程明。〈聲響技術的跨域交纏：臺灣國語流行音樂錄音室研究初探〉。《民俗曲藝》213 (2021.9): 49-95。
Cheng Ming. “The
Trans-Regional Entanglement of Sound and Technology: A Preliminary Study on the Recording Studios of Mandarin
Popular Music in Taiwan.” Journal
of Chinese Ritual, Theatre and Folklore 213 (2021.9): 49-95.
Abstract
當代流行音樂的製作，絕大多數都是由歌手、樂手、錄音師與其他音樂工作者，在錄音室內完成的。之後，其成果再透過不同媒介、載體，於各個時代被呈現給聽眾。戰後臺灣的流行音樂榮景，更是與這塊土地上錄音室的發展息息相關。然而，錄音室內各種音樂活動的進行與盤根錯節的人事物關係，迄今尚未有較深入的探究，相關資料與文獻亦相當稀少。即使是四十年來可謂執臺灣錄音室之牛耳的白金錄音室，同樣乏人問津。70年代晚期，白金錄音室創辦人葉垂青與父親葉進泰，決心要改善臺灣唱片的整體品質。他們邀請熟識的日籍錄音師平田義一來臺協助規劃錄音室，並在興建前後與臺日音樂家共同進行了幾次實驗性錄音，於1980年起正式對外營業。作為一個生產聲音文化的場域，白金坐擁當時最佳的聲響設備，以及來自日本的專業技術指導，這兩點凸顯了它與其他錄音室之間的差異。因此我認為，圍繞着白金興設一事，提供給研究者一個絕佳的觀察點，讓我們得以探究臺灣自第二次世界大戰以降，錄音技術的流入是如何與既有聲響文化相互交纏。
The production of popular music generally occurs in recording studios. The
musicians, singers, engineers, and other members of the music industry work
together before the completed work is distributed through various media. The
thriving music industry of post-war Taiwan has proceeded in unison with
the development of recording studios. The Platinum Recording Studio (白金錄音室),
founded in 1980 in
northern Taiwan has been the leading studio of recording industry for decades.
Numerous records of different genres, including classical music, mandarin
popular music and music clips for TV commercials, have been recorded and mixed
here. Although the Platinum Recording Studio occupies such a prominent position
in the history of music industry, studies on musical activities and the
multi-lateral relationships inside the studio has not attracted enough academic
attention. In the late 1970s, the founder, Chui-ching Yeh (葉垂青), and his father, Chin-tai Yeh (葉進泰), decided to improve the overall quality of the records
made in Taiwan. Hence, they invited a recording engineer from Japan, Giichi
Hirata (平田義一), to design and coordinate the
construction of the Platinum Recording Studio. Accompanied by the young
Chui-ching Yeh, Hirata conducted several experimental recording sessions with
musicians from Taiwan and Japan during
and after the launching of the studio. As a recording studio where a certain
sonic culture was produced, the Platinum distinguished itself from others with
its cutting-edge equipments and Japanese-trained professional expertise. By
unveiling details around the establishment of the Platinum Recording Studio, we
can gain a clearer understanding of the entanglement between the importation of
audio technology after the Second World War and the existing sonic culture in Taiwan.