Encore Studio

Shoot recently using one LOMO Camera with 35mm Film.Love this album so much.Let's call this "Just Give Us More Sunshine"

This song is written for a fansclub as an anthem of the group.

The composer and the original lyrics writer of this song is me and the music was arranged by my friend Musicxj who also graduates from Communication University of China and he is a indie singer-composer.The lyrics of this chorus version is reorganized by my friend in the fansclub.

Also I do the final mix for the song as the sound clip of the song was sent to me from two different place.

Just for fun.
Two Birthday Celebrate Video Made by me.
The background song is written by me too.
Video Edit using After Effects CS5.

Here comes：

Made in 2010.11.21.

Made in 2011.01.20.

Nov 13 2010 Cheer Chan Concert 《A Piece of Summer II》 in Singapore Expo.
Photo by me.
Here is some preview and enjoy more pictures pls go to http://www.flickr.com/photos/encorecc/sets/72157625451181033/

Some special Version that I loved so much.

It's a mix contest hold by Warner Music Singapore.
My first time to take part in this kind of contest.
Join in for fun and made the "Fade Away Remix" Version.

Click here to download:

    This March,I worked as a Sound Recording Director in 512 "The Courage to Challenge the Destiny" China Great People's Story Feature Films.
简述:
    此次短片拍摄采取同期录音工艺，使用的话筒是森海塞尔的MKH416超指向性话筒，配备SHURE小型调音台FP33，在片场采用双机拍摄，而录音设备接于摄像机DVW-700P上，另一部摄像使用5D Mark II，单独使用时用DVW-700P做声音记录。
    由于短片的取材点为5·12立志人物在地震两周年以来的生活记录，偏重纪录片形式，因此在总体声音构思上以还原日常生活场景为宗旨，拍摄时也尽量将录制的声音的感觉更贴近纪录片，纪实画面更注重声音的真实空间感及方位感，基本保证一个场景固定话筒位置，当然，编剧的设计思路中也有唯美幻想的一部分，这部分主要依靠后期制作，例如孩童们玩耍歌唱的部分，属于一种心理闪回，加入混响与失真的处理，表现出与现实不同的风格，预示着它就像梦一样一直回荡在主人公的内心世界。另外，此片导演很注重细节的表现，特别对于主人公独特的情绪表达方式上，用纸条代替语言，在动作特写时，声音也是一种亮点，越干净越真实，越真实越能抓到观众的心，越能传达主人公所承受的心理上的痛苦与压抑，因此在前期同期录音时，这是最需要把握的一点。还有，由于主人公身体状况的原因，独白的录制只能在病房进行，多少会有环境声及小小杂音窜入，都经后期降噪处理。
    作为一部励志类的纪录片形式短片，在声音上本作品基本满足了画面表达的纪实感，亦通过声音表达了主人公内心的渴望。不过通观整个制作过程，亦有体验不足之处，由于拍摄地在医院，因此为不打扰医院的正常运作，有些场景无法给予充分的拍摄时间，部分细节的录制还是留有遗憾的，另外，由于拍摄主场地病房空间有限，灯光摄影录音同时进行时，交流电机的存在也给录音工作带来过困扰，部分段落在后期经过细致的处理。

During my intership in Travel Channel,video editing is one of my job.I feel exciting to express in vision images.
I also did some videos myself for fun as I'm a photographer in a forum.

Here is the Video made in March last year:

This song is written for my mum.

The composer and lyrics writer of this song is me and the music was arranged by my friend Panda who also graduates from Communication University of China and he is a indie singer-composer.

Click here to download:

It's a song demo composed and arranged by me. Midi produced through nuendo.

Click here to download:

《回眸》
还记得角落里的那把琴吗？
也许她从此都“不在”了
但是那个熟悉的旋律 会永远在记忆里
回眸的那一刻 你在站台等她
她在溪边 与你合唱。

Find the lost happiness...
A little sound story brings you back to your memory.
Hello!Do you remember?

Directed & Made by Encore Chan

Click here to download:

Introduction of the band & song:
     The word "Hang Gai" in Mongolian means a world full of blue sky、white clouds、grassland、rivers、hills and trees. The band consists of 5 people from 5 different areas of China and they throw themselves into the Mongolia Music for years.Their instruments include guitar、bass、drums and the special traditional instruments like Nigenkin、Trichord and Morinhuur. And the most special “instrument” is Khoomei, which can be performed by members to sing two to three keys at the same time.

During the preparation & production:
    We contacted the band all through the internet and phone calls. We explained our purpose to have a song record production with them through an email.Then they decided to come. But because of their busy schedule,only three of them can come on the first day. This caused that we could not get the percussion recorded at the same time with the whole band and we had to choose another day to record the percussion alone. This caused some problems too that we haven’t got the bass to be recorded all through the production although the songs sound good as well.
    We recorded three whole songs during the first recording day.The players said that they would like to sit in a circle as if they play in live shows so that they can make the performance more touching. To avoid the noise during the recording,we set some carpets. Therefore, as it shows in the picture, we chose mode X.Y and put the blumlein in the middle of them as the main microphone system. We also chose mode A.B as environmental microphones which were away from the mode X.Y with a distance about 5 meters.Then we gave a spot microphone to the coryphaeus. Because of his special singing style, we set a noiseproof net for the coryphaeus. It seemed perfect in theory; however, during the mixing process, we found that the sound recorded by blumlein appeared some reverse. We should accept that’s the short come of pre-production. But we still decided to believe our ears and feeling to choose the reverse one, because it sounds more spatial. Another problem was the noise made by the player’s clothing during the recording, and we suggested them to take off the out attire. It worked. This was the first time we used blumlein in practise and it was almost satisfactory.

    We had the percussion recorded then. And the biggest problem was the rhythm. The song recorded in the first time was totally out of metronome, so it’s a hard job to get absolute precision of the rhythm. Therefore, we ask the player himself to record a basic beat. It worked a bit as we heard less mistakes.

During the post- production:
    As mentioned before, the rhythm of the percussion does not exactly match. But I think it's not a big matter. Luckily, the player recorded two patterns of rhythm. Therefore, I decided to use those two pattens with different ratios into different tracks. It also helped to build the illusion of expanse.
    Then, because of the lack of bass, the shortage of low frequency during the whole song seemed evident. Because of the fear of adding the wrong chord of bass through midi production and hence would destroy the whole song, I used a Parametric Equalizer to upgrade some low frequency appropriately. And I used midi to add Tambourine in the second repeat part because what we recorded before was a bit hard to hear. Thereafter, I felt the song was harmonious with the added midi track.

My own evaluation:
    Totally, I love the songs. It was the first time we recorded the songs of a band and it was also the first time we used blumlein in practise. All the work throughout the whole process was amazing.It was a good experience of teamwork and learning process of making a song record. Thanks so much to my teacher Lorenz and DingQiao for giving us the direction and always be accompanied.

Click here to download:

作品形式及名稱: 蒙古新民歌《五個英雄》
作品時長: 04:42
錄製地點: 中國傳媒大學東配錄音棚
錄製工藝: 多軌同期錄音

1.所用設備
話筒: 兩支U89 兩支KSM141 兩支KM184
計算機音頻工作站: Pro tools HD
其他: 6根話筒線 1個大話筒架 4個小話筒架 1個話筒橫杆 彩帶 記號筆
2.錄音工藝描述
採取同期多軌錄音,6軌分別是一組A/B制式拾音話筒+一組X/Y制式拾音話筒+2個點話筒。以X/Y拾音制式為主,A/B拾音制式作為環境話筒,2個點話筒拾取人聲。
3.錄音廳堂聲學條件描述
錄音棚面積120平方米,高6.5m,混響時間0.8s。
4.拾音制式/ 方式描述
主輔話筒拾音:
①主話筒採用X/Y拾音制式: 樂隊三人的演出互相配合而成,因此三人圍坐成圈,X/Y支于三人中心,每人距傳聲器系統70cm,話筒距地面50cm,使用兩個U89,指向性為8字型。
②A/B拾音制式作為環境話筒: 拾取整體廳堂感,距離主傳聲器系統5m,話筒支于地面上2.5m處,間距50cm,使用兩支Shure的KSM141,全指向性。
③兩個點話筒: 單獨拾取主唱和伴唱,分別與歌手相距20cm,使用兩支KM184,心型指向性。
5.錄製過程中的效果處理參數
Delay
      1234.4ms      feedback  17%      發送量  -23dB
TC Electronic M6000 —— Cathedral
      Decay 2.0s     Rev.Delay 21ms    PreDelay 20ms
      Early Color 9   HiCut 2.88KHz      HiSoften 6
   發送量 -1dB (A/B制式)      -14.5dB(笛子)      -20.5(主唱)      -17.5(伴唱)
Master Maxim    threshold -6.7dB   最高音量-0.1dB
6.簡單評價
《五個英雄》這首蒙古新民歌是由投身蒙古音樂的年輕樂隊——杭蓋樂隊傾情創作及演繹,充分體現了杭蓋樂隊的音樂風格與現場感豐富的演奏特點。後期製作將整體效果處理成略帶混響,而不對音色做任何處理及修改,希望營造的是一種真實發燒的感覺,如同置身于一個蒙古包內,當地友人圍坐在一起為你即興獻唱一曲,很隨性,很自在。樂器的使用及伴奏編曲上極賦蒙古特色,主節奏樂器的節奏型亦帶有明顯的蒙古歌曲律動,人聲的演唱技巧亦屬當地特色。吉他樂器的加入給予一種現代感,簡單的幾個滑音機單旋律也讓人倍感清新。

此作品已獲第三屆“汪麗君錄音藝術獎學金”本科生音樂類二等獎

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作品形式及名稱: 馬林巴三重奏《Sculpture 3》
作品時長: 07:06
錄製地點: 中央音樂學院排練廳
錄製工藝: 多軌同期錄音

1.所用設備
話筒: 一支Neuman 145 兩支mk2 兩支Neuman 140 一對Schoeps的立體聲話筒
計算機音頻工作站: nuendo
聲卡: PreSonus FireStudio
耳機: Sennheiser 280  Sony7506
其他: 7根話筒線 1個大話筒架 3個小話筒架 2個話筒橫杆 耳機分配器 電源線及插板 膠布 記號筆
2.錄音工藝描述
採取同期多軌錄音,7軌分別是一組A/B制式拾音話筒,一組ORTF混響話筒,三個點話筒。
3.錄音廳堂聲學條件描述
排練廳約80平方米。聲學條件較差,本底噪聲大,混響感差,室內放置有大量打擊樂器,易引起共振噪聲。
4.拾音制式/方式描述
主輔話筒拾音:
①主話筒採用時間差拾音制式的A/B拾音方式: 距離演奏位置2m,于地面上2.5m處,間距50cm,使用兩隻MK2,全指向性。
②ORTF拾音制式亦作為主話筒: 支于觀眾席,距離演奏位置2m,于地面上2.3m處,間距40cm,使用兩隻MK2,全指向性。
(兩組主話筒用于錄製后的音質對比)
③3個點話筒分別指向高中低音的馬林巴,使得每個聲部都有更好的定位,提高各聲部清晰度。Neuman 145由於有低切作用因此用與拾取高聲部,其餘兩個Neuman 140拾取中低聲部,話筒固定在話筒架150cm,話筒向下指向馬林巴。
5.錄製過程中的效果處理參數
對主輔話筒的電平調整以主話筒為主,點話筒為輔。前期錄音里加入的點話筒,主要為了用點話筒來增強定位,通過pan的分配,高音馬林巴pan到極左,中音在中間,低音在機右,在後期製作中輔助話筒的電平比主話筒電平小12dB。FX軌外掛IR1 Efficient,採用廳堂採樣混響,混響時間為2.2s,預延時88ms,高頻截止4kHz。在總輸出軌上加有Waves的L2壓縮器,提高整體響度。
6.簡單評價
本作品是一首現代主義風格的馬林巴三重奏,形式上非常自由,節拍變換頻繁,各聲部不刻意追求音的協和,但音樂具有細緻、優雅、朦朧的自然之美、富有空靈的質感和新奇的音效感。在HEAT組合三位成員極富感情的表演下,這首作品呈現出一種印象派繪畫般的感覺。然而,該曲動態範圍較大,大音量與不協和音的組合賦予作品一些必要的激情,與較優雅細緻的部分形成明顯的對比,讓作品更具感染力。本作品亦表現出了馬林巴的音響特點,音域寬廣、音色圓潤渾厚、富有彈性的錘擊感以及嗡嗡作響的特殊共鳴效果。另外,也很好得表現出這首現代主義作品的自然之美以及它所表達的印象派質感和充滿激情卻又極具特色的音效。因為運用了A/B主話筒+點話筒,讓整個作品在擁有良好的空間感和鬆弛、柔和、豐滿的音響效果的同時也有清晰的聲像定位。

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作品形式及名稱: 打擊樂 《Triperuno》
作品時長: 06:32
錄製地點: 中央音樂學院音樂廳
錄製工藝: 多軌同期錄音

1.所用設備
話筒: 兩支mk2 兩支mk4
計算機音頻工作站: nuendo
聲卡: PreSonus FireStudio
其他: 4根話筒線 2個大話筒架 2個話筒橫杆 膠布 記號筆
2.錄音工藝描述
採取同期多軌錄音,4軌分別是兩組A/B制式拾音話筒。兩組A/B分別作為主話筒和環境輔助話筒。
3.錄音廳堂聲學條件描述
音樂廳面積400平方米,混響時間為1.74s。廳堂的總體飽滿度欠佳,使得錄到的聲音略感單薄。
由於學院地理位置的關係,音樂廳正下方為地鐵途經位置,因此會有不間斷出現的地鐵行駛產生的噪音。
4.拾音制式/方式描述
主輔話筒拾音:
①A/B拾音制式作為主話筒: 距離演奏位置2m,于地面上1m處,間距20cm,使用兩隻MK4,全指向性。
②A/B拾音制式作為環境輔助話筒: 支于觀眾席,距離演奏位置5m,于地面上3m處,間距40cm,使用兩隻MK2,全指向性。
5.錄製過程中的效果處理參數
總體音量上A/B主話筒兩軌的音量比輔助話筒高7.8dB,A/B環境輔助話筒加有10ms延時。混響使用LEXICON480L的大廳混響,混響時間為2.07s,預延時為90ms,高頻截止為3.038kHz,發送量為0dB。
6.簡單評價
《Triperuno》由一個大鼓三個bongos和六面鑼組成,三名演奏者圍著大鼓合奏。大鼓厚實穩健,鑼清脆明晰,由於三人圍立,bongos的聲音定位明確。環境輔助話筒支于觀眾席,提高了整體的包圍感及臨場感。



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作品形式及名稱: 弦樂合奏 《第三號勃蘭登堡協奏曲第一樂章》
作品時長: 06:28
錄製地點: 北京八十中排練廳
錄製工藝: 多軌同期錄音

1.所用設備
話筒: 兩支mk2 兩支mk4 兩支40
計算機音頻工作站: protools LE
聲卡: digidesign 003 rack
話放:2個AMEK9098
其他: 6根話筒線 1個大話筒架 4個小話筒架 1個話筒橫杆 膠布 記號筆
2.錄音工藝描述
採取同期多軌錄音,6軌分別由A/B制式+4個點話筒。以A/B拾音制式為主,4個點話筒分別補給四個弦樂組。
3.錄音廳堂聲學條件描述
錄音棚面積280平方米,高8m。混響時間大約為1.2s,廳堂感好,但有一定的噪聲干擾(主要源自排練房間傳來的樂器聲)。
4.拾音制式/方式描述
主輔話筒拾音:
①A/B拾音制式作為主話筒: 拾取樂隊整體演奏,距離主傳聲器系統3m。話筒支于地面上3m處,間距50cm,使用兩隻MK2,全指向性。
②4只點話筒: 分別補給4個弦樂組,兩個40給倍大提琴組和大提琴組,兩個mk4給小提琴組和中提琴組。
5.錄製過程中的效果處理參數
輔助點話筒的電平大約比主話筒小8dB,混響使用LEXICON480L的大廳混響,混響時間為2.2s,預延時為90ms,高頻截止為4.2kHz,發送量為-15.5dB。master軌加有L2動態限制器，總體提高4dB音量。
6.簡單評價
《第三號勃蘭登堡協奏曲第一樂章》弦樂合奏: 小提琴、中提琴、大提琴、倍大提琴,這一樂章沒有明顯的主奏/協奏樂器組之分,各聲部之間的呼應關係完全靠弦樂器的表現力來體現,環境感及飽滿度恰到好處，讓人感覺舒適,欠缺的是學生樂團仍需多加磨練,整體音色幾樂曲歡快的程度稍欠火候。



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It's a theme rhythm written for my friend's short film 《Black Box》.



Click here to download:

It's a short theme rhythm written for an indie film 《Season》.



Click here to download: