Technique: Making Equalization Work For You

There are three main applications for EQ:

1. Problem-solving
2. Emphasizing or de-emphasizing an instrument in a mix
3. Altering a sound’s personality

Each application requires specialized techniques and approaches.

PROBLEM-SOLVING

EQ can fix a variety of problems, and the tool of choice is usually a parametric equalizer, which consists of a limited number (typically 1-8) of frequency bands (Fig. 1). For each band, you can change not just the degree of boost or cut, but also the frequency at which this boosting or cutting occurs, as well as how wide a range of frequencies is affected – from very sharp to very broad. (“Pseudo-parametric” equalizers omit the bandwidth control, and the lack of this can seriously hamper the experienced EQ aficionado. Arguably, manufacturers err on the side of too narrow a fixed bandwidth, which makes it difficult to do subtle changes.)

Fig. 1: The PSP MasterQ is a high-quality equalizer plug-in for digital audio workstations with seven frequency-altering stages. Going from left to right, these are a highpass filter, low frequency shelving EQ, three parametric stages, high frequency shelving EQ, and a lowpass filter.

As one example of how you’d use a parametric EQ, slicing a sharp notch at 60Hz (50Hz in Europe) can knock hum out of a signal; trimming the high frequencies can remove hiss. Another common problem is an instrument with a resonance or peak that interferes with other instruments, or causes level-setting difficulties. Following is a procedure that takes care of this situation.

Several years ago I produced an album by classical guitarist Linda Cohen (Angel Alley, which was re-released on CD). She had a beautiful instrument with a full, rich sound that projected very well on stage, thanks to a strong body resonance in the lower midrange that caused a major level peak. However, recording was a different matter from playing live. If levels were set so the peaky, low frequency notes didn’t overload the recording media, the higher guitar notes sounded weak by comparison.

Although compression/limiting was always an option, it altered the guitar’s attack; while this effect might have gotten lost in an ensemble, it stuck out with a solo instrument. A more natural-sounding answer was to use EQ to apply a frequency cut equal and opposite to the natural boost, thus leveling out the response. But there’s a trick to finding problem frequencies so you can alter them; the following works like a charm.

1. Turn down the monitor volume – the sound might get nasty and distorted during the following steps.
2. Set the EQ for lots of boost (10-12dB) and fairly narrow bandwidth (around a quarter-octave or so).
3. As the instrument plays, slowly sweep the frequency control. Any peaks will jump out due to the boosting and narrow bandwidth. Some peaks may even distort.
4. Find the loudest peak and cut the amplitude until the peak falls into balance with the rest of the instrument sound. You may need to widen the bandwidth a bit if the peak is broad, or use narrow bandwidth for single-frequency problems such as hum.

This technique of boost/find the peak/cut can help remove midrange “honking,” strident resonances in wind instruments, and much more. Of course, sometimes you want to preserve these resonances so the instrument stands out, but many times applying EQ to reduce peaks allows instruments to sit more gracefully in the track.

Digital workstation EQ, as found in hard disk recording systems, can be particularly effective due to its precision. In one of my more unusual projects, I needed to remove boat motor noise from some whale samples. Motor noise is not broadband, but exists at multiple frequencies. Applying several extremely sharp and narrow notches at different frequencies took out each component of the noise, one layer at a time, until the motor noise was completely gone.

This type of problem-solving also underscores a key principle of EQ: it’s often better to cut than boost. Boosting uses up headroom; cutting opens up headroom. In the example of solving the classical guitar resonance problem, cutting the peak allowed for bringing up the overall gain to record a much higher overall level.

EMPHASIZING INSTRUMENTS

The same technique of finding and cutting specific frequencies can also eliminate “fighting” between competing instruments. For example, while mixing a Spencer Brewer track for Narada records, there were two woodwind parts with resonant peaks around the same frequency. When playing en ensemble they would load up that part of the frequency spectrum, which also made them difficult to differentiate. Here’s a workaround:

1. Find, then reduce, the peak on one of the instruments to create a more even sound.
2. Note the amount of cut and bandwidth that was applied to reduce the peak.
3. Using a second stage of EQ, apply a roughly equal and opposite boost at either a slightly higher or slightly lower frequency than the natural peak.

Both instruments will now sound well- articulated, and because each peaks in a different part of the spectrum, they will tend not to step on each other.

NEW SONIC PERSONALITIES

Fig. 2: The midrange is reduced somewhat around 500Hz, thus making the high and low ends of the spectrum more prominent...

EQ can also change a sound’s character – for example, turn a brash rock piano sound into something more classical. This type of application requires relatively gentle EQ, possibly at several different points in the audio spectrum.

Musicians often summarize an instrument’s character with various subjective terms. The following correlates these terms to various parts of the frequency spectrum (this is, of course, a very subjective interpretation).

• 200Hz and under: bottom
• 200-500Hz: warmth
• 500Hz-1500Hz: definition
• 1500Hz-4000Hz: articulation, presence
• 4000-10,000Hz: brightness
• 10,000-20,000Hz: sheen, air

For example, to add warmth, try applying a gentle boost (3dB or so) somewhere in the 200-500 Hz range. However, as in the previous case, remember that if possible, cutting is preferable to boosting – for example, if you need more brightness and bottom, try cutting the midrange rather than boosting the high and low ends (Fig. 2).

OTHER EQ TIPS

Problem-solving and character-altering EQ should be applied early on in the mixing process, as they will influence how the mix develops. But wait to apply most EQ until the process of setting levels begins; remember, EQ is all about changing levels – albeit in specific frequency ranges. Any EQ changes you make will alter the overall balance of instruments.

Another reason for waiting a bit is that instruments EQ’ed in isolation to sound great may not sound all that wonderful when combined. If every track is equalized to leap out at you, there’s no room left for a track to “breathe.” Also, you will probably want to alter EQ on some instruments so that they take on more supportive roles. For example, during vocals consider cutting the midrange a bit on supporting instruments (e.g., rhythm guitar) to open up more space in the audio spectrum for vocals.

Finally, remember that EQ often works best when applied subtly. Even one or two dB of change can make a significant difference. However, inexperienced engineers often do something such as increase the bass too much, which makes the sound too muddy, so they increase the treble, and now the midrange sounds weak, so that gets turned up...you get the idea. One of your best “reality checks” is an equalizer’s bypass switch. Use it often to make sure you haven’t lost control of the original sound!

转自HC

Technique: Mastering Intro

by Craig Anderton The art of mastering is the process of taking your mixes, adding any final polish (e.g., altering the tone, doing dynamics control, making sure levels are consistent, etc.) and in the case of an album, assembling the various cuts so they create a cohesive listening experience. You may even do things like shorten intros or solos, add reverb, or other more drastic changes—whatever it takes to produce a great-sounding recording. Mastering used to be something that could be done only on extremely expensive equipment, with an engineer who had years of expertise. These days, the equipment barrier has been removed; quality editing software for Mac and Windows, along with equally good plug-ins, have lowered the cost of mastering tools. While they arguably won’t deliver the same results as a quarter-million dollar mastering suite, they come amazingly close.

However, the requirement for years of expertise hasn’t changed, and you still need good ears—and a serious skill set—to do mastering well. But the way to acquire years of expertise is to roll up your sleeves, start mastering, and learn the ins and outs of how the process works. If your mixes end up setting better after you’ve mastered them, you’re on your way.

We’ll get into specific mastering techniques in subsequent issues of the HC Confidential Newsletter, but before you even boot up your computer, it’s important to create a proper environment for mastering. Let’s look at what you need to think about as you get ready to start mastering.

THE IMPORTANCE OF YOUR ROOM

The single most important piece of gear for mastering is not a plug-in, rack processor, or software, but an acoustically-treated room. It doesn’t matter how good your speakers are, or what kind of a system you’re running, if you can’t accurately evaluate the sound because of room problems. Conversely, good room acoustics can show problems in other elements of the signal chain.

Acoustics is one of the main reasons why so many mixes that come out of project studios aren’t “transportable”: You mix something that sounds fine in your studio, but doesn’t anywhere else. That’s because you’ve mixed and then mastered to compensate for the deficiencies in your room, and other rooms will have different deficiencies. If you have an accurate response in your room, then the deviations won’t be as great when you play back your music in other rooms.

Fig. 1 (click to enlarge): This illustration shows a standing-wave condition, where a wave reflects back from a wall out of phase, thus canceling the original waveform. At other frequencies, the reflection can just as easily reinforce the original waveform. These frequency response anomalies affect how you hear the music as you mix.

Acoustic treatment is a topic that could take up a book, and in fact, there’s a good one by Mitch Gallagher titled Acoustic Design For The Home Studio (Thomson Course Technology, ISBN-10: 159863285X, ISBN-13: 978-1598632859). While you can certainly improve matters yourself, if you have the budget, it’s worth calling a professional. When a friend and musical collaborator of mine, Spencer Brewer, was building a studio, he wisely allocated a significant portion of his budget to hiring a professional studio designer who was well-versed in acoustic treatment. Over the years, gear has come and gear has gone, but his fine-sounding room has remained the constant for all his work.

There are many sources of information on acoustics other than the above-mentioned book. Web sites for companies like Real Traps, Auralex, Primacoustic, and others often have a wealth of information and ideas on how best to tune a room. I do have a couple pieces of advice, though.

If you don’t have an acoustically-treated room and don’t think you need to do anything, for a real ear-opener set up an audio level meter (e.g., the kind made by Radio Shack for monitoring workplace noise levels; catalog numbers are 33-2055 and 33-4050). Sit with it in the middle of your room, run a sine wave test tone oscillator through the speakers, and watch the meter. Unless you have great monitors and an acoustically tuned room, that meter will fluctuate like a leaf in a tornado. Speakers by themselves do not have perfectly flat responses, but they look like a ruler compared to the average untreated room.

Fig. 2 (click to enlarge): Placing a speaker with its back against the wall often gives an apparent increase in bass; placing it in a corner accentuates the bass even more.

You don’t even need a level meter to conduct this test: Play a steady tone around 5 kHz or so, then move your head around. You’ll hear obvious volume fluctuations. (If you can’t hear the 5 kHz tone, then perhaps it’s time to look for a different line of work!)

These variations occur because as sound bounces around off walls, the reflections become part of the overall sound, creating cancellations and additions.

Another example of how acoustics affects sound is when you place a speaker against a wall, which seems to increase bass. Here’s why: Any sounds emanating from the rear of the speaker, or leaking from the front (bass frequencies are very non-directional), bounce off the wall. Because a bass note’s wavelength is so long, the reflection will tend to reinforce the main wave. This is a greatly simplified explanation, but it gets the principle across.

As the walls, floors, and ceilings all interact with speakers, it’s important that any speakers be placed symmetrically within a room. Otherwise, if (for example) one speaker is 3 feet from a wall and another 10 feet from a wall, any reflections will be wildly different and affect the response.

Some people try to compensate for room anomalies by inserting a graphic equalizer just before their power amp and “tune” the equalization to adjust for room anomalies. While this sounds good in theory, if you deviate at all from the “sweet spot” where the microphone was, the frequency response will be off. Also, heavily equalizing a poor acoustical space simply gives you a heavily equalized poor acoustical space. Like noise reduction, which works best on signals that don’t have a lot of noise, room tuning works best on rooms that don’t have serious response problems because you’ve already addressed any underlying problems.

THE MONITOR FACTOR

After the room (and your ears, of course), speakers are the most important element in mastering—again because you have to trust what you’re hearing. Traditional studios have large monitors mounted at a considerable distance (6 to 10 ft. or so) from the mixer, with the front flush to the wall, and an acoustically-treated control room to minimize response variations. The “sweet spot”—the place where room acoustics are most favorable—is designed to be where the engineer sits at the console.

In smaller, project studios, near-field monitors have become the standard way to monitor. With this technique, small speakers sit around 3 to 6 feet from the mixer’s ears, with the head and speakers forming a triangle.

Fig. 3 (click to enlarge): When using near field monitors, the speakers should point toward the ears and be at ear level. If slightly above ear level, they should point downward toward the ears.

Near field monitors reduce (but do not at all eliminate) the impact of room acoustics on the overall sound, as the speakers’ direct sound is far greater than the reflections coming off the room surfaces. As a side benefit, because of their proximity to your ears, near field monitors do not have to produce a lot of power. This also relaxes the requirements for the amps feeding them.

However, placement in the room is still an issue. If placed too close to the walls, there will be a bass build-up. High frequencies are not as affected because they are more directional. If the speakers are free-standing and placed away from the wall, back reflections from the speakers bouncing off the wall could cause cancellations and additions for the reasons mentioned earlier.

You’re pretty safe if the speakers are more than 6 ft. away from the wall in a fairly large listening space (this places the first frequency null point below the normally audible range), but not everyone has that much room. My solution, crude as it is, has been to mount the speakers a bit away from the wall on the same table holding the mixer, and pad the walls behind the speakers with as much sound-deadening material as possible.

Nor are room reflections the only problem; if placed on top of a console, reflections from the console itself can cause inaccuracies. To get around this, in my studio the near-fields fit to the side of the mixer, and are slightly elevated. This makes as direct a path as possible from speaker to eardrum.

ABOUT NEAR-FIELD MONITORS

There are lots of near-field monitors available, in a variety of sizes and at numerous price points. Most are two-way designs, with (typically) a 6” or 8” woofer and smaller tweeter. While a 3-way design that adds a separate midrange driver might seem like a good idea, adding another crossover and speaker can complicate matters. A well-designed two-way system will beat a so-so 3-way system.

There are two main monitor types, active and passive. Passive monitors consist of only the speakers and crossovers, and require outboard amplifiers. Active monitors incorporate any power amplification needed to drive the speakers from a line level signal. I generally prefer powered monitors because the engineers have (hopefully!) tweaked the power amp and speaker into a smooth, efficient team. Issues such as speaker cable resistance become moot, and protection can be built into the amp to prevent blowouts. Powered monitors are often bi-amped (e.g., a separate amp for the woofer and tweeter), which minimizes intermodulation distortion and allows for tailoring the crossover points and frequency response for the speakers being used.

However, there’s of course nothing wrong with hooking up passive monitors (which are less expensive than active equivalents) to your own amps. Just make sure your amp has adequate headroom. Any clipping that occurs in the amp generates lots of high-frequency harmonics (ask any guitarist who uses distortion), and sustained clipping can burn out tweeters.

One important point is that monitors have improved dramatically over the years, yet prices have spiraled downward; it’s now possible to get a truly fine set of speakers for well under a thousand dollars. If you’d like to do a little window shopping, here’s a good place to start and get an idea of what’s available: http://www.musiciansfriend.com/studio-audio-monitors.

IS THERE A “BEST” MONITOR?

On the net, you’ll see endless discussions on which near-fields are best. Although it’s a cliché that you should audition several speakers and choose the model you like best, I believe you can’t choose the perfect speaker, because such a thing doesn’t exist. Instead, you choose the one that’s as neutral and accurate as humanly possible. While some people advise that you choose a speaker that colors the sound the way you prefer, that’s the approach to take with the hi-fi speakers in your living room, not mastering tools.

Choosing a speaker is an art. I’ve been fortunate enough to hear my music over some hugely expensive, very-close-to-perfect systems in mastering labs and high-end studios, so I know exactly what it should sound like. My criterion for choosing a speaker is simple: Whatever makes my “test” CD sound the most like it did over the high-end speakers wins.

If you haven’t had the same kind of listening experiences, book 30 minutes or so at some really good studio and bring along one of your favorite CDs (you can probably get a price break because you’re not asking to use a lot of the facilities). Listen to the CD and get to know what it should sound like, then compare any speakers you audition to that standard. For example, if the piano on your mix sounds a little understated on the expensive speakers, choose speakers where the piano is equally understated.

One caution: if you’re A-B comparing a set of speakers and one set is slightly louder than the other (even a fraction of a dB can make a difference), you’ll likely choose the louder one as sounding better. Make sure the speaker levels are matched as closely as possible in order to make a valid comparison.

LEARNING YOUR SPEAKER AND ROOM

Ultimately, because your own listening situation is likely to be at least slightly imperfect, you need to “learn” your system’s response. For example, suppose you master something in your studio that sounds fine, but in a high-end studio with accurate monitoring, the sound is bass-heavy. That means your monitoring environment is shy on the bass, so you boosted the bass to compensate (this is a common problem in project studios with small rooms). When mastering in the future, you’ll know to mix the bass lighter than normal in order to have it come out okay.

Compare midrange and treble as well. If vocals jump out of your system but lay back in others, then your speakers might be “midrangey.” Again, compensate by mixing midrange-heavy parts back a little bit.

HEADPHONES, HI-FI SPEAKERS, AND SATELLITE SYSTEMS

Musicians on a budget often wonder about mixing over headphones, as $100 will buy you a great set of headphones, but not much in the way of speakers. Although mixing exclusively on headphones is not a good idea, I highly recommend keeping a good set of headphones around as a reality check (not the open-air type that sits on your ear, but the kind that totally surrounds your ear). Sometimes you can get a more accurate bass reading using headphones than you can with near-fields. Careful, though: It’s easy to blast your ears with headphones and not know it. Watch those volume levels (and be real careful about accidentally setting up a feedback loop—a loud enough squeal could cause permanent hearing damage).

As to hi-fi speakers, here’s a brief story. For almost 15 years, I mixed over a set of trusted bookshelf speakers in my home studio. These were some of the least sexy-sounding and most boring speakers in the world. But they were neutral and flat, and more importantly, I had “learned” them during the process of taking my mixes to many pro studios for tweaking or mastering. In fact, when listening over expensive speakers, the sound was almost always exactly what I expected, with one exception: Signals below about 50 Hz simply vanished on my speakers. Therefore, with instruments like orchestral kick drums, I had to mix visually by checking the meters, then verifying the mix at another facility. Thankfully, I’ve since upgraded to “real” monitors!

So while I don’t recommend it, you can use hi-fi speakers if you absolutely must, assuming they’re relatively flat and unbiased (watch out; some consumer-oriented speakers “hype” the high and low ends). However, they often aren’t meant to take a lot of power, so be careful not to blow them out. One other tip: Follow the manufacturer’s instructions about whether speakers should be mounted horizontally or vertically; it does make a difference.

Lately, “satellite” systems have appeared where the near-fields are physically very small—in fact, too small to produce adequate bass (some would argue that no 6” or 8” speaker can really produce adequate bass, but sometimes we need to reconcile finances and space with the laws of physics). To compensate, a third element, the “subwoofer,” adds a fairly large speaker, and is crossed over at a very low frequency so that it reproduces only bass notes. This speaker usually mounts on the floor, against a wall; in some respects placement isn’t too critical because bass frequencies are relatively non-directional.

Can you use satellite-based systems to make your computer audio sound great? Yes. If you’re living space is tight, is this a good way to make your hi-fi setup less intrusive? Yes. Would you mix your major label project over them? Well, I wouldn’t. Perhaps you could learn these systems over time as well, but I personally have difficulty with the disembodied bass when it comes to critical mixes.

TESTING ON MULTIPLE DELIVERY SYSTEMS

Finally, no matter how good your speakers and acoustics, before signing off on a mastering job run off a “proofing” CD or two and listen through anything you can—car stereo speakers, hi-fi bookshelf speakers, big-bucks studio speakers, boom boxes, headphones, etc. This gives an idea of how well the song will translate over a variety of systems. If all is well, great—mission accomplished. But if the CD sounds overly bright on, say, five out of eight systems, consider pulling back on the brightness just a bit.

公元前孔子通过讲故事的方式嘲笑清者...他为了社稷，为了仁

那天他通过聊天的方式劝我不要成为清者，他为了公司，为了面子

en....可——要清亦俭 是转了一圈的生活方式，要坚持的

清者保重 有所顾忌 有所求 还是没有做到清

淡一点，再淡一点吧

春思 - 李白

燕草如碧丝，秦桑低绿枝。

当君怀归日，是妾断肠时。

春风不相识，何事入罗帏。

读：李大仙的此首五言真的让人从另一个角度认识了这个狂人，细腻的刻画了一场归来见面不相识的人间悲剧，在前两句刻画的暖暖春意之下，接下来两句制造出了一个看似不可理喻的矛盾，君归来却妾断肠，最后两句，没有将原因，也没有说抱怨的话，而是平淡的继续描述事实，春风里的视而不见，形如陌路，让人心情不能平静，浮想联翩。通过这也能看出大仙的心境，其估计是晚年的作品，已经不是傲骨逼人，而关注与对苍苍大众的每天发生的真实的情感进行刻画。

御街行 - 范仲淹

纷纷坠叶飘香砌。夜寂静，寒声碎。

真珠帘卷玉楼空，天淡银河垂地。

年年今夜，月华如练，长是人千里。

愁肠已断无由醉，酒未到，先成泪。

残灯明灭枕头攲，谙尽孤眠滋味。

都来此事，眉间心上，无计相回避。

语：范希文的词真的是成天沉浸在忧来忧去的状态中，才会有“先天下忧而忧”的千古名句啊。此首词应是一首在估计的夜里怀念旧人时而做，读罢仿佛耳边响起了《孤枕难眠》的旋律，看来大家相似起来多出发的感觉都是一样的俗气～往事不堪回首，借酒消愁，孤枕难眠，见景怀伤，就这么点事儿。

无题三首之木兰花 - 钱惟演

城上风光莺语乱，城下烟波春拍岸。

绿杨芳草几时休？泪眼愁肠先已断。

情怀渐觉成衰晚，鸾镜朱颜惊暗换，

昔年多病厌芳尊，今日芳尊惟恐浅。

语：见，文品和人品真的是不可同日而语，此首木兰花词将惆怅与相思，无奈与感伤，刻画得十分传神。写心的老去，呼应着青春容颜的逝去，后二句更是将借酒消愁，任己放纵的情景演绎的直杵内心，前面写景居然明明是写美景，却让人感觉心烦意乱，甚妙

facebook的道具体系规划的并不尽人意，主要有如下：

1.用户的交互方式完全依赖于API的应用，一个虚拟道具其实就是一个独立的API，结果就是道具的互通性不好，虚拟道具无法产生出一个庞大的使用，交流，交换的平台，不同的道具是互相割裂开来的，这一点无论是国外还是国内的Casual Game社区做的要好太多

2.在facebook社区中，虚拟道具体系没有很好的与其他产品的应用，包括其他的API很好的融合

3.由于各虚拟道具相对独立，导致无法进行统一的的规划发展，无法统筹管理，更无法解决统一的支付portal的问题

4.由于各虚拟道具相对独立，导致虚拟道具无法在统一的平台中被展现和被使用，限制和削弱了虚拟道具的趣味性和使用价值

对规划中的宝宝树社区虚拟道具体系的启示是：

虚拟道具本身的设计可参照facebook里面受欢迎的相应的api进行设计，打造统一的，通用的道具获取通道，使用方式，展现平台，以及支付渠道，并将虚拟道具体系与已有的网站产品体系进行融合，对现有产品体验进行二次挖掘，这样才会使得道具体系又存在的价值，才能为用户带来新鲜的体验

学而篇第一

子曰：“学而时习之，不亦悦乎？有朋自远方来，不亦乐乎？人不知而不愠，不亦君子乎？”

习：传颂率超级高的千年佳句，“学而时习之”确实是一种快乐，并且每每有新的发现，自己的切身感受是，一本书，一边是读不完的，读不透彻的，在第一遍学习一门知识或者研读一本经典著作，往往是跟着作者的思路走，但当回过头来再去研究第二遍，第三遍，逐渐开始以自己的视角去看待问题了，往往回头的次数越多，对原著的疑问就越大，真的是很有趣的事情。再说“人不知而不愠，不亦君子乎？”《论语》全篇一直很赞赏孔子看待君子的角度。从另一个层面来说，不被了解而习以为常，这大概，也是一种英雄的孤寂吧，君子生来就是寂寞的，想必孔子当年对这种滋味有着很深的体会吧。

1. .养猫工具的构成以及用途：
• 餐盘 用于裝盛猫粮和清水，左边放猫粮，右边放清水
• 便盆 用来装置猫砂
• 小铲子 用来把猫砂包裹着的成团凝固的便便筛出来
• 猫砂 用途是凝固猫便便，吸味道，消毒，需要封口放置在干燥地方保存
• 猫粮 猫的唯一食物，需要每次取完猫粮用封口夹封口
• 自制猫粮杯 用于测量喂食的猫粮的量
  
2. 喂食。除了猫粮不能吃其他的东西，一天的量就是一猫粮杯，但要分四次喂食，每天需要换清水在右面的盆里，每天的喂水量大概是三分之二盆，不换水的话小野就不喝水....
3. 便便。到新环境用小铲子挖猫砂或者把小野放在猫砂旁边让她记住位置，以后他就会自己去里面便便。便便后需要清理，否则小野会便在外面的，由于有猫砂所以小便和大便会成块状被猫砂包裹住，只要用小铲子把成块的便便取出来就好，猫砂保持在二分之一盆多就好。
4. 餐盆和便盆要放得稍微有点距离。
5. 睡觉。基本上不用管它，小也会自己找到较为舒服的地方睡觉的
6. 新到一个环境中也许会怕生，不过过1-2天就会和人熟悉了。
7. 如何控制小野。猫的脖子后面有一处很稀松的皮可以拎起，拎这块皮猫没有反抗的，也不会挣扎。
8. 小野喜欢玩耍，非常喜欢与人亲近。

贴两张小野的酷照～

 宴山亭 北行见杏花-赵佶

裁剪冰消，轻叠数重，淡着胭脂匀注。

新样靓妆，艳溢香融，羞杀蕊珠宫女。

易得凋零，更多少，无情风雨。

愁苦，问院落凄凉，几番春暮？

凭寄离恨重重，者双燕何曾，会人言语？

天遥地远，万水千山，知他故宫何处？

怎不思量？

除梦里有时曾去。

无据，和梦也新来不做。

语：宋徽宗被北虏去之后，遥思昔日浮华宫中生活的一首词，肃杀的眼前景色和印在记忆中，头脑里的往昔岁月，见一物，思一景，处处怀伤，步步凄凉。只有在梦里才能找回昔日的生活，可最后一句，却让人苦笑，悲凉。

赵佶是个很靠谱的文艺男青年，书画俱佳，为人敏感细腻，从性格上和艺术气息上来看有可能是个同性恋，阴柔的气息在他的词，书，都有体现，不过这个有待考证哈。不过他确实不适合去做政治，所以在史学家眼里看来，此厮是个昏君，不过在文人们看来，此君是当世才子也。

时隔半年没有进band房进行排练，却一切平淡如往常，没有特别的兴奋与激动，也许，音乐带来的快乐早已融入平凡的每一天生活了吧，新鼓手——磊，融入得很快，一见如故的感觉，老朴转行贝司以后愈发的投入，四正同学的新歌让浩觉得很high

梦游者，第一次合练

过客，依旧是大家即兴的编曲

 遗憾的是浩没有被摄入...

踏莎行 - 寇准

春色将阑，莺声渐老。红英落尽青梅小。画堂人静雨濛濛，屏山半掩。　　
密约沉沉，离情杳杳。菱花尘满慵将照。倚楼无语欲销魂，长空黯淡连芳草。

语：晚春初夏时节的离别描绘的一切都那么的无力和无奈，惯用的前景后情的写法，压抑，叹息

引用

wangmei.513 的 男人对男人的忠告
1.男人是社会的主体，不管你信或不信。所以男人应该有种责任感。 

2. 25岁之前，请记得，爱情通常是假的，或者不是你所想象的那样纯洁和永远。如果你过了25岁，那么你应该懂得这个道理。 

3. 吃饭7成饱最舒服。对待女友最多也请你保持在7成。 

4. 30岁之前请爱惜自己的身体，前30年你找病，后30年病找你。如果你过了30岁，你自然也会懂得这个道理。 

5. 事业远比爱情重要。如果说事业都不能永恒，那么爱情只能算是昙花一现。 

6. 不要轻易接受追求你的女孩。女追男隔层纱。如果你很容易就陷进去，你会发现你会错过很多东西，失去很多东西。 

7. 请你相信，能用钱解决的问题，都不是问题。如果你认为钱索王道，有钱有女人，没钱没女人，那么。女人不是问题。 

8 . 请永远积极向上。每个男人都有他可爱的地方，但是不可爱的地方只有不积极面对生活。 

9. 不要连续2次让同一个女人伤害。好马不吃回头草，是有他道理的。如果认真考虑过该分手，那么请不要做任何舍不得的行动。 

10. 如果你和你前女友能做朋友，那么你要问自己：为什么？如果分手后还是朋友，那么只有2个可能:。你们当初都只是玩玩而已，没付出彼此最真的感情。或者：必定有个人是在默默的付出无怨无悔！ 

11. 永远不要太相信女人在恋爱时的甜言蜜语。都说女人爱听甜言蜜语，其实，男人更喜欢。 

12. 请不要为自己的相貌或者身高过分担心和自卑。人是动物，但是区别于动物。先天条件并不是阻挡你好好生活的借口。人的心灵远胜于相貌，请相信这点。如果有人以相貌取人，那么你也没必要太在意。因为他从某种意义来讲，只是只动物。你会跟动物怄气吗？ 

13. 失恋时，只有2种可能，要么你爱她她不爱你，或者相反。那么，当你爱的人不再爱你，或者从来没爱过你时。你没有遗憾，因为你失去的只是一个不爱你的人。 

14. 请不要欺骗善良的女孩。这个世界上，善良的女孩太少。 

15. 不能偏激的认为金钱万能，至少，金钱治不好艾滋病。 

16. 请一定要有自信。你就是一道风景，没必要在别人风景里面仰视。 

17. 受到再大的打击，只要生命还在，请相信每天的太阳都是新的。 

18. 爱情永远不可能是天平。你想在爱情里幸福就要舍得伤心。 

19. 如果你喜欢一个认为别人应该对她好的mm，请尽早放弃。没有人是应该对一个人好的。如果她不明白这个道理，也就是她根本不懂得珍惜。 

20. 不要因为寂寞而找gf，寂寞男人请要学会品味寂寞。请记住：即使寂寞，远方黑暗的夜空下，一定有人和你一样，寂寞的人不同，仰望的星空却是唯一。 

21. 任何事没有永远。也别问怎样才能永远。生活有很多无奈。请尽量充实自己，充实生活。请善待生活。 

男人有很多无奈，生活很累但是因为生活才有意义。当你以为你一无所有时，你至少还有时间，时间能抚平一切创伤。所以请不要流泪。。。。。 
 
 

正四提交了ms文学造诣很深的为《走样》填的词，如下：

看木马在歇斯旋转 转移彼此的视线 看到了 你我的脸
friend 你是我的另一半 我们注定要见面 共同谱诗篇

繁华美丽世界 望彩色蝴蝶 入火海 微笑一些 走样不失体面

往梦想的地铁 拥挤我一切 赴终点 紧凑一些 走样会好温暖

换 一套泪做的琴弦 演奏梦幻的乐篇 让时间 永远冬眠
闪   黑暗中有个亮点 指引我们去冒险 宝藏在眼前

繁华美丽世界 望彩色蝴蝶 入火海微笑一些 走样不失体面

往梦想的地铁 拥挤我一切 赴终点紧凑一些 走样会好温暖

期待本周末排练的效果

附上正四纯男写真3副～