カラオケとエコー設定
Welcome to Kevin's English Room Podcast.
Hello.
Hello.
Now we changed room again.
Again.
How's the echo here?
Good?
Try that.
It's plain.
Average.
It's not bad actually.
It's not bad.
Not bad?
Okay.
There's no like big reflection.
It's just plain old.
Chamber echo.
I see.
Huh.
Yeah.
Not bad.
Yeah.
Yeah.
You know some of the...
カラオケのエコーモード
For example, like in karaoke, I don't know if you've done this before, but there's like
this Tokyo Dome mode.
Oh, yeah.
There's like the other...
Like Arirang.
What?
Budokan mode.
Yeah, yeah, yeah.
I mean, I've never...
I never noticed the difference.
Like I don't...
Okay.
I never really...
Is this different?
I mean, it's just all echo.
Yeah.
Yeah.
Yeah.
Yeah.
Yeah.
Yeah.
Yeah.
Yeah.
I mean, it's just all echoing, right?
Just...
Yeah.
What is it?
What's so different about that?
Is it just the amount of echo or something?
Yeah, yeah, yeah.
So it's like there's...
To say there's two elements.
Yeah.
One is the amount of echoing.
Uh-huh.
The...
Let's say this volume is 10.
Okay.
And then you got a walls.
Yeah.
Oh.
So for example...
Okay.
Like 10 and then...
I don't know, five or eight.
It depends on the...
Yeah.
So if you release 10 from your mouth...
Is it gonna reflect five from the wall or 30 from...
It depends on the...
Yeah.
the wall or three or... Yeah, it depends on the material of the surface, the shape of
the surface and all that stuff. Yeah, yeah, yeah. So I guess there are, you know, the
cathedral echo mode. Yeah? Or like, you know, like, yeah, or like Tokyo Dome echo mode or
like, um, I don't know. I guess there are several echo mode. So cathedral echo mode,
it reflects a lot. A lot. Because it's, the walls are like very hard wood or even like
stones. Some of the most reflective ones. Yeah, like 10 and then 8, 9 reflect. So most
of it comes back. Yeah, it's back. Okay. But whereas like if you, if you're in, um, I don't
know if you have this, but, um, library reflect mode. Okay. And the books, they, they catch
all those reflections. Okay. And they turn into like two, three. Okay. So that's one
element. Oh. And the second is like the, um, the, like a, the duration, I'd say. Duration?
エコーの仕組みと影響
Yeah. Like how big the room is. Like if I start saying, ah, and then how far you are from the,
the wall. The distance from your voice. Yeah. From your, your mouth to the wall. Yeah. Okay.
So it's, if it's like kind of this room echo, it's fast. It's like, it's just, it's, it's very
fast. But if you're in like Tokyo Dome echoing mode, like. Oh, it takes more time to reflect
and bounce back. Okay. If you say, ah, and then if you, if we were in Tokyo Dome, ah, ah, ah. I
see. That, that's the Tokyo Dome echoing mode. And it feels good sometimes. Does it feel
good? Sometimes. Yeah. Okay. I feel like, let's say we're in a very empty Tokyo Dome.
Yeah, yeah. Let's say we sit in the, right in the middle of a Tokyo Dome, empty. Yeah. Complete
silence. And we started doing the podcast recording. I feel like our voices are going to be
too little for it to bounce any of it back. True, true, true. Yeah. So I feel like it's just going to
be a complete non-reflection. Yeah. I guess it's the same as we're just sitting in the, ah, very
huge park. Uh-huh. Oh yeah. Because. Yeah. Because it's nothing, it's not going to come back.
Yeah, yeah, yeah, yeah, yeah. Okay. It's just going to die off. Yeah. As it goes away from us.
Yeah. If we talk like this. It needs a certain amount of volume. Yeah. If you're using the
microphones and everything. Yeah. It changes. True. True. Yeah. I see. Yeah. You're very like
knowledgeable in this field. Yeah, yeah, yeah, yeah. Must have studied a lot. Yeah, yeah, yeah,
yeah. It's, it's, it's fun. Okay. It's fun. I see. Yeah. If you like, yeah. In order to like
adjust those little things, the recorded voice should be very like without anything. Okay. If we
record this voice, it's very difficult for you to like change like everything. Because he has
already like this echo. I see. It's like. You have to make it, you have to normalize it first. Yeah,
then you can manipulate. Right, right, right. That's an extra unnecessary step. Exactly. So you
want it crisp and clear. Yeah. To begin with. Very low raw. Raw. Raw vocal. Okay. It's like
you're cooking. I see. Already cooked thing. Like you have curry. Yeah. And then you try to make
it into. I see. I don't know. Katsudon, I think. But you want unsalted butter. Yeah. But you only
録音環境とエコーの影響
have salted butter. Yeah. Because you know, you've, you've added salt. It's flavored already. And then
now you're in the process of desalting it. Exactly. Okay. You want just the natural potato,
but it's already salted, buttered, halved and everything. You have to like, it's, it's very
difficult. I see. Yeah. True, true, true. Huh. Yeah. But there are some people who love, who
loves recording this, like the nature with the nature echo. Like, like a typical room echo that
gives it sort of an authentic feel to it. Right, right, right. Especially like vocals, drums, or
strings. Because for like guitars, for example, electric guitars, it's plugged. So there's no air
in between the instruments and the recording machine. Yeah. You see what I mean? It's, it's
the electric sign and you can directly record it. Oh, yeah. True. Yeah. But the vocals, even if you
were using the microphone, you put like this, you have air in between. It's the air that sounds.
So there are some people that prefer being in a good room. Like an average room? Or like some
typical echoing room. Okay. For example, like, I don't know, the whole of the big, yeah, high
school, whatever. And then if they love the echoing, some, some, someone can record in,
in that place. Okay. Because it's the perfect echoing for them. So, but yeah. And then after
that, they don't need a season so much. Because it's. Okay. Already good. But it's difficult to
find those places. Yeah. You know how, like, for example, in, for example, filmography, the, you
know, the mainstream film, like videos. Okay. Like the mainstream has gotten, you know, it's
getting lower and lower budgeting. Right. Like if it's, let's say for example, several years ago,
it was movies. So it was the mainstream. True. And then like TVs, right. It's lower budget. And
then right now it's like social media, where it's just an iPhone. It's just, it's gotten lower and
lower. Yeah. Right. The production value is getting lower and lower. Right. Some people just
take, you know, take videos with their cell phone and then you get billions of views. Yeah. Does
that happen with music as well? Do people now take it with iPhones? Yeah. Maybe like vocalize,
they, they, they, they record vocals with iPhone. Yeah. Sort of like turn into a hit. Yeah. Yeah.
Some people does that. Like, especially with the, like years ago, the recording machine was huge,
first of all. Okay. It was not digital. You need a, like the, the huge machine to record things.
So you definitely need a huge studio. Yeah. The studio guy. Yeah. Everybody. Yes. But now like,
thanks to those like technologies and everything, you can like easily record. At least you can
record things. Yeah. Yeah. And, and for example, like, you know, like Billie Eilish, they record
things at their house with the Finneas, the brother. Yeah. They don't, I guess they don't
use any of those like fancy studios and things like that. Well, they still use microphones,
but still, it's not like a billion dollar set. Yeah. Yeah. Yeah. Well, like when I don't know,
like Michael Jackson or Stevie Wonder, like those era, they definitely need a huge studio,
like a building worth of yeah. Facilities. Yeah. Yeah. Yeah. So they needed money to record a song.
Yeah. But now we can do it without those money. And that's, that's good. I like that. That's good.
Yeah. Yeah. Yeah. Gives more opportunities. Yeah. Yeah. Yeah. If you have like idea and
you can make it and that's so good. Right. That's great. That's great. I appreciate that. Honestly.
All right. Thanks guys. Bye-bye.
