小调第四钢琴协奏曲》实况录音为例  

On live recording and processing of piano concertos concert——As an example of RACHMANINOV Piano concerto No.4 in g minor,Op.40

作　　者：叶思成[1] 袁邈桐[1] 

机构地区：[1]中国传媒大学艺术学部音乐与录音艺术学院,北京100024

出　　处：《电声技术》2017年第4期87-90,共4页Audio Engineering

摘　　要：如今,钢琴音乐会作为交响乐常见的一种演出形式,备受广大业内人士及音乐爱好者的关注与青睐。对于如何记录下钢琴音乐会并通过录音的方式能更加完美地将它呈现出来,便成为录音业界不断探索的课题。简要阐述录音曲目的创作历史与曲目风格,重点对钢琴协奏曲音乐会的录音实践技巧、录制设计理念与方法,如录音工艺与计划、传声器的使用方式与拾音设计方案、音乐的音响设计理念、后期处理方法等内容,进行了介绍,同时综合梳理录音过程中的具体实践与操作经验。Today, piano concertos concerts as a common symphony performances form, has attracted wide insider and music lovers. How to record the concert for piano concertns anti through recordings can be more perlbct way to render it out, it will become the recording industhw will continue t explore this subject. This paper describes the history and music style of RACHMANINOV Piano concerto, hnportantly, the article focus on the recording methods or practical tips, and sound liesign ideas for the concert of Piano concerto, such as： recording process, planning, sound pick-up designing, sound design, and post-processing methods, At the same time, the paper also introduce of the comprehensive practices and experiences in the real rerording prneess.

关 键 词：钢琴协奏曲 现场录音 拾音方式 音响设计 

分 类 号：TN64[电子电信—电路与系统]