香港变了很多，政治啦、经济啦 、电影啦！电影音乐啦！都变了。是好了还是坏了？睇你点睇啦！作为电影音乐人的「我」，除了要跟随电影事业的高低潮飘上飘落外，原来还要面对一些与电影不景气无关，是经济以外的问题，这个大气候是:杜比时代... Hong Kong has witnessed a lot of changes over the past decade - in politics, the economy...not to mention films and film scores. But is it for better or for worse? That depends on which way you look at it. As a film music composer, Jonathan Wong has had to move with the ebb and flow of the music industry. He takes a look at one of the major factors to have influenced the industry in recent times other than the economy: the era of Dolby.
撰文：王邦（黄邦贤）
Text : Jonathan Wong

十多年前笔者从英国回来为第一部电影作曲配乐，当完成最后一段配乐的那天，监制对我说：「邦，你去看首映要有充足的心理准备，你可能会认不出自己的音乐来 」。同业们对这番说话应不会陌生，因以前单声道混音 (mono mixing) 在硬件上有很大的限制，在单声道下要结合「对白」、「环境效果」和「音乐」，若要突显其中之一，另外两者便要让路。传统上「音乐」是最礼让，通常都要作出适当的牺牲！在戏院况听到的「配乐」，往往和自己制作出来的「音乐」有一段距离，失真得很！
I wrote my debut film score when I returned from England more than 10 years ago. On the day I finished the final segment of the film music, the producer came to meand said, “Jonathan, you'd better be prepared whenyou go to the premiere. You might not be able torecognise your own work.” Those who are in this business should be familiar with this kind of warning.Those were the days when mono mixing was used infilms. Dialogues, sound effects and music are all combined onto one channel. If one of them were to be emphasised, the others would have to give way.Traditionally, music tends to be the more courteous partner who usually ends up making the sacrifice! So the music we hear at the cinema can be a lot different from what we originally produced.

未完待续！

肯定是真的，难道我还编造的出来，你头像那照片都是我 传到贴吧里的

香港电影发展至杜比时代绝对是一大进步，更肯定是电影音乐工作者的极大喜讯。为何它会带给我麻烦、忧虑呢？让我和大家，尤其是同业们分享一下这个意料以外的问题。 Hong Kong film made a great leap when it came to the Dolby era. It was certainly great news to music composers. But why would it still create troubles and worries for me? I will discuss this unexpected problem with you, especially with those who write film music. 去年年底笔者为一部电影《五月八月》作曲，监制徐小明太太Amy 事前很强调对该片音乐的重视，并愿意投放资源於后期制作，并决定花钱去本城一所「叫做」最有水准的录音室做杜比混音，笔者非常雀跃。 I was writing the score for the film “May & August” at the end of 2001. Producer Amy Tsui emphasised beforehand that music would play a big part in the film and she was willing to invest in post-production. I was so excited when she decided to spend money on Dolby mixing at a so-called state-of-the-art studio in town. 电影音乐人的最大愿望不是要得到很高很高的片酬 （至少我不是），而是自己的音乐能够原汁原味地与电影的画面、声响结合起来，将一段段的剧情升华於银幕上！莫大的满足感！ The greatest wish a film music maker can have is not to receive a huge amount of money (at least not to me), but to have his work displayed as it was written, blended with the visual and sound effects of the films and projected onto the big screen. That will bring us the greatest satisfaction.

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