唱片監製
筆者由流行歌手入行開始，到可以做監製替歌手錄音，已經開始忘了有多少個年頭！但監製過眾多歌手就記得一清二楚：先後包括李樂詩丶許志安丶蘇永康丶江欣慈等，還有我在英皇年代的李逸朗丶吳浩康丶蔣雅文等，至近年的發燒歌手李偉，由監製單曲至全碟，由原創歌曲至翻唱版本，由流行歌曲至發燒音樂...... 我和聽眾以及發燒友都是這樣長大的。
前輩監製向雪懷曾提醒過我，歌手最好不要做自己的監製。他也有舉例說，某某當紅歌手自從一意孤行要監製自己的唱片後，成績一落千丈。這些教誨我是一直放在心上的。嚴格來說，他也算得上是我的第一位唱片監製，我的第一張廣東創作大碟《情真．遊戲．Close To U》是他為我全程監控的，由概念至選曲，編曲及錄音的取決，也有他為我度身訂造歌詞的三首全新歌曲，他都全部親力親為，絕不假手於人，甚至還親身帶著我走遍各間唱片公司選擇適合我的新曲！當然，還有我的啟蒙師父馮添枝一直從旁協助及指導，他是我和向雪懷老師的老師！是我們眾監製師父的師父！直至十多年後，我和向雪懷再有機會合力監製我的廣東發燒專輯《情．懷》。這次的合作，他竟然放心讓我一起監製這張向他致敬的經典作品集！還要是更嚴格的發燒專輯啊！當然，我也不敢怠慢，一定不能有任何差池的！否則一定沒有資格重新演繹他的經典作品（至少我是這樣想的）。
就這樣，在眾出色的監製耳濡目染下－－當中還包括另外合作過的多位知名監製，例如劉德華的御用監製陳德建丶兩位知名發燒唱片監製Keith Yip 及麥皓輪等－－筆者總算從各大師身上偷師不少，幸運地日後成為多張發燒專輯的監製，更幸運的是得到了各界的認同。
很難想像監製的工作範圍是何其多吧！要監製好一張專業的唱片，最好能先清楚了解投資者的意向及期望，主要演繹者的特色丶優點與缺點等，事前必須要與他們有良好的溝通，定期的會議去評估丶釐定和檢討製作細節，再跟進丶修正丶協調各方的意見，確保製作的進度和期望的水準，最後作出適當的決策。過程中必須隨機應變，事事要以大局為著想，不能一意孤行，最好能考慮周詳，然後作出合理的取捨，才有機會達到預期的效果，甚至有機會獲得額外的收穫。
筆者覺得，監製流行唱片與發燒唱片的製作過程是同等認真嚴謹的，只是大家專注的範圍不盡相同而已，例如有些流行唱片比較著重後期混音效果；反之，有些發燒唱片比較著重彈奏技術。而製作費用也不是愈貴愈好的，跟我們的發燒音響系統一樣，不一定是最貴的設備就會有最好的音效，還要配上合適的環境及軟件才能發揮出最大的效能，所以視乎整體的要求及配合而已。因此，在開始錄製任何唱片前，團隊各人必須清楚了解自己的崗位職責及要求，監製必須加倍提點並提供適量的詮釋，需要時要提供範例及協助，平衡各方的意見並作出適度的調整。慶幸自己所合作過的音樂人和藝術家，全都投入做好每首樂章和藝術作品，真正發揮出團隊精神，每一次的合作成果都比預期中好！縱使現今的音樂世代可能陷於困境當中，但慶幸還有很多專業的藝術家不計酬勞在堅持，願我們一起努力製作出更好的作品吧！
About Astor
Astor is able to express herself with logical literacy but full of artistic feelings. She acts to record her valuable, interesting and unforgettable experiences during her travel and plans to share with others her instant feelings, thoughtful insights and findings via poems, free verses, prose, narration, reference, etc.
Music, Movie, Musicals and Me
Music and theatre have had a close relationship. Theatre can associate with movie or musical theatre (musicals) and I love both of them. I sing theme songs in some Asian movies, such as“When I Dream” (theme from “Dragon Squad”). It easily recalls people not only from scenes of the movie, but also from memory. I love theme music from movies as well as songs from Musicals, especially Broadway. I remember I have fallen in love with Broadway since I was 12. Musical films characteristically contain elements reminiscent of theatre; performers often sing and dance as if there is a live audience watching. Some musical films were adapted for the stage after their great success, such as “The Wizard of Oz” and“Fame”, while successful musicals also definitely received movie adaptations, i.e. stage-to-film adaptations, such as“Jesus Christ Superstar” and “Evita”. We can share our moments after all these years by passing through “Over the Rainbow”, “Out Here On My Own”, “I Don’t Know How To Love Him”, “Don’t Cry For Me Argentina”, “You Must Love Me” ……
“Moon River” (theme from “Breakfast at Tiffany’s”) has to be selected in my new album "Theatre" although it has been covered by hundreds of artists all over the world. I sing it each time, it seems like a live performance accompanied by the pianist just in front of the audience.
“The Way We Were” (theme from “The Way We Were”) must be selected because it was the song of one of my favorite singers that influences me most, Barbra Streisand, and I won the singing contest with it!
“For All We Know” (theme from “Lovers and OtherStrangers”) was selected, of course, in tribute to my forever idol, the Carpenters.
WORDS from Astor :
I hope all of you would like the presentation of my albums.
Everlasting love dedicated to SUPERSTAR...
My dearest family,
Mom and Dad,
Uncle,
Tony,
Jan.
All the one I love,
Teachers and tutors, who have enlightened me,
All singers and writers of the original songs, especially Karen and Richard Carpenter.
All musicians,
All my fans and friends.
Thanks GOD.
Astor Fong
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