很榮幸我們此次承接所有的聲音工程1在聲音技術上將又是一大挑戰！在首次的會議上得知有8個團體，在後續上又加入一組，前後共有 9 個音樂團體要為此次的高峰
音樂會跨刀演出。計有
伍佰 China Blue、齊秦、林曉培、迪克牛仔、亂彈、韓國Clon、日本Shazna、暴暴藍。相對的就硬體技術上又有不少的功課及故事可以闡述給各位看倌，
此次系統的規劃總共更改 3 次，浪費不少的前置作業時間，原先本土藝人的架構出爐後，卻因為加入一組日本團體後 ( Shazna ) 整個系統又更改一次，總結上場後的
系統共分為八套系統，非常龐大，最後一次與日本方面在中正機場會談最後定奪的架構後，我們就趕回瑞陽公司開始組合聲音系統等前置作業。
( 我尚記得與日本方面在機場開會時買了 4 杯可樂請他們，怪怪！400 元！！一杯 100 塊錢，真是他媽的貴貴貴！！！)真是的，MTV 的召集人，臭 " 阿 ARTHUR"，
什麼地方不約，約到這個的地方來喝可樂！我咧#*@$%&........
_
系統分別為
1 . PA For Shanza MIDAS XL-200
2 . PA For Taipei Bands YAMAHA O2R
3 . Stage Mnoitor For Shazna MIDAS XL-4
4 . Stage Monitor For Taipei Bands (Aux-1~Aux-7)YAMAHA O2R
5 . Stage Monitor For Taipei Bands (Aux-8~Aux-14)YAMAHA O2R
6 . 2 Tracking Live Recording For Shazna YAMAHA PM-4000
7 . 2 Tracking Live Recording For Taipei Bands YAMAHA O2R
8 . Multi Tracking Recording MAKEI 40.8
以上 8 套系統，然後採用兩組1:4訊號分配器各自獨立訊號源。原本有
考量到過多的連接會導致噪音比昇高，幸虧兩家器材品質尚屬新品，
雜訊問題等於不用煩惱，連日本團體都不斷的誇讚系統乾淨，
還好沒有丟臉。
舞台主系統建立在 XL-4 身上，藉由 XL-4 標準的 Aux Sub in 將兩組
O2R 的 AUX OUT 同步相接合，而這套的架構是依日本團體需求組合
的。喇叭則搭配 2" 高音及 15" 低音的 RY-500 監聽喇叭，雖說缺點多
多，老外沒嫌就好，多軌錄音共達 36 軌之多，現場系統則近達 40
多個通道的訊號，很高興的完成此次音樂高峰會，系統沒有大狀況出
現，唯 House 喇叭數量不足，操作得很吃力。謝謝天。
_
Yamaha O2R Setup
MIDAS XL-4 for monitor
Monitor -1 system
Monitor -2 system
Monitor -2 system
system setup
運用O2R的數位概念，在多組樂團的數據更改下幫助不少的忙，也得到一些日本方面新的資訊，不假多日可能會有數位的參數管理類比的聲音輸出的機器誕生。
未來可在演唱會天地裡挑上大樑，尤其是在多重組合的節目型態，採用數位管理流程，這在原則上，及邏輯編排過程是一大革命的。雖然數位的 Live 混音器到目前
這個年代尚不是很成熟，但是最基本的是我們身為技術出身的，要比別人更早有心理準備隨時接受新的科技時代來臨，前置作業一共花掉我們三天的測試，
假設故障排除、系統臨時更改、House 萬一出問題，如何急救等問題種種，不斷的在我們這些人頭上繞啊繞的，雨天的帆布，晚間的安管等，舞台的 100、120、220 V
各種電源的區分，走線安置、狀況排除等等，儘可能的去把會出現的問題假設出來。
_
System View-1
System View-2
PM4000+O2R for OB.
MARTIN W2 for Front center
Front house Left side
因為雨水的因素使得器材損壞，甚至影響演出品質，所以每個喇叭都穿起雨衣，接頭接點、連線盒、電源等小地方，通通做防水處理，在下過雨後的舞台上，日本人
是非常堅持安全問題，就不再排練，當他們看到我們雨停後繼續操練，都搖頭真是不可思議，兩地的文化確實相距甚遠，MTV 方面為了此次音樂會真是勞心勞力也苦
了他們，MTV 的夥伴們，謝謝你們了。
九個音樂團體湊在一起，畢竟別人遠從日本而來，MTV 花在他們身上的精神，心力真是可以寫一本書了，也因為如此所有的作業幾乎配合Shazna的動靜，
我記得 7 / 29 全台大停電一直到早上我們公司鐵門沒電打不開，到了7點半之久，電終於來了，大夥拿到器材飛奔至現場(我們約8點)結果路上交通號誌又亂跳，
遲了十數分才到現場，光如此他們就不是很快樂了，這幾天的工作點滴，在後續裡我會慢慢道來…...在樂器方面確實是一大辛苦的事，九組團體裡除了Clon以外，每組有自己的喜好及專屬樂器，固定位置。使得編排上有很大的學問，在儘量不影響到各人的表演習慣我們與鼎益鑫謝先生研究排列最後才定案舞台的排列，真是辛苦無人知，
為求其他參與的外國朋友也能瞭解此次的活動內容，以下的一篇將以英文書寫。
Front View
Side Fill
Right side View
自己的喜好及專屬樂器，固定位置。使得編排上有很大的學問，在儘量
不影響到各人的表演習慣我們與鼎益鑫謝先生研究排列最後才定案舞台的
排列，真是辛苦無人知，
為求其他參與的外國朋友也能瞭解此次的活動內容，以下的一篇將以
英文書寫。
Last July 31st and August 1st, 音匠 and our friends at 瑞揚had the responsibility to install and operate the sound system needed for the big MTV event held in Taipei.
It was a 2 day concert event where a total of 9 bands would be performing. Seven of them were Taiwan artists, the 2 others were Japanese bands invited for the occasion.
We prepared these:
* 2 P.A. mixing systems with 2 sets of equalizers and processing
* 2 monitor mixing systems with 2 sets of equalizers
* 2 broadcast mixing systems and 2 sets of broadcast processing
* 1 digital 40 track recording system
* 1 monitor speaker system for 13 channels
* 1 P.A. speaker system
* 2 transformer distribution systems, each one having one direct out and two isolated outs.
Music instruments-1
Music instruments-2
Music instruments-3
Stage meeting
analogue mixers.They were also coming with their own P.A. & monitor engineers.Because so many bands were invited to this show, we had no other way but to use our
digital Yamaha O2Rs to mix the Taiwanese bands.These mixers have the convenient capability of storing all the settings we need for each band. As you might know,
every band requires different eq, Effect and balance settings. So, after a band finished its rehearsal, we just had to store that particular band's settings in memory so it can
be quickly recalled when the band came on stage for the show. Then, since one O2R has 96 available memories, It is "virtually" possible for us to do a 96 band concert
( yes, ninety six...!!!! ). Would you like to try us? Hehehe...!!!
On the other hand, the Japanese engineers could use our two Midas consoles. They really like them.
How did we do it?
For the Japanese bands, namely Shazna and Hysteric Blue, we used a Midas XL-200 as P.A. mixer, a Midas XL-4 as monitor mixer and a Yamaha PM-4000 as
broadcast mixer. The other bands where mixed using a total of 4 O2Rs: one for P.A., one for broadcast and 2 for monitors. To link all these babies together is not so
difficult. Ok, I agree that the amount of cables needed to connect Everything is tremendous but the basic idea, how strange it can be, remains
quite simple. I know, I know... You will tell me: But Max, I am not sound engineer.
How can I understand everything you say here? Some of you reading this are not necessarily sound engineers or don't have a clue of what I am writing down here.
For those who are, I know you will quickly understand this system just by looking at its map. For those who aren't, I am sorry I cannot go into details because if I did, I would
have to write one sentence or more for each cable that was used in this show. I suggest you too have a look at the system's map. It can help you understand a little more.
If not, just try to imagine the whole system as a big spaghetti bowl. There are a lot of noodles. You don't know how many there are and you can only see a few noodle tips.
You don't know where each noodle begins and where it ends. It is just there, as each cable in the system, Whahahahaaaa...!!!
Stage meeting
Front House control
Drum set-1
Drum set-2
Broadcast room
Day-1
Monitor engineer Ni
Stage View
Multi Tracking Recorder
Front House View
On show Day
be slightly adjusted before each band's performance. The board used was a Mackie 40.8. Its 40 direct outputs were sent to the balanced
analogue inputs of one Tascam DA-98 and four Tascam DA-38.
Next question : How was it done on stage with so many bands? There too we needed to double almost everything. Two drum kits with each
one having it's own set of microphones, a lot of bass and guitar amplifiers and many keyboards. The mean we used to connect all of them
to the mixers was the toughest part of our job. When we connect our microphones, we usually connect them to a set of 8 channel boxes
spreading them here and there on the stage, looking for the best spot. Then, each boxes has its own 8 channel cable that is connected to
the first distributor close to the monitor mixer. Over there, the patch is made, sending each signal to all the mixers.
That way, all the consoles can receive each and every signal coming from the microphones and direct boxes used on stage.
AC Power system
Front View
Front View
way of thinking, you will undoubtly end up with the following solution. Since the
mixing systems were doubled, why don't we double the boxes too? That's how
it was done.Two sets of five channel boxes for a total of 2 sets of 40 channels.
When a Taiwanese band was performing, the first set of box was used. When
the japanese bands came on stage, we disconected the first set and
connected the second set. A few of our guys working together were able to
switch the 8 channel cables of all boxes in about two minutes. To change
band, just switch 5 cables, recall the preset you need on the O2Rs and you're
ready to rock & roll.
Broadcast Jeff
As for the show, everything went quite well, except for the weather that made us lose a few hours in the preparation days but we were lucky
though, no rain during the shows. Thanks to the red peppers that were hanged all around the stage. We had great fun too. We have new
friends from Japan and we had the chance to meet old friends like Shino and all the others. There was also that lady who came to me and
grab my flashlight that was attached to my belt while I was busy unplugging my system after the last show. I guess she just wanted to say hello.
It was a long time since I last saw her. Anzo took a lot of pictures and you can have a look at some of them right now.
I know that everyone at Sounder had this opportunity to gain more experience too. A show so big gave us the chance to explore new ways to
connect a sound system and new ways to operate it. I would say that every aspect of our work became a little easier too. So, leaving you
here, wishing you a nice day. Feel free to send me any email for comments or questions or drop by at Sounder for a chat and a cup of four
season tea.
Stage coordinator - Keven
Show View
Show View
Show View
Lighting setting
Two house engineers
任何參與的唱片公司及相關單位應本著百分百的配合及提供資訊，每每到了正式on show時，一相關人員才出現，然後就會出現一些所謂的"
問題"、"瑕疵"、不滿意等狀況，姑且不計日本人所帶來的show內容如何，倒是該捫心自問，各唱片公司對於事情的尊重及敬業心態，
我們做到了沒有? Shazna 所帶來的最大衝擊是人家的敬業及專業！藝人的姿態永遠尊重專業，反觀咱們............
全新的改善現有的體制及習慣是不可能的，最起碼的是國際性的活動我們還沒有在外人面前漏氣，反之是一再讚許及成長，別人的好咱們
馬上吸收，增加自己的知識，進而應用到往後的作品，此次的現場音壓是不足的，也使得後續的揚聲設備大量損壞，記取教訓，
別因為預算低而降低聲音的品質，那只有害了自己的口碑而已。加油! 謝謝MTV的所有參與人員，泰笙、ARTHUR、希倫、詠儀等人，
能有這次的機會參與執行你(妳)們的作品，倍感榮幸，音匠這次學習到非常多的東西，也創造出國內硬體的架設新概念，對於此次的得失，
我們會加以吸收改進為下一次的作品奠定更雄厚的經驗基礎。