雅馬哈 Rivage PM10 數(shù)字混音系統(tǒng)于 2017 年引入韓國國家劇院，并于 10 月 25 日韓國傳統(tǒng)歌劇《野火》的精心制作中首次亮相。以下是對劇院音響工程師的采訪、PM10 的背景信息和它的眾多應(yīng)用。
　　The Yamaha Rivage PM10 system was first introduced to the National Theater of Korea in 2017 and made its debut on October 25th for the premiere of an elaborate production of Changgeuk, the traditional Korean opera, “Wildfire”. The following is an interview with the theater's sound engineers as well as an introduction and some background information on the PM10 and its many applications.

　　韓國國家劇院
　　The National Theater of Korea
　　韓國國家劇院于 1950 年開放，是韓國文化的代表劇院，也是亞洲有史以來第一家國家劇院。它位于首爾南山地區(qū)，周圍環(huán)繞著美麗的時(shí)令景色。該劇院由韓國國家唱?jiǎng)」�司，韓國國家舞蹈團(tuán)以及韓國國家交響樂團(tuán)等三大團(tuán)體組成，負(fù)責(zé)創(chuàng)作具有現(xiàn)代感和全球化的各種韓國傳統(tǒng)藝術(shù)。劇院設(shè)有 4 個(gè)不同的大廳：Haeoreum 大劇院（1563 座），Daloreum 劇院（512 座），Byeloreum 劇場（100 座）和 Haneul 圓形劇院（627 座）。
　　The National Theater of Korea opened in 1950 as a representative theater of Korean culture and was the first ever national theater in Asia as well. It is located in the Namsan region of Seoul surrounded by the beautiful seasonal scenery. The theater is host to three main groups, The National Changgeuk Company of Korea, The National Dance Company of Korea, and The National Orchestra of Korea, and is responsible for producing various kinds of traditional Korean art with a modern and more global feel.The theater features 4 different halls; the Haeoreum Grand Theater (1563 seats), Daloreum Theater (512 seats), Byeloreum Studio (100 seats), and the Haneul Round Theater (627 seats)

　　音效師 GEE Yeong 談?wù)?PM10
　　Sound designer GEE Yeong discusses the PM10
　　國家劇院的音效師 GEE Yeong 先生正在指導(dǎo)《野火》的音效操作，當(dāng)談到這部作品時(shí)他說：“46 人同時(shí)登臺(tái)，數(shù)字調(diào)音臺(tái)發(fā)揮了重要作用。我為作品的各個(gè)部分制作了場景記憶，例如離開場景和演唱場景等，這樣就可以通過每個(gè)場景記憶更改 DCA 的分組分配，即使有 48 個(gè)無線麥克風(fēng)，也可以輕松管理它們。同時(shí)，利用 DCA 滾動(dòng)功能可以快速訪問各個(gè)分組通道層，以調(diào)整每個(gè)通道的平衡。”
　　Mr. GEE, Yeong, a sound designer of the National Theater, who is heading the sound operation of Wildfire mentioned about the production, “With 46 people on the stage at once, a digital mixer plays a big role already. I made a scene memory for various parts of the production demarcating important scenes, like leaving scenes and singing scenes etc. so you can change the grouping assign of DCA by each scene memory and even if there are 48 wireless microphones you can manage them easily. And also using the DCA rollout function you can quickly access the grouping channel layer of DCA to adjust each channel's balance.”

　　GEE Yeong 先生也談到了他在排練中第一次使用 PM10 的經(jīng)歷，“事實(shí)上，我已經(jīng)使用 PM1D 長達(dá) 17 年了，我認(rèn)為 PM1D 控制面板上方設(shè)置的許多旋鈕和按鈕是一個(gè)很大的優(yōu)勢，因此在一開始我有些擔(dān)心 PM10 的用戶界面。但多次使用后，我意識(shí)到我的擔(dān)憂是不必要的，實(shí)際上有旋鈕和按鈕，可以更輕松地訪問需要快速、精確調(diào)整的功能。對于其他功能，因?yàn)橛脩艚缑娼M織得很好，所以我沒有感到任何不便。”
　　Mr. GEE, Yeong also said about his first use of the PM10 from rehearsals, “In fact I have used the PM1D for 17 years and I thought that existence of many knobs and buttons above the control surface of the PM1D was a great advantage, so I was initially worried about the PM10's user interface. But after using it several times I realized my worries were unnecessary as there are actually knobs and buttons that are easily accessed for functions that need fast, precise adjustment. As for other functions, the UI is very well organized so I didn't feel any inconvenience whatsoever.”

　　“我認(rèn)為插件也是一個(gè)巨大的優(yōu)勢，因?yàn)閷τ诖蠖嗥渌麛?shù)字調(diào)音臺(tái)的插件，你不得不從第三方公司購買。但是 PM10 有一套廣受好評的實(shí)用板載插件，這套插件由來自 TC Electronics 與 Eventide 備受尊敬的音效插件設(shè)計(jì)師參與設(shè)計(jì)，前置放大器甚至采用了 Neve SILK 處理器。除此之外，我認(rèn)為 PM10 中的 Scene Global Paste（場景全局粘貼） 功能非常棒，該功能來自于Yamaha CL 系列。使用 PM1D 時(shí)，如果您想要將當(dāng)前場景的參數(shù)設(shè)置復(fù)制并粘貼到其他場景中，必須重復(fù)諸如場景內(nèi)存加載，更正和保存等幾個(gè)步驟，但現(xiàn)在您可以更輕松地完成。”
　　On plugins, “I also think it's a big advantage regarding plugins since, for other digital mixer's plugins, you mostly have to buy from 3rd party companies, but with the PM10 there is an extensive suite of popular, practical onboard plugins from esteemed effects and plugin designers such as tc electronics and Eventide, and the preamps even features the Neve SILK processor. I also think it is great that the Scene Global Paste function from the Yamaha CL Series was adopted by the PM10. With the PM1D, if you want to copy and paste parameter settings from the current scene to other scenes, you always had to repeat several steps such as Scene Memory load, correction and save, but now you can do it much more easily.”
　　根據(jù) GEE Yeong 先生的說法，虛擬聲音檢查功能也有很大貢獻(xiàn)，“我們在本次演出中使用了虛擬聲音檢查功能。在記錄整個(gè)表演時(shí)，我們可以清楚地了解演員在每首歌曲中唱歌的方式或他們正在唱什么樣的歌曲，使得我們能夠詳細(xì)分析和混合。所以對于這個(gè)節(jié)目，盡管排練期很短，但我們可以快速且相當(dāng)融洽地達(dá)到完美狀態(tài)。所以說，虛擬聲音檢測實(shí)際上是現(xiàn)在音樂劇的一個(gè)必要功能。”
　　The Virtual Sound Check function contributed greatly as well according to Mr. GEE, Yeong, “We used the Virtual Sound Check function for this show. Recording the whole performance we can understand clearly how the actors sing in every song or what kind of part they are singing, allowing us to analyze and mix in detail. So for this show, in spite of the fact that the rehearsal period was very short, we could arrive at the perfect mix quickly and fairly easily. So it can be said Virtual Sound Check is actually a necessary function for musicals now.”

　　綜上，GEE 先生非常滿意地評價(jià)道：“雖然我們才剛開始使用 PM10，但即使是在這段有限的時(shí)間里，我們也可以說，PM10 在音質(zhì)和操作簡便性上的提高，在我們生產(chǎn)和工作的流程中起到了很大幫助。”
　　Overall Mr. GEE, Yeong is very satisfied remarking “We just started to use it but even in a limited amount of time we can tell the PM10 has much improved sound quality and ease of operation contributing greatly to our production and workflow.”
　　* 參考 PROFESSIONAL AUDIO MAGAZINE，由專業(yè)音響系統(tǒng)和錄音制作提供
　　＊Reference to PROFESSIONAL AUDIO MAGAZINE by courtesy of Professional Sound System and Recording Production