華匯音響顧問有限公司

華匯音響顧問有限公司 專業音響產品品牌 L-Acoustics、DiGiCo、KLANG、Fourier Audio、Sound Devices、BlackTrax、LightAct、

BlackTrax：即時追蹤與創意燈光控制，精準遇見創意視野BlackTrax 將即時追蹤與創意燈光控制結合，讓每一次燈光變化與每一道光束、每一項效果，都能精準同步表演者的動作。——從自動追光、影像投影、媒體內容到互動場域，BlackTra...
21/08/2026

BlackTrax：即時追蹤與創意燈光控制，精準遇見創意視野
BlackTrax 將即時追蹤與創意燈光控制結合，讓每一次燈光變化與每一道光束、每一項效果，都能精準同步表演者的動作。——從自動追光、影像投影、媒體內容到互動場域，BlackTrax 讓技術隱於幕後，創意盡現舞台。

什麼是 BlackTrax？

BlackTrax 是一套即時追蹤解決方案，專為現場製作、廣電節目、主題娛樂、宗教場所與沉浸式體驗所設計。表演者或道具配戴 BlackTrax Beacon 定位信標後，系統即時捕捉其位置數據，並傳送至燈光控台與自動化燈具。使燈光自動鎖定並精準跟隨目標。——無論是複雜的舞蹈走位、講者在台上的自然移動，或是角色突然現身於舞台任一位置，燈光都能即時精準跟隨。

人工追光邁向自動化控制

傳統追光作業往往常受限於操作人員視線、場地結構、燈具位置與表演者的移動速度。BlackTrax 可讓既有燈具直接依據即時位置資料，自動轉向並精準追蹤目標，無須設置專用的人工追光操作席。。即使多位表演者同時穿梭於不同高度與區域的舞台空間，系統也能持續精準追蹤，讓燈光緊扣每一段表演與情緒轉折。當技術隱於無形，觀眾看到的不只是燈光，而是故事本身。

不只是自動化

從人工追光邁向自動化控制，BlackTrax 解決了追蹤的精確度與即時性。但其價值遠不止於此。自動化讓燈具能夠精準鎖定並追隨表演者，而 BlackTrax 真正帶來的，是讓設計師不再受限於追光操作，得以回歸燈光設計的核心，把更多心力投入在色彩、亮度、光束、節奏、光質與氛圍的創意表現。

Disney on Ice 實務應用案例

燈光設計師 Nick Whitehouse 表示：「我們最多可同時追蹤 85 位表演者，沒有其他系統能以同樣的精準度完成這項任務。我們需要一套能即時跟得上演出節奏的系統，而BlackTrax 的表現非常出色。」
「BlackTrax 徹底改變了 Disney on Ice 的燈光呈現方式。團隊不再依賴人工追光，，即使數十位滑冰表演者同時移動，也能讓動態燈光與每位表演者精準同步。」

對巡演製作而言，的空間尺度、視線條件與技術配置都不盡相同。。BlackTrax 的即時追蹤工作流程，可確保每一場演出維持同樣的精準度與穩定表現，同時讓創意團隊有更大發揮空間，挑戰更複雜的舞台走位與更具規模的視覺呈現。

BlackTrax: Lighting Control, Precision Meets Creative Vision

BlackTrax brings real-time tracking and creative lighting control together, keeping every cue, beam, and effect aligned with the action—from automated followspots to projection, media, and interactive environments, helping technology disappear into performance.

What Is BlackTrax?

BlackTrax is a real-time tracking solution designed for live production, broadcast, themed entertainment, houses of worship, and immersive experiences. Performers and props wear BlackTrax beacons, allowing the system to capture precise movement data and send it to lighting consoles and automated fixtures. Fixtures automatically lock onto the performer's position—whether following complex choreography, a presenter walking naturally, or a character appearing in an unexpected location, the light stays precisely on target.

From Manual Tracking to Automated Control

Traditional followspots can be limited by operator sightlines, venue architecture, fixture placement, and performance speed. BlackTrax allows fixtures to respond to real-time positional data, transforming existing rig fixtures into precise tracking tools without relying on dedicated manual spot positions. Multiple performers can be tracked across layered staging, with lighting supporting the emotional rhythm of the production. For the audience, the technology disappears. They simply see the right person illuminated at the right time, every time.

More Than Automation

Moving from manual tracking to automated control addresses tracking precision and real-time responsiveness. But BlackTrax's value goes beyond that. Automation allows fixtures to stay locked on performers. What BlackTrax really brings is the freedom for designers to step away from the ex*****on of followspot work and return to what matters: the creative decisions of light—colour, intensity, beam size, timing, texture, and mood.

Real-World Application: Disney on Ice

"We track up to 85 performers at once. There's nothing else that can do that with the same precision. We need a system that can keep up, and BlackTrax does an excellent job," said Nick Whitehouse, Lighting Designer.

"BlackTrax has revolutionized the way Disney on Ice is lit. Instead of relying on manual follow spots, the team can now dynamically light dozens of skaters at once with perfect synchronization," Whitehouse added.

For touring productions, every venue brings new dimensions and technical conditions. BlackTrax helps maintain the same standard of precision and consistency from one performance to the next, giving creative teams the confidence to build bigger visual moments.

「圖片與部分文字來源於Cast Software官網」
Partial text and images sourced from the Cast Software official website.
Read More： https://cast-soft.com/blacktrax-lighting-control-precision-meets-creative-vision/

官方LINE@： https://lin.ee/St6LhOH

#燈光追蹤 #互動多媒體

12/08/2026

深入 L-Acoustics 2026 發表會幕後，瞭解聲音製作如何透過 Source Intelligence 技術完成設計、測試與現場呈現。

Go behind the scenes of L-Acoustics Keynote 2026 and discover how the audio production was designed, tested, and delivered using L-Acoustics Source Intelligence.

官方LINE@： https://lin.ee/St6LhOH

L-Acoustics L1 全球巡演首秀｜薛之謙「Evolution」世界巡迴演唱會2026年3月，薛之謙開啟了第四輪世界巡迴演唱會「Evolution」。這是 L-Acoustics L1 旗艦系統在全球的首次巡演展出 —— 廣州站完成...
30/07/2026

L-Acoustics L1 全球巡演首秀｜薛之謙「Evolution」世界巡迴演唱會

2026年3月，薛之謙開啟了第四輪世界巡迴演唱會「Evolution」。這是 L-Acoustics L1
旗艦系統在全球的首次巡演展出 —— 廣州站完成首秀後，南京站六天六場延續了這套配置。
舞臺為四面臺設計，寬 93 公尺，深 53 公尺，高 36 公尺，整體面積達 5,000 平方公尺，
對音響系統的覆蓋能力提出了極高要求。

四面臺沒有正面與背面，因此音響系統必須同時確保每一個方向都能獲得一致的聲音覆蓋。整套系統從一開始便以 L1 為核心進行設計，並使用 Soundvision 對每一個觀眾區域進行音場模擬。每個長邊各配置四組吊掛陣列，每組由四支 L1 搭配一支 L1D 組成，並搭配吊掛的 CS1 超低音喇叭及地面堆疊的 KS28。短邊則配置四組 L2 與 L2D 吊掛陣列，並搭配採心形指向配置吊掛的 KS28，以及設置於地面的 CS1。

L1 側置的 18 吋低頻心形指向單體與 CS1 的心形指向架構，將低頻能量集中於觀眾區，
同時抑制後方與側向的低頻外溢，使舞臺中央的表演區維持非常乾淨的監聽環境。

整套系統採用兩台 DiGiCo Quantum 852 控台，並以鏡像備援架構運作；搭配 Fourier Audio transform.engine 將錄音室等級的處理整合進現場混音中。

FOH 音控師張軍軍表示：「在 L1 系統上混音，就像在開一輛頂尖超跑。它的反應速度和輸出能力都強大得令人難以置信，讓我的混音有了前所未有的發揮空間。即使我推到極限，人聲依然絲滑清晰，沒有其他系統那種刺耳感。這讓我對自己的混音更有信心了。」

音響總監張小年補充：「整個聲音表現非常乾淨，沒有低頻轟鳴或多餘的反射聲干擾藝人。」
音樂總監劉卓則表示：「每一個衝擊力十足的效果、每一個音色，以及最終輸出的清晰度，都確實達到甚至超越了我的預期。」

L-Acoustics L1 Makes Global Tour Debut on Joker Xue's Evolution World Tour

In March 2026, Joker Xue launched his fourth world tour, Evolution. The production marked the first tour deployment of the L-Acoustics L1, the newly launched flagship of the L Series, anywhere in the world. Following its debut in Guangzhou, the system continued its run in Nanjing for six nights. The four-sided stage measured 93 metres wide, 53 metres deep, and 36 metres high, covering 5,000 square metres—demanding consistent coverage in every direction.

A four-sided stage has no front and no back, demanding consistent coverage in every direction simultaneously. The system was designed around L1 from the outset, using Soundvision to model coverage across every audience zone. On each long side, four hangs of four L1 and one L1D were deployed, complemented by flown CS1 subwoofers and ground-stacked KS28. On the short sides, four hangs of L2 and L2D were supported by cardioid-flown KS28 and ground-based CS1.

L1's side-mounted 18-inch low-cardioid transducers and CS1's cardioid topology concentrate low-frequency energy on the audience while suppressing rear and side spill, keeping the central performance area exceptionally clean.

The system was driven by dual DiGiCo Quantum 852 consoles in mirrored redundancy, with Fourier Audio's transform.engine integrating studio-grade processing into the live mix.

"Mixing on L1 feels like driving a top-tier supercar," said FOH engineer Zhang Junjun. "It's unbelievably responsive and powerful, giving me the freedom to push the mix further than ever. Even when I pushed it to the limit, the vocals stayed silky and clear, with none of the harshness I've heard with other systems. And that gives me so much more confidence in my mix."

Audio director Zhang Xiaonian added: "The whole audio experience was exceptionally clean. There was no low-end rumble or stray reflections to distract the artist." Music director Liu Zhuo noted: "Every heavy-impact effect, every tone, and the clarity of the final output — that's what really met and even exceeded my expectations."

「圖片與部分文字來源於L-Acoustics官網」
Partial text and images sourced from the L-Acoustics official website.

Read more: https://www.racpro.net/zlyc/589.html?l=cht
官方LINE@： https://lin.ee/St6LhOH

29/07/2026

以聲音塑造記憶：The Nucleus 沉浸式體驗空間

今年於切爾西設計中心 WOW!house 展覽中，Nucleus 與 Russell Sage Studio 攜手打造了 The Momentarium 沉浸式空間，導入 L-Acoustics HYRISS 超真實沉浸式聲音平台。聲音不再只是背景，而是塑造記憶、轉換空間的核心語言。

Shaping Memory Through Sound: The Nucleus Immersive Room

At this year's WOW!house at Design Centre Chelsea Harbour, Nucleus and Russell Sage Studio brought The Momentarium to life with L-Acoustics HYRISS—where sound doesn't just fill a room, it transforms it.

官方LINE@： https://lin.ee/St6LhOH

L-Acoustics L-ISA 將百老匯話劇《Dog Day Afternoon》打造電影級沉浸式音場體驗當導演 Rupert Goold 與音效設計師 Cody Spencer 開始籌劃《Dog Day Afternoon》的百老匯版...
14/07/2026

L-Acoustics L-ISA 將百老匯話劇《Dog Day Afternoon》打造電影級沉浸式音場體驗

當導演 Rupert Goold 與音效設計師 Cody Spencer 開始籌劃《Dog Day Afternoon》的百老匯版本時，他們的起點是一齣話劇，而非音樂劇。沒有歌曲、沒有配樂來推動故事。但這部改編自 1975 年 Sidney Lumet 電影的作品，擁有電影史上最具辨識度的聲音特色之一：紐約盛夏令人窒息的熱浪、街頭人潮愈演愈烈的喧囂，以及從天而降的戲劇性高潮。Spencer 的挑戰，是將這一切帶進 August Wilson 劇場，讓現場觀眾真正沉浸其中。他的答案是 L-Acoustics L-ISA Immersive Hyperreal Sound，以及一套令人印象深刻的揚聲器系統。

「我希望音樂聽起來具有磅礡的規模感，不是單純把低頻堆得很重，也不是只是把音量開得很大，」Spencer 解釋。「我要的是電影般的體驗——音樂一進來，整個劇院都被聲音包覆。這就是為什麼我選擇 L-Acoustics 和 L-ISA。」

主系統採用 split L-ISA Scene 架構，以五組 A15 陣列（每組一隻 A15 Focus 搭配兩隻 A15 Wide）覆蓋主觀眾席，兩組各三隻 SB18 心形超低音陣列位於中央兩側，提供均勻且受控的低頻覆蓋。

二層看台則部署五組 A10 Focus 搭配 A10 Wide，為前排樓座提供空間延遲。四隻 SB10i 安裝於天花板，讓低頻延伸至樓座下方的每一個座位。環繞系統由八隻 Syva 與 34 隻 X8 構成，覆蓋管弦樂區及兩層樓座。整套系統由 L-ISA Processor II 負責物件式音訊運算，搭配 DiGiCo SD10T 控台。

L-ISA 的物件式音訊處理讓 Spencer 能將每個人聲隔離，分配給特定揚聲器，在保留自然感同時提升對白清晰度。他也歸功於新的 Source Trims 功能，讓每組補聲系統、延時系統以及各觀眾區域的音量微調更加快速。

整部作品的最高潮是 Attica! 環節——L-ISA 讓觀眾彷彿置身街頭抗議群眾中央，四面八方的人聲與環境音效將觀眾完全包圍。當直升機在劇末從天而降時，超低音陣列與安裝於天花板的 SB10i 共同作用，創造出令觀眾不自覺抬頭尋找直升機位置的真實空間體感。「你不是坐在劇院裡看著電影發生，」Spencer 說，「你已經置身故事之中。」

L-Acoustics L-ISA Brings Cinematic Immersion to Broadway Play Dog Day Afternoon

When director Rupert Goold and sound designer Cody Spencer began planning Dog Day Afternoon for Broadway, their starting point was a play, not a musical. No songs, no score to carry the story. But the 1975 Sidney Lumet film it is based on has one of the most recognisable sonic identities in cinema history: the suffocating heat of a New York summer, a crowd that grows louder by the hour, and a climax that drops from the sky. Spencer's challenge was to bring all of that into the August Wilson Theatre and make a live audience feel it. His answer was L-Acoustics L-ISA Immersive Hyperreal Sound, and a speaker system that raised more than a few eyebrows.

"I wanted the music to be big and full, not just heavy on the low end or oversaturated," Spencer explained. "I needed it to feel like you're watching a film, where the music drops in and fills the whole room. That's what led me to L-Acoustics and L-ISA."

The main system was built around a split L-ISA Scene configuration, with five A15 arrays—each comprising a single A15 Focus over two A15 Wide—covering the main seating area. Two cardioid subwoofer hangs of three SB18 each flanked the centre array, delivering uniform, controlled low-frequency coverage.

A second tier of five A10 Focus over A10 Wide arrays provided spatial delays to the front mezzanine, while four SB10i mounted to the underbalcony ceiling extended the low end to every seat beneath the overhang. The surround system comprised eight Syva and 34 X8, delivering discrete immersive coverage across the orchestra and both mezzanine levels. The entire system was driven by an L-ISA Processor II, paired with a DiGiCo SD10T console.

L-ISA's object-based audio processing allowed Spencer to isolate each voice and assign it to a specific speaker or group of speakers, increasing dialogue clarity without sacrificing naturalism. He also credited the new Source Trims feature for speeding up the process of fine-tuning levels across every fill, delay, and audience zone.

The production's climax is the Attica! sequence—L-ISA places the audience inside the protesting crowd, surrounded by voices and environmental sound from all directions. When the helicopter descends at the end, the subwoofer arrays and ceiling-mounted SB10i combine to create a spatial sensation so convincing that audience members instinctively look up. "You're not sitting in a theater watching a film happen," Spencer said. "You're in it."

「圖片與部分文字來源於L-Acoustics官網」
Partial text and images sourced from the L-Acoustics official website.

官方LINE@： https://lin.ee/St6LhOH

Silver One 正式登場｜DiGiCo Quantum 控台完美復刻傳奇銀色面板 LA-2A一個困擾現場音控師多年的難題：人聲、貝斯、傳統樂器的動態很大，普通數位壓縮處理器容易出現抽吸感、聲音單薄生硬。想要達到錄音室等級的溫潤類比質感...
30/06/2026

Silver One 正式登場｜DiGiCo Quantum 控台完美復刻傳奇銀色面板 LA-2A

一個困擾現場音控師多年的難題：人聲、貝斯、傳統樂器的動態很大，普通數位壓縮處理器容易出現抽吸感、聲音單薄生硬。想要達到錄音室等級的溫潤類比質感，以往只能依賴昂貴的外接 LA-2A 硬體，並且會佔用 I/O通道。

DiGiCo 在 v22 版本韌體更新中，Quantum 全系列控台 Mustard 高階處理器推出了 Silver One 光電耦合電平放大器，命名為「Silver」- 致敬傳奇的銀色初代 Teletronix LA-2A，完整復刻其光電動態與電子管染色功能，以 FPGA 零延遲運算，實現「類比溫暖音色 + 數位現場穩定性」雙重突破。

有別於一般手動調整Attack、Release、Ratio的數位壓縮器，Silver One 依據 LA-2A 光電的自然衰減特性處理訊號—光電池本身存在光線衰減的物理慣性，訊號越強、釋放越快，訊號越持續、釋放越慢，動態過渡平滑自然，不會出現生硬的壓縮斷層感。它與 Quantum 內建 Optical 壓縮不同：後者偏向透明電平控制，Silver One 則是深度復刻銀色面板 LA-2A 電子管飽和的特性，諧波更豐富、動態曲線更符合錄音室標準，為人聲與低頻帶來溫暖、厚實、黏合的類比質感。

適用於人聲 / 貝斯 / 弦樂器…，適合在巡演 / 直播 / 劇院：等場合中使用

Silver One 內建於 Mustard 訊號處理通道，僅在 v22 及以上韌體版本中提供。可用數量與控台的 Mustard 通道總數一致：Quantum 852 支援 128 條，Quantum 7 支援 64 條，Quantum 5 / 338 / 326 支援 48 條，Quantum 225 支援 36 條，Quantum 112 支援 20 條。

Silver One Officially Launches | DiGiCo Quantum Consoles Faithfully Recreate the Legendary Silver-Face LA-2A

A persistent pain point for live sound engineers: vocals, bass, and acoustic instruments have vast dynamic range, and generic digital compressors often introduce pumping artefacts, leaving the sound thin and brittle. Achieving studio-grade warmth and analogue character previously meant relying on expensive outboard LA-2A hardware, which inevitably occupied precious I/O channels.

With the v22 firmware update, DiGiCo has rolled out the Silver One electro-optical levelling amp for the Mustard high-end processing suite across all Quantum consoles. Dubbed "Silver" as a tribute to the iconic original silver-panel Teletronix LA-2A, it faithfully replicates the unit's native optical response and tube harmonic colouration. Powered by zero-latency FPGA processing, it delivers a dual benefit: authentic analogue warmth paired with rock-solid stability for live digital mixing.

Unlike conventional digital compressors with manually adjustable Attack, Release, and Ratio parameters, the Silver One processes audio signals following the natural decay behaviour of the LA-2A's optical photocell. Thanks to the physical inertia inherent to light attenuation within the photocell, louder transients trigger faster release, while sustained signal levels deliver slower release times—yielding ultra-smooth, natural dynamic shaping free of abrupt compression artefacts.

It stands apart from the Quantum's native Optical Compression module: the built-in Optical tool prioritises transparent level management, whereas the Silver One deeply emulates the tube saturation signature unique to the silver-face LA-2A. It generates far richer harmonic content with dynamic response curves engineered to meet professional studio benchmarks, lending warm, dense, glue-like analogue texture to vocals and low-end sources.

Ideal for vocals, bass, and string instruments—perfectly suited for touring, live broadcast productions, and theatre sound applications.

The Silver One is integrated natively within Mustard signal processing channels and is only accessible on consoles running v22 firmware or newer. Available instances vary by console model: 128 for Quantum 852, 64 for Quantum 7, 48 each for Quantum 5 / 338 / 326, 36 for Quantum 225, and 20 for Quantum 112.

官方LINE@： https://lin.ee/St6LhOH

Alpha Labs 將 De-Feedback 導入 fourier audio 的 transform.engineAlpha Labs LLC——廣受歡迎的 De-Feedback Live audio Plugin 的開發商——宣佈...
26/06/2026

Alpha Labs 將 De-Feedback 導入 fourier audio 的 transform.engine

Alpha Labs LLC——廣受歡迎的 De-Feedback Live audio Plugin 的開發商——宣佈，De-Feedback V1 現已正式支援 fourier audio 的 transform.engine。transform.engine 是一個專業的硬體平臺，能將原生 VST3 錄音室 Plugin 可靠地帶入現場演出。

Fourier Audio 執行長 Pete Bridgman 表示：「頂尖的音控師一直追求最先進的工具，而 fourier audio 的 transform.engine 提供了理想的平臺，讓新一代 AI Plugin 得以在混音中實現過去無法想像的效果。我們與 Alpha Labs 密切合作，針對 transform.engine 獨特的 chain sandboxing 技術，最佳化De-Feedback 高運算量的AI處理效能，為音控師帶來 De-Feedback 革命性的回授前可用增益提升，同時保有 transform.engine 經過實戰驗證的頂尖穩定性。我們很榮幸能持續推動外接處理技術的發展，幫助音控師充分發揮 AI 的強大能力——無論是現在，還是未來。」

De-Feedback 採用先進的 AI 處理技術，是一款突破性Plugin，能幫助使用者在麥克風上獲得更多回授前可用增益、大幅降低空間殘響，並減少背景噪音——同時不損害人聲原有的音質，且以零延遲運作。這款 Plugin 正迅速成為專業與新手音控師在各種現場聲音應用中的「必備」之選：從夜店、巡迴演唱會，到企業活動與電視轉播/直播製作，再到劇場與教堂。

在 transform.engine 上，Elite De-Feedback 使用者可透過 chain sandboxing 同時執行六個 instance，並可搭配其他 Plugin（視配置而定），在 48 kHz 採樣率下，可使用 64 Samples 的 Buffer Size；在 96 kHz 採樣率下，則可使用 128 Samples 。而 Fourier Audio 與 DiGiCo 控台的原生整合，確保 Plugin 在任何 Quantum 控台上都能無縫且穩定地執行。

音控師很快就會發現 De-Feedback 的價值，它讓音控師不必再花大量時間透過 EQ 壓制回授，也不用為此犧牲人聲原有的音色，他們可以專注於更重要的事情，例如塑造人聲的音色，做出自己真正想要的混音。

舉例來說，Andrew "Fletch" Fletcher 最近在 Paramount Studios 的《Survivor 50》直播總決賽（於 CBS 播出）中，使用 transform.engine 試用了這款 Plugin。「我的 Fourier 設備裝了 De-Feedback 的 Beta 版本，在 Quantum 338 上以六個 instance 插入到Group上運行，沒有使用其他 Plugin，」他說。「所有來賓都使用領夾式麥克風，主持人在 1,200 名觀眾面前偶爾使用手持麥克風。在節目的某些時段，我同時開啟了 24 支領夾麥克風。有了 De-Feedback，在 PA系統 和舞台Monitor，領夾式麥克風都能維持清晰且扎實的聲音，參賽者和主持人都能聽到彼此，而且完全沒有任何回授發生。使用 De-Feedback，我都很驚訝，所需要的 EQ 調整竟然這麼少。Fourier 的 DSP 核心運行六個 instance 時平均負載為 33%，系統完全沒有壓力。沒有這款 Plugin，我根本無法達到所需的音壓，也沒有信心在必要時提高麥克風音量。就像我現在每場演出都會說的，De-Feedback 改變了遊戲規則！」

Alpha Labs Brings De-Feedback to fourier audio’s transform.engine

Alpha Labs LLC, the creators of the popular De-Feedback live audio plugin, announced that De-Feedback V1 is now officially available for use with fourier audio’s transform.engine, a premier hardware platform for reliably bringing VST3-native studio plugins to live productions.

“Engineers at the top of their game have always demanded cutting-edge tools, and fourier audio’s transform.engine provides the ideal platform for accessing the next generation of AI-enabled plugins for results in the mix that were previously unimaginable,” says Fourier Audio CEO Pete Bridgman. “We’ve worked closely with Alpha Labs to optimise De-Feedback’s intense AI processing for compatibility with transform.engine’s unique chain sandboxing technology, giving engineers the revolutionary power of De-Feedback’s gain-before-feedback improvement alongside the battle-tested reliability of transform.engine’s best-in-class hosting. We’re proud to support the frontier of what’s possible in outboard processing to help engineers harness the incredible power of AI as it changes the game—both today, and in the future.”

Using advanced AI processing, De-Feedback is a groundbreaking audio plugin that helps users achieve more gain before feedback from live microphones, largely removes room reverb, and reduces background noise—with no degradation to vocals and operating at zero added latency. The plugin is quickly becoming the standard “must have” choice for both professional and novice engineers across a broad range of live sound applications: from nightclubs and concert tours to corporate and broadcast/streaming productions to theatres and houses of worship.

On the transform.engine, Elite De-Feedback users are able to run six instances with chain sandboxing, plus other plugins, configuration dependent, at buffer sizes of 64 at 48k or 128 at 96k. And Fourier Audio’s native worksurface integration with DiGiCo consoles ensures that the plugin will perform seamlessly and reliably on any Quantum console.

Sound engineers will quickly appreciate De-Feedback because instead of “burning” all of their EQ fighting feedback and destroying the vocal sound in the process, they can count on more important things, like shaping the vocal tone and getting the mix that they really want.

As an example, Andrew “Fletch” Fletcher recently tried out the plugin on the transform.engine at the Survivor 50 Live Finale at Paramount Studios, which was aired on CBS. “My Fourier unit was loaded with a Beta version of De-Feedback running six instances inserted on groups on my Quantum338, and I was using no other plugins in the chains,” he says. “Everyone was on lavs, with the occasional use of hand mics when the host was out in the 1,200-seat audience in front of the PA. In all, I had 24 open lavs at certain points in the show. With De-Feedback, the lavs were strong and intelligible in the PA and in the stage mix minus feeds, contestants and host could hear each other, and there was not even a hint of feedback. I’m always stunned by how little EQ I need when using De-Feedback. The DSP cores on the Fourier averaged a load on 33% with the six instances, so there was no stress on the system. Without this plugin, I would not have been able to achieve the SPL levels I needed and have the confidence to push mic levels when necessary. As I seem to say on every show now, De-Feedback is a game-changer!”

「圖片與部分文字來源於Fourier Audio官網」
Partial text and images sourced from the Fourier Audio official website.

官方LINE@： https://lin.ee/St6LhOH

DiGiCo Mustard Source Expander｜告別外接硬體與串音，頂尖音控師都在用的內建工具在大型現場演出中，控制舞臺串音與背景噪音始終是一大難題。在舞臺上麥克風容易收到周圍樂器發出的聲音，不僅會導致混音混濁，還會大幅增加回...
24/06/2026

DiGiCo Mustard Source Expander｜告別外接硬體與串音，頂尖音控師都在用的內建工具

在大型現場演出中，控制舞臺串音與背景噪音始終是一大難題。在舞臺上麥克風容易收到周圍樂器發出的聲音，不僅會導致混音混濁，還會大幅增加回授的風險。過去，音控師們習慣使用傳統Noise Gate來解決問題，這對於鼓組這類瞬態衝擊力強的樂器確實效果出色；但若是用在人聲、銅管樂器等持續發聲的訊號，容易產生突兀且不自然的聲音表現，可能會切掉尾音，並留下明顯可察覺的生硬感。

為了解決這項問題，DiGiCo 在其 Quantum 系列數位控台的高階 Mustard 處理套件中加入Mustard Source Expander（MSE）。

對於長期參與在大型巡演的頂尖音控師而言，系統的穩定性、操作效率以及聲音品質是選擇工具的重要考量。DiGiCo MSE 憑藉其「全內建、零延遲」的特性，已經讓許多頂尖音控師逐漸不再依賴傳統的外接硬體和第三方 Plugin。

頂尖音控師專訪：為什麼選擇 DiGiCo MSE？
張軍軍老師表示：「MSE 我現在用得比較多。相對於傳統硬體，在音色上它更加透明、更加自然，而且去除了外部連接，大幅減少了故障率。相對於第三方 Plugin，它的延遲更低，直接內建在通道中，使用起來更加方便。我主要把它使用在人聲以及一些音量比較小、容易串音的樂器上，比如弦樂。目前我已經很少使用同樣類型外接硬體了。」

佐鑫老師表示：「其實我在用 MSE 以前，幾乎都在用 PSE（Primary Source Enhancer）來處理相關的噪音問題，但 PSE 還是需要外接設備。DiGiCo 有了 MSE 這個內建功能以後，我馬上就放棄了之前外接的那些設備。在目前李健老師的巡迴演唱會上，弦樂組、合唱團、特色樂器上我都在使用 MSE，隨時啟用，所有操作都在控台上完成，非常有效率。」

結合兩位老師的實戰經驗，我們來看看 MSE 背後的技術邏輯。

什麼是 Mustard Source Expander？
MSE 是專為非瞬態訊號設計的Downward Expander。傳統Noise Gate的工作邏輯極其粗暴：當訊號低於Threshold時，直接切斷聲音。MSE 則更像一個自動控制的Fader ——當聲音進入較安靜的段落（或停止發聲）時，它會平緩衰減訊號量，溫柔地壓低背景噪音，同時完整保留聲音自然的延音與尾音衰減，讓聽感更加自然流暢。

核心參數，精準掌控：
Threshold ：設定MSE開始作用的音量門檻，所有低於該音量的訊號都會觸發衰減處理。

Depth：控制最大衰減量，最高可達 40 dB。它不會把訊號完全切除，而是保留自然的環境聲，避免產生突兀的靜音感。

Release ：控制訊號低於Threshold後，音量恢復的速度。平緩的Release曲線可避免產生突兀的音量變化。

Sidechain Filter ：音控師可透過high-pass / low-pass filters ，將特定頻率範圍作為MSE的觸發依據。這能有效避免舞臺低頻轟鳴、銅鈸高頻串音誤觸發MSE，造成不必要的音量起伏。

核心適用場景：讓通道更乾淨
正如兩位老師在訪談中提到的，MSE 最適合需要細膩降噪處理的訊號：
主唱與和聲：當歌手停止演唱時，麥克風極易收到大量鼓組、吉他音箱的舞臺串音。傳統Noise Gate會生硬切掉字句的尾音；MSE 能在歌手沒有演唱的時候，平緩地壓低串音，讓FOH 、Monitor和Broadcast的混音乾淨度大幅提升。

Acoustic樂器（如弦樂組）：木吉他、小提琴、大提琴等在極高音量的舞臺上極易引發回授。樂器停止演奏時，MSE 可精準抑制琴體共振帶來的多餘雜音，進而大幅降低回授的機率。

銅管樂組：小號、薩克斯風等銅管樂器動態範圍大，且具有自然的延音特性。使用傳統Noise Gate容易出現數位雜音，而 MSE 可讓樂器尾音自然消散，音色完整順滑。

無論是大型巡迴演唱會、要求極高動態範圍的音樂劇劇場，還是需要兼顧激昂樂團與安靜講話的教堂，DiGiCo Mustard Source Expander都完美填補了「生硬Noise Gate」與「手動控制Fader」之間的功能空白。即便在聲學環境極其複雜的場地，也能助您做出媲美錄音室等級的清晰混音。

目前支援 Mustard 完整處理功能的數位控台：
Mustard Source Expander已原生內建於搭載完整 Mustard 套件的 DiGiCo Quantum 全系列數位控台中，無需任何額外 Plugins 或外部授權即可享有零延遲的極速體驗：

Quantum 852、Quantum 7（及其衍生系列）、Quantum 5（及其衍生系列）、Quantum 338（及其衍生系列）、Quantum 326（及其衍生系列）、Quantum 225（及其衍生系列）、Quantum 112

運用頂尖技術，讓現場混音更簡單。DiGiCo Quantum，專為音響工程師打造，提供最透明、自然、強大的混音工具。

DiGiCo Mustard Source Expander: Solving Bleed with a Built-In Tool

Managing stage bleed and background noise remains one of the toughest challenges in live sound. On a loud stage, open microphones easily pick up every instrument around them, muddying the mix and significantly increasing feedback risk. For years, engineers turned to the traditional noise gate—effective on transient-heavy sources like drums, but prone to sounding abrupt and unnatural on sustained signals like vocals and brass, where it can chop off decays and leave an audible harshness.

To address this, DiGiCo added the Mustard Source Expander (MSE) to the high-end Mustard processing suite on its Quantum series consoles.

For top-tier engineers on major tours, stability, operational efficiency, and sound quality are the benchmarks that matter. With its fully built-in architecture and zero-latency performance, MSE has led many engineers to gradually move away from traditional outboard hardware and third-party plugins.

Engineer Testimonials
Zhang Junjun noted: "I use MSE a lot now. Compared to traditional hardware, it sounds more transparent and more natural. Removing external connections has significantly reduced failure rates. Compared to third-party plugins, it has lower latency and is built directly into the channel, making it far more convenient. I mainly use it on vocals and on quieter instruments that are prone to picking up bleed, like strings. I hardly ever use outboard gear for this purpose anymore."

Zuo Xin shared: "Before MSE, I used PSE almost exclusively for noise issues, but that still required external hardware. As soon as DiGiCo added MSE as a built-in feature, I dropped the outboard gear. On Li Jian's current tour, I'm using MSE on the string section, the choir, and the featured instruments—I can call it up anytime, and everything stays on the console. It's incredibly efficient."

With insights from these two engineers, let's look at the technical thinking behind MSE.

What Is the Mustard Source Expander?
MSE is a downward expander designed for non-transient audio signals. A traditional noise gate works in a crude way: when the signal drops below the threshold, it simply cuts the sound. MSE behaves more like an automated fader—when the source enters a quieter passage (or stops playing), it gently attenuates the level, quietly pushing down background noise while preserving the natural sustain and decay of the source. The result is a much smoother, more musical transition with no abrupt cuts.

Key Parameters
Threshold: Determines the level at which MSE begins to act. Any signal falling below this point triggers attenuation.

Depth: Sets the maximum amount of attenuation applied, up to 40 dB. Instead of silencing the signal entirely, it leaves a natural ambient floor, avoiding jarring gaps of silence.

Release: Controls how quickly the level returns after the signal drops below the threshold. A smooth release curve prevents audible level jumps.

Sidechain Filter: Engineers can use high-pass and low-pass filters to target specific frequency ranges as the trigger source. This prevents low-frequency stage rumble or high-frequency cymbal bleed from falsely triggering the expander.

Where MSE Excels
As both engineers noted, MSE is ideally suited to sources that require fine, musical noise reduction:

Lead and backing vocals: When the singer stops, vocal mics pick up everything on stage. A noise gate chops off word endings; MSE smoothly pushes down bleed during silent passages, cleaning up the mix for FOH, monitors, and broadcast.

Acoustic instruments (strings, etc.): On extremely loud stages, acoustic guitars, violins, and cellos are highly susceptible to feedback. MSE suppresses residual body resonance when the instrument isn't being played, significantly reducing feedback risk.

Brass section: Trumpets, saxophones, and other brass instruments have wide dynamic range and natural acoustic decay. MSE allows that decay to tail off naturally without the digital chatter that a traditional gate can introduce.

Whether on a major concert tour, in a theatre demanding wide dynamic range, or in a house of worship balancing a full band with quiet spoken word, Mustard Source Expander fills the gap between the harshness of a noise gate and the impracticality of manual fader rides. Even in the most acoustically challenging venues, it helps deliver studio-grade clarity.

Compatible Consoles
MSE is natively integrated into all DiGiCo Quantum series consoles running the full Mustard suite—no additional plugins or external licenses required, delivering a zero-latency experience:

Quantum 852 · Quantum 7 (and variants) · Quantum 5 (and variants) · Quantum 338 (and variants) · Quantum 326 (and variants) · Quantum 225 (and variants) · Quantum 112

Harness cutting-edge technology to simplify live sound. DiGiCo Quantum—purpose-built to give engineers the most transparent, natural, and powerful mixing tools available.

「圖片與部分文字來源於DiGiCo官網」
Partial text and images sourced from the DiGiCo official website.

官方LINE@： https://lin.ee/St6LhOH

18/06/2026

今年初，我們參加了由臺北表演藝術中心主辦的「2026劇場技術展：光影之間」，讓我們簡單回顧一下活動的精華。

Earlier this year, we took part in the 2026 Theatre Tech Expo: Where Light Meets Shadow, hosted by the Taipei Performing Arts Center. Here is a recap video of the event.

官方LINE@： https://lin.ee/St6LhOH

#2026劇場技術展 #劇場音響 #舞台技術 #沉浸式音效 #即時追蹤

L-Acoustics Source Intelligence™：讓人聲更清晰，讓演唱更自由運行於L-ISA Processor II平臺上的即時人聲分離技術，在不犧牲音質與清晰度的前提下，消除主擴串音、舞臺噪音及回授風險加州洛杉磯 – 2...
08/06/2026

L-Acoustics Source Intelligence™：讓人聲更清晰，讓演唱更自由

運行於L-ISA Processor II平臺上的即時人聲分離技術，在不犧牲音質與清晰度的前提下，消除主擴串音、舞臺噪音及回授風險

加州洛杉磯 – 2026年5月 – L-Acoustics 正式發佈 Source Intelligence，一項專有的人聲分離技術，為現場演出帶來更乾淨、更清晰的人聲表現，以及前所未有的回授前增益。作為運行於L-ISA Processor II平臺的授權應用，Source Intelligence已完全整合到L-Acoustics系統工作流程中。這款突破性工具，專為使用L-Acoustics主擴系統的現場混音師而設計——即使在嘈雜的舞臺上，也能讓人聲乾淨清晰；無論舞臺如何配置，表演者都可以自由移動，甚至走到主擴音系統前方，而無需擔心回授風險或人聲清晰度受到影響。

該技術於2026年L-Acoustics主題發佈會上，與L1大型線陣列系統及CS1超低揚聲器系統一同亮相。發佈會期間，The War on Drugs帶來了現場表演。

人聲之外，別無雜音
Source Intelligence利用機器學習，實現了現場音響領域前所未有的突破：持續辨別麥克風信號中的人聲，並去除其他的聲音。主擴串音、觀眾噪音、舞臺樂器、空間殘響——所有的這些聲音都可以被即時剝離，留下更乾淨、更自然的人聲，同時擺脫了巡演製作中長期存在的種種限制。最終呈現的人聲，保留了原始的音色、特質與清晰度——在盲聽測試中，混音師和聽眾都能一致地分辨出這一音質差異。

L-Acoustics軟體產品管理總監Ryan John表示：“幾十年來，混音師們一直在用各種折衷的辦法解決主擴串音和回授問題，比如用notch濾波器，去改變聲音音色，或者用擴展器，但有時難以預測，又或者改變舞臺配置，把表演者拉得離觀眾更遠。有了Source Intelligence，不再需要這種取捨。機器在持續聆聽、持續工作，混音師可以專注於混音本身，而不再為回授頭疼；表演者也能真正擁有整個舞臺，盡情發揮。”

可量化的差異
盲聽測試中，無論內部人員還是外部參與者，Source Intelligence的人聲品質始終位列同類產品之首。它能去除高達40 dB的非人聲信號——這種差異，專業混音師和普通聽眾都能第一時間、明確地分辨出來。此外，該技術通過消除導致回授的主擴串音和環境噪音，從根本上降低了回授風險，而不是等回授發生後再去處理。

從圓形劇場舞臺到宗教場所
自2025年春季起，Source Intelligence已在實際演出中得到應用，包括大型巡演、百老匯劇碼及多處重要宗教場所。目前，參與該測試專案的合作夥伴包括：Solotech（Harry Styles巡迴）、Clair Global（Benson Boone和Rosalia 巡迴），以及 PRG（百老匯劇碼《Dog Day Afternoon》）。

Benson Boone的現場混音師Joey Diehl表示：“Source Intelligence帶來的人聲是獨一無二的。現在基本上就是錄音室等級的人聲，這帶來了革命性的變化。”

該技術適用於任何需要放大人聲的場景——巡演、宗教場所、企業活動、戲劇演出。它相容手握、頭戴式、領夾式以及遠距離收音麥克風，並可同時處理多達四個通道。每個處理單元一次可處理一路人聲，也可以設定在一組通道的匯流排上，例如，在企業活動場景中，單個處理單元即可負責所有手握麥克風。托尼獎獲獎音響設計師Cody Spencer（曾在百老匯劇碼《Dog Day Afternoon》中使用該技術）表示：“它給我的動態範圍讓我印象非常深刻。在任何場景下——包括舞臺環境極其嘈雜、演員站在主擴前方時，我都能獲得乾淨、清晰的人聲。”

L-ISA Processor II：持續演進的智能生態系統
L-ISA Processor II平臺上的授權技術正在不斷擴展，Source Intelligence就是其中之一，同時也是完整 L-Acoustics 生態系統的一部分。該平臺同樣支援L-ISA沉浸式超真實擴聲技術（L-ISA Immersive Hyperreal Sound）、L-Acoustics DJ、Ambiance以及HYRISS等技術。這些軟體應用均可單獨購買，讓混音師和製作公司能夠在已有處理器的基礎上，不斷擴展其功能與靈活性。

一旦安裝，Source Intelligence無需設置閾值，無需持續調整，也無需改變現有的混音臺工作流程或信號路由。端到端延遲低於8.5毫秒（MADI協議下），無論處理功能開啟還是旁通，延遲都保持一致，因此自動化快照和場景切換永遠不會影響系統時序。完整的電源、網路音頻及DSP 備援，均為L-ISA Processor II平臺的標準配置。

獲取方式
Source Intelligence即日起可通過L-Acoustics All Access平臺，以軟體訂閱方式獲得，專用於L-ISA Processor II平臺，且僅限L-Acoustics系統安裝應用。

L-Acoustics Source Intelligence™ Brings Unprecedented Clarity and Gain Before Feedback to Live Vocals, Giving Artists Freedom to Perform Anywhere

Real-time voice separation technology running on the L-ISA Processor II eliminates PA bleed, stage noise, and feedback risk without compromising quality or clarity

LOS ANGELES, CA – May 2026 – L-Acoustics today announces Source Intelligence, a proprietary voice-separation technology that delivers clearer, more intelligible vocals and unprecedented gain before feedback for live performances. Running as an exclusive licensed application on the L-ISA Processor II and fully integrated in the L-Acoustics system workflow, Source Intelligence gives front-of-house engineers mixing on an L-Acoustics PA a groundbreaking tool to clean up vocals from noisy stages and allow performers to move freely across any stage configuration, including in front of the PA, without risking feedback or sacrificing vocal clarity.

The technology launched at the L-Acoustics Keynote 2026 alongside the L1 large-format line array system and CS1 subwoofer. The event featured a performance by The War on Drugs.

The Voice, and Nothing But the Voice
Source Intelligence uses machine learning to do something not previously possible in live sound: continuously identify the voice in a microphone signal and remove everything else. PA bleed, crowd noise, stage instruments, room reverb… all of it is stripped away in real time, leaving a cleaner, more natural-sounding vocal without the restrictions that have long been a fact of life on touring productions. The result is a vocal that preserves the natural tone, character, and intelligibility of the source, a quality difference that has consistently been audible to engineers and listeners in blind tests.

“For decades, engineers have been solving the PA bleed and feedback problem with compromises like notch filters that color the sound, expanders that can be unpredictable, or staging layouts that pull performers away from the audience,” explains Ryan John, Director of Product Management, Software at L-Acoustics. “Source Intelligence removes that trade-off entirely. The machine is continuously listening and continuously working, so the engineer can focus on the mix instead of fighting feedback, and the performer can own the whole stage.”

A Measurable Difference
In blind listening tests with both internal and external participants, Source Intelligence consistently ranked highest for voice quality among competitors, removing up to 40 dB of non-voice signal — a difference that is immediately and consistently audible to professional engineers and casual listeners. The technology also significantly reduces feedback risk by eliminating the PA bleed and ambient noise that cause it, rather than reacting after it starts.

From Arena Stages to Houses of Worship
Source Intelligence has been used in the field since Spring 2025 across major touring productions, Broadway shows, and key house-of-worship campuses. Current beta partners include Solotech on the Harry Styles tour, Clair Global on Benson Boone and Rosalia tours, and PRG on the Broadway production Dog Day Afternoon.

“Source Intelligence gives me a vocal sound like no other. It’s basically studio quality vocals now, which changes the game completely,” says Joey Diehl, FOH engineer for Benson Boone.

The technology is designed for any application where a voice is being amplified: touring, house of worship, corporate events, and theatrical productions. It works with handheld, headset, lapel, and distant-pickup microphones, and processes up to four channels simultaneously. Each instance can handle one vocal at a time and can even be placed in the path of a group of channels so that a single instance may, for example, serve all handheld microphones in a corporate workflow. “I’m very impressed with how much headroom it gives me. I was able to get crisp, clean vocals in any scenario — including very loud stage environments and actors in front of the PA,” says Cody Spencer, Tony Award-winning sound designer who used it on the Broadway production Dog Day Afternoon.

The L-ISA Processor II: A Growing Ecosystem of Intelligence
Source Intelligence is part of a growing portfolio of licensed technologies that run on the L-ISA Processor II as part of the full L-Acoustics ecosystem, the same platform that powers L-ISA Immersive Hyperreal Sound, L-Acoustics DJ, Ambiance, and HYRISS. Each of these software applications are separately available for purchase, allowing engineers and production companies to expand the capabilities and flexibility of a processor they already own.

Once installed, Source Intelligence requires no threshold setting, no ongoing adjustment, and no changes to the existing console workflow or signal routing. End-to-end latency is less than 8.5 ms over MADI, fixed whether processing is active or bypassed, so that automation and snapshot changes never affect system timing. Full PSU, network audio, and DSP redundancy are standard through the L-ISA Processor II platform.

Availability
Source Intelligence is available now as a software subscription via L-Acoustics All Access for the L-ISA Processor II, exclusively for L-Acoustics system deployments.

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