雅马哈 Rivage PM10 数字混音系统于 2017 年引入韩国国家剧院，并于 10 月 25 日韩国传统歌剧《野火》的精心制作中首次亮相。以下是对剧院音响工程师的采访、PM10 的背景信息和它的众多应用。
　　The Yamaha Rivage PM10 system was first introduced to the National Theater of Korea in 2017 and made its debut on October 25th for the premiere of an elaborate production of Changgeuk, the traditional Korean opera, “Wildfire”. The following is an interview with the theater's sound engineers as well as an introduction and some background information on the PM10 and its many applications.

　　韩国国家剧院
　　The National Theater of Korea
　　韩国国家剧院于 1950 年开放，是韩国文化的代表剧院，也是亚洲有史以来第一家国家剧院。它位于首尔南山地区，周围环绕着美丽的时令景色。该剧院由韩国国家唱剧公司，韩国国家舞蹈团以及韩国国家交响乐团等三大团体组成，负责创作具有现代感和全球化的各种韩国传统艺术。剧院设有 4 个不同的大厅：Haeoreum 大剧院（1563 座），Daloreum 剧院（512 座），Byeloreum 剧场（100 座）和 Haneul 圆形剧院（627 座）。
　　The National Theater of Korea opened in 1950 as a representative theater of Korean culture and was the first ever national theater in Asia as well. It is located in the Namsan region of Seoul surrounded by the beautiful seasonal scenery. The theater is host to three main groups, The National Changgeuk Company of Korea, The National Dance Company of Korea, and The National Orchestra of Korea, and is responsible for producing various kinds of traditional Korean art with a modern and more global feel.The theater features 4 different halls; the Haeoreum Grand Theater (1563 seats), Daloreum Theater (512 seats), Byeloreum Studio (100 seats), and the Haneul Round Theater (627 seats)

　　音效师 GEE Yeong 谈论 PM10
　　Sound designer GEE Yeong discusses the PM10
　　国家剧院的音效师 GEE Yeong 先生正在指导《野火》的音效操作，当谈到这部作品时他说：“46 人同时登台，数字调音台发挥了重要作用。我为作品的各个部分制作了场景记忆，例如离开场景和演唱场景等，这样就可以通过每个场景记忆更改 DCA 的分组分配，即使有 48 个无线麦克风，也可以轻松管理它们。同时，利用 DCA 滚动功能可以快速访问各个分组通道层，以调整每个通道的平衡。”
　　Mr. GEE, Yeong, a sound designer of the National Theater, who is heading the sound operation of Wildfire mentioned about the production, “With 46 people on the stage at once, a digital mixer plays a big role already. I made a scene memory for various parts of the production demarcating important scenes, like leaving scenes and singing scenes etc. so you can change the grouping assign of DCA by each scene memory and even if there are 48 wireless microphones you can manage them easily. And also using the DCA rollout function you can quickly access the grouping channel layer of DCA to adjust each channel's balance.”

　　GEE Yeong 先生也谈到了他在排练中第一次使用 PM10 的经历，“事实上，我已经使用 PM1D 长达 17 年了，我认为 PM1D 控制面板上方设置的许多旋钮和按钮是一个很大的优势，因此在一开始我有些担心 PM10 的用户界面。但多次使用后，我意识到我的担忧是不必要的，实际上有旋钮和按钮，可以更轻松地访问需要快速、精确调整的功能。对于其他功能，因为用户界面组织得很好，所以我没有感到任何不便。”
　　Mr. GEE, Yeong also said about his first use of the PM10 from rehearsals, “In fact I have used the PM1D for 17 years and I thought that existence of many knobs and buttons above the control surface of the PM1D was a great advantage, so I was initially worried about the PM10's user interface. But after using it several times I realized my worries were unnecessary as there are actually knobs and buttons that are easily accessed for functions that need fast, precise adjustment. As for other functions, the UI is very well organized so I didn't feel any inconvenience whatsoever.”

　　“我认为插件也是一个巨大的优势，因为对于大多其他数字调音台的插件，你不得不从第三方公司购买。但是 PM10 有一套广受好评的实用板载插件，这套插件由来自 TC Electronics 与 Eventide 备受尊敬的音效插件设计师参与设计，前置放大器甚至采用了 Neve SILK 处理器。除此之外，我认为 PM10 中的 Scene Global Paste（场景全局粘贴） 功能非常棒，该功能来自于Yamaha CL 系列。使用 PM1D 时，如果您想要将当前场景的参数设置复制并粘贴到其他场景中，必须重复诸如场景内存加载，更正和保存等几个步骤，但现在您可以更轻松地完成。”
　　On plugins, “I also think it's a big advantage regarding plugins since, for other digital mixer's plugins, you mostly have to buy from 3rd party companies, but with the PM10 there is an extensive suite of popular, practical onboard plugins from esteemed effects and plugin designers such as tc electronics and Eventide, and the preamps even features the Neve SILK processor. I also think it is great that the Scene Global Paste function from the Yamaha CL Series was adopted by the PM10. With the PM1D, if you want to copy and paste parameter settings from the current scene to other scenes, you always had to repeat several steps such as Scene Memory load, correction and save, but now you can do it much more easily.”
　　根据 GEE Yeong 先生的说法，虚拟声音检查功能也有很大贡献，“我们在本次演出中使用了虚拟声音检查功能。在记录整个表演时，我们可以清楚地了解演员在每首歌曲中唱歌的方式或他们正在唱什么样的歌曲，使得我们能够详细分析和混合。所以对于这个节目，尽管排练期很短，但我们可以快速且相当融洽地达到完美状态。所以说，虚拟声音检测实际上是现在音乐剧的一个必要功能。”
　　The Virtual Sound Check function contributed greatly as well according to Mr. GEE, Yeong, “We used the Virtual Sound Check function for this show. Recording the whole performance we can understand clearly how the actors sing in every song or what kind of part they are singing, allowing us to analyze and mix in detail. So for this show, in spite of the fact that the rehearsal period was very short, we could arrive at the perfect mix quickly and fairly easily. So it can be said Virtual Sound Check is actually a necessary function for musicals now.”

　　综上，GEE 先生非常满意地评价道：“虽然我们才刚开始使用 PM10，但即使是在这段有限的时间里，我们也可以说，PM10 在音质和操作简便性上的提高，在我们生产和工作的流程中起到了很大帮助。”
　　Overall Mr. GEE, Yeong is very satisfied remarking “We just started to use it but even in a limited amount of time we can tell the PM10 has much improved sound quality and ease of operation contributing greatly to our production and workflow.”
　　* 参考 PROFESSIONAL AUDIO MAGAZINE，由专业音响系统和录音制作提供
　　＊Reference to PROFESSIONAL AUDIO MAGAZINE by courtesy of Professional Sound System and Recording Production