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如何使用压缩器（翻译外文教程ing）
利人利己，既然看到了就翻译一下吧！水平有限，各种百度谷歌字典加上自己4级英文水平。如果不对及时提出修正。
发个实时贴吧，给自己点压力，不然不知道翻了一点以后又猴年马月能把剩下的弄完，基于我的英文水平这文章稍微有点长对我来说！见谅见谅！
How To Use a Compressor 如何实用一个压缩
By Jezar at Dreampoint 这是在dreampoint的jezar写的（当然我不道他是谁）
People are frequently asking how to use a compressor. Here is a little article I have written to explain how you go about it.
人们经常去问如何使用一个压缩。这里我写了一片小的文章以助于你知道如何着手去使用它。
_____________________________________________________________________________________________________________________
Introduction 介绍
Most effects processors are fairly simple to use; plug in an equaliser (for example), twiddle the controls, and listen to the output, and you pretty much know what you're doing, and all you need is some experience behind you.
多数效果器是十分简单易用的；例如插入一个EQ，转动旋钮，并且去听，然后你就知道它起了什么作用，并且你会掌握到一些经验。
Compressors don't fall into this category. Plug them in and listen. What's it doing? Unless someone has told you, then you probably won't know.
压缩就不能和它们归到一类。插入压缩并且去听。它是怎么样工作的呢？除非有人告诉你，否则你可能不会清楚的。
Play with the controls. What do they do? Don't know either. What do the indicators mean? Difficult to tell. It's all a bit frustrating really...
播放并且调整控制钮。它们都是做什么的！我们也不清楚。这些指标都是什么意思？这很难说。这真的令人压抑！
Unfortunately you need to be *told* what a compressor does. Furthermore - even after you know what it does - someone needs to explain why the things that it does are considered useful. You won't figure it out for yourself.
不幸的是你必须能说出来压缩是做什么的。 此外-当你知道它是做什么的-人们需要去解释为什么这个东西是有用的。这些语言你自己去整理吧！
Normally - for non-technical people - the explanations of what a compressor does, are so bewildering that they end up even more confused than they were before: "xDBs in, equals yDBs out, over zDb threshold, according to this graph" etc. etc.
通常-对于非专业人员-对压缩的解释是，非常令人眼花缭乱的并且会使他们自己更加糊涂了。“xDB的输入=yDB的输出，超过zDB的阈值，根据它的图示”等等等等。
Fortunately, I have a friend who explains it very well, and very succinctly:
幸运的是，我一个朋友能把它十分简洁的解释给大家：
"What does a compressor do, Alan?"
alan，压缩是做什么用的？
"It makes the loud bits quieter."
它使过大的声音变小。
"I see... But surely if it just makes the loud bits quieter, can't you then turn EVERYTHING right up, and make get everything really, REALLY loud?"
哦...但肯定的是它让过大的声音变小，你能在不关闭任何东西的情况下使其他的声音变的很大很大？
"Exactly."对头
（上面一段对话，经过反复思考这样来翻译的。如果理解错了请大师指出。）
So there you go. Simple isn't it? A compressor just makes the loud bits quieter, allowing you to crank everything up to maximum volume.
But under what situations would this be useful?
这你就明白了，很简单是不是？压缩机只是能是过大的声音变小。让您能使任何声音达到最大！
但是在什么情况下它才能发挥作用呢？
Firstly, there's the obvious application of making your CDs sound as loud as possible. This trend is starting to get a bit silly, and is beginning to prevent people from producing albums of good dynamic range. Nevertheless, if you master a rock or pop album with no compression at all, then the chances are it will sound pitifully quiet compared to the rest of the CDs in peoples record collections. It will probably sound like it has been severely under-recorded. Compression lets you get a much higher average level onto the CD without affecting the music too much.
首先，它能明显的让你的cd的声音达到最大化！这个趋势发展的很快并且让人们得到更好的动态。然而，如果你混缩摇滚和流行而没有用压缩的话，哪么与人们收藏的其他cd比起来你的声音听起来会小的可怜。它讲听起来达不到cd的标准。压缩在不影响音质的情况下使你的CD得到更高的平均电平(音量)。
A very practical application of compression is in live PA setups such as a rock concert. There is a danger that very, very loud sounds will blow up the loudspeakers as well as risking serious hearing damage for those near the stage. The solution is to put a compressor in place. This makes the loud
bits - and in this case only the very loudest of the loud bits - quieter, so as to avoid damage to equipment (and people). Such hard compression of only the very top peaks of music, is called "limiting", and is so useful that many compressors have a "limiting" function in addition to normal compresson, and so you will have to read the manual if you want to use this feature in addition to using the compressor for additional "normal" compression.
压缩在摇滚音乐会的PA设置上也是非常有用的。那是非常危险的，如果有一个非常非常大的声音会使你的喇叭爆掉音是甚至会影响到靠近舞台的人听力的。解决办法就是连接一个压缩机。他会使过大的声音变小，以免损坏设备和人。这样的硬压缩只作用于音乐的波峰，它被叫做限制，并且很多压缩机都有限制功能。如果你想使用这些功能，你就需要阅读手册。
Another example is that many vocalists have poor microphone technique. When they sing quietly, they sing *far* too quietly. When they sing loudly, they are *way* too loud. A compressor can reduce the "dynamic range" of the vocalist to a more managable level, which is why a compressor is sometimes called a "Dynamics Processor".
另一个例子是，许多歌手没有好的mic技术。当他们轻声唱时，电平太小了。让他们大声唱时，电平又太大了。压缩器能减少动态范围的差距以更好的去控制电平，这就是为什么压缩机有时被成为“动态处理器”。
Bass guitar is another instrument which can be hard to play consistently throughout a song. Any minor errors in the bass guitarists playing can leave "holes" in the song where the bass seems to disappear. A compressor can help keep the performance at a consistent level.
bass是另一个很难在一首歌里发挥一致的乐器。任何小的失误都会让低音消失并且留下一个坑。（坑爹的大粗弦）压缩机可以帮助我们得到一个一致的电平。
There are obviously many other instruments and sounds that could benefit from compression at some time.
这些是受益于压缩器比较明显的乐器和声音。
So, as you can see, there are many applications for a compressor. Basically, in any situation where sound volume levels are getting out of control, a compressor can be used to "tame" the extremes of volume and keep it within a reasonable range, entirely according to your needs. Obviously a very powerful tool.
你知道压缩器有很多的应用。基本上，在音量视屏失去控制的任何情况下，使用压缩都可以完全根据你的需要去“驯服”音量的差距并且使它在一个良好的范围内。很明显它是一个非常给力的工具。
Using one, on the other hand, is not so simple...
换个角度来讲，使用它又不是这么简单...
Why? Because a high-quality compressor, with "good" settings, is designed so that you can't "hear" it working as such - so it's difficult to tell when it is doing the right thing. There have been red-faced moments for many engineers - including myself - when they have spent many minutes carefully adjusting the settings, proudly declaring them "perfect", and then realise that the compressor is in fact, switched off. Very embarrasing.
（老妹儿！）这是为什么呢？因为一台高品质的压缩器，它“牛逼”的设置在于让你感觉不到它在工作。所以我们很难说清它什么时候工作的对的。它也让很多工程师蛋疼-包括我自己-当他们细致认真的调整压缩器是设置，并且觉得很完美时，事实上他们发现压缩器并没有工作，这让人很蛋疼！！
未完待续哦！
[ 本帖最后由 xin4545 于 11-3-13 16:11 编辑 ]
发个实时贴吧，给自己点压力，不然不知道翻了一点以后又猴年马月能把剩下的弄完，基于我的英文水平这文章稍微有点长对我来说！见谅见谅！
How To Use a Compressor 如何实用一个压缩
By Jezar at Dreampoint 这是在dreampoint的jezar写的（当然我不道他是谁）
People are frequently asking how to use a compressor. Here is a little article I have written to explain how you go about it.
人们经常去问如何使用一个压缩。这里我写了一片小的文章以助于你知道如何着手去使用它。
_____________________________________________________________________________________________________________________
Introduction 介绍
Most effects processors are fairly simple to use; plug in an equaliser (for example), twiddle the controls, and listen to the output, and you pretty much know what you're doing, and all you need is some experience behind you.
多数效果器是十分简单易用的；例如插入一个EQ，转动旋钮，并且去听，然后你就知道它起了什么作用，并且你会掌握到一些经验。
Compressors don't fall into this category. Plug them in and listen. What's it doing? Unless someone has told you, then you probably won't know.
压缩就不能和它们归到一类。插入压缩并且去听。它是怎么样工作的呢？除非有人告诉你，否则你可能不会清楚的。
Play with the controls. What do they do? Don't know either. What do the indicators mean? Difficult to tell. It's all a bit frustrating really...
播放并且调整控制钮。它们都是做什么的！我们也不清楚。这些指标都是什么意思？这很难说。这真的令人压抑！
Unfortunately you need to be *told* what a compressor does. Furthermore - even after you know what it does - someone needs to explain why the things that it does are considered useful. You won't figure it out for yourself.
不幸的是你必须能说出来压缩是做什么的。 此外-当你知道它是做什么的-人们需要去解释为什么这个东西是有用的。这些语言你自己去整理吧！
Normally - for non-technical people - the explanations of what a compressor does, are so bewildering that they end up even more confused than they were before: "xDBs in, equals yDBs out, over zDb threshold, according to this graph" etc. etc.
通常-对于非专业人员-对压缩的解释是，非常令人眼花缭乱的并且会使他们自己更加糊涂了。“xDB的输入=yDB的输出，超过zDB的阈值，根据它的图示”等等等等。
Fortunately, I have a friend who explains it very well, and very succinctly:
幸运的是，我一个朋友能把它十分简洁的解释给大家：
"What does a compressor do, Alan?"
alan，压缩是做什么用的？
"It makes the loud bits quieter."
它使过大的声音变小。
"I see... But surely if it just makes the loud bits quieter, can't you then turn EVERYTHING right up, and make get everything really, REALLY loud?"
哦...但肯定的是它让过大的声音变小，你能在不关闭任何东西的情况下使其他的声音变的很大很大？
"Exactly."对头
（上面一段对话，经过反复思考这样来翻译的。如果理解错了请大师指出。）
So there you go. Simple isn't it? A compressor just makes the loud bits quieter, allowing you to crank everything up to maximum volume.
But under what situations would this be useful?
这你就明白了，很简单是不是？压缩机只是能是过大的声音变小。让您能使任何声音达到最大！
但是在什么情况下它才能发挥作用呢？
Firstly, there's the obvious application of making your CDs sound as loud as possible. This trend is starting to get a bit silly, and is beginning to prevent people from producing albums of good dynamic range. Nevertheless, if you master a rock or pop album with no compression at all, then the chances are it will sound pitifully quiet compared to the rest of the CDs in peoples record collections. It will probably sound like it has been severely under-recorded. Compression lets you get a much higher average level onto the CD without affecting the music too much.
首先，它能明显的让你的cd的声音达到最大化！这个趋势发展的很快并且让人们得到更好的动态。然而，如果你混缩摇滚和流行而没有用压缩的话，哪么与人们收藏的其他cd比起来你的声音听起来会小的可怜。它讲听起来达不到cd的标准。压缩在不影响音质的情况下使你的CD得到更高的平均电平(音量)。
A very practical application of compression is in live PA setups such as a rock concert. There is a danger that very, very loud sounds will blow up the loudspeakers as well as risking serious hearing damage for those near the stage. The solution is to put a compressor in place. This makes the loud
bits - and in this case only the very loudest of the loud bits - quieter, so as to avoid damage to equipment (and people). Such hard compression of only the very top peaks of music, is called "limiting", and is so useful that many compressors have a "limiting" function in addition to normal compresson, and so you will have to read the manual if you want to use this feature in addition to using the compressor for additional "normal" compression.
压缩在摇滚音乐会的PA设置上也是非常有用的。那是非常危险的，如果有一个非常非常大的声音会使你的喇叭爆掉音是甚至会影响到靠近舞台的人听力的。解决办法就是连接一个压缩机。他会使过大的声音变小，以免损坏设备和人。这样的硬压缩只作用于音乐的波峰，它被叫做限制，并且很多压缩机都有限制功能。如果你想使用这些功能，你就需要阅读手册。
Another example is that many vocalists have poor microphone technique. When they sing quietly, they sing *far* too quietly. When they sing loudly, they are *way* too loud. A compressor can reduce the "dynamic range" of the vocalist to a more managable level, which is why a compressor is sometimes called a "Dynamics Processor".
另一个例子是，许多歌手没有好的mic技术。当他们轻声唱时，电平太小了。让他们大声唱时，电平又太大了。压缩器能减少动态范围的差距以更好的去控制电平，这就是为什么压缩机有时被成为“动态处理器”。
Bass guitar is another instrument which can be hard to play consistently throughout a song. Any minor errors in the bass guitarists playing can leave "holes" in the song where the bass seems to disappear. A compressor can help keep the performance at a consistent level.
bass是另一个很难在一首歌里发挥一致的乐器。任何小的失误都会让低音消失并且留下一个坑。（坑爹的大粗弦）压缩机可以帮助我们得到一个一致的电平。
There are obviously many other instruments and sounds that could benefit from compression at some time.
这些是受益于压缩器比较明显的乐器和声音。
So, as you can see, there are many applications for a compressor. Basically, in any situation where sound volume levels are getting out of control, a compressor can be used to "tame" the extremes of volume and keep it within a reasonable range, entirely according to your needs. Obviously a very powerful tool.
你知道压缩器有很多的应用。基本上，在音量视屏失去控制的任何情况下，使用压缩都可以完全根据你的需要去“驯服”音量的差距并且使它在一个良好的范围内。很明显它是一个非常给力的工具。
Using one, on the other hand, is not so simple...
换个角度来讲，使用它又不是这么简单...
Why? Because a high-quality compressor, with "good" settings, is designed so that you can't "hear" it working as such - so it's difficult to tell when it is doing the right thing. There have been red-faced moments for many engineers - including myself - when they have spent many minutes carefully adjusting the settings, proudly declaring them "perfect", and then realise that the compressor is in fact, switched off. Very embarrasing.
（老妹儿！）这是为什么呢？因为一台高品质的压缩器，它“牛逼”的设置在于让你感觉不到它在工作。所以我们很难说清它什么时候工作的对的。它也让很多工程师蛋疼-包括我自己-当他们细致认真的调整压缩器是设置，并且觉得很完美时，事实上他们发现压缩器并没有工作，这让人很蛋疼！！
未完待续哦！
[ 本帖最后由 xin4545 于 11-3-13 16:11 编辑 ]
观众反应
本帖最后由 xin4545 于 17-12-1 15:32 编辑
6年以后还有人 认真的读这个帖子 看的我有点感动 ~
6年以后还有人 认真的读这个帖子 看的我有点感动 ~
观众反应
There is also the added problem that the markings on the controls of many compressors are not very
accurate. They are only there for a "guide" - and to help you restore settings later, so simply looking
at the controls may not be a good indication of what the compressor is actually up to.
控制不好压缩器的参数也给我们带来了不少问题。参数设置对我来说只是一个向导，所以单纯的去看设置并不能知道压
缩机实际上在做什么！
Many compressors - including software plugins - don't even have meters on them, and needless to say,
this makes it incredibly difficult to know if they are operating correctly.
许多压缩-包括许多软件插件压缩-上面没有METER表，这就让我们很难知道压缩在做神马动作！
Getting Started 直译为开始
Because compressors have many different applications, the way that you use a compressor depends very
much on what you are trying to achieve with it. In this article, we will look at four main applications
of a compressor which are all quite different. Most applications are just variations on these four
different uses, so they should serve as a good starting point for most of the things you will want to
do.
因为压缩有很多种不同的应用，我们如何使用压缩在于我们想要达到一个神马样的目的。在这一节中，我们将了解到4
种完全不同用法的压缩。大多数的用法都是这4种用法的变化，所以这些会给你一个很好的方向着手于使用它。
The four main applications that we will look at, are:
4个主要的用法是：
1. Hard limiting - to prevent speakers or digital recordings from overload
硬限制-防止喇叭和数字录音过载（冲红……）
2. Compressing an instrument or vocal
压缩乐器或者人声（上面提到过在bass和人声中的处理）
3. Adding "punch" to bass drums and bass guitars
给低音鼓（这样翻译不会误导吧！）和bass增加冲击力
4. Compressing a final mix
对mix整体压缩
In addition, we will look at a specialised fifth example:
此外，列举5个例子：
1. De-essing a sibilant vocal
De—essing（这个我不道翻成啥）一个“怒吼”的人声
But before we get into these, let's look at the theory behind compressors and what the controls actually
do. This is a little difficult to understand at first, so don't worry if you haven't "got it" the first
time around. It will make more sense after you've experimented a bit with a real compressor in front of
you. Note that not all compressors have all of these controls, and some compressors are very
"minimalist" indeed. If you don't have all these controls, then look at the compressors instruction
manual to see what preset values the "missing" controls are set to.
在我们做这个之前，让我来了解一下压缩器的原理和它的参数。开始理解这个是有点难的，（搞音乐的都挺难的）所以
不用担心“第一次”谁都很弱的。尝试用一个真正的压缩器会给你带来不少经验。不是所有的压缩器都有很多参数，事
实上有一些压缩器是很简约（袖珍）的。如果你不能掌握这些参数，那么你就得看看压缩器的说明书查缺补漏了！
What The Controls Do
参数详解
Firstly, in order to compress the volume range of something into a more "workable" volume range, you
need to have in your mind an idea of what the lowest "normal" volume level is, and what the "loudest"
volume level is, and have a mental idea of how "loud" you are prepared to let the loudest get.
首先，为了让你压缩的声音达到一个OK的音量范围，你需要了解这里最低的正常的音量和最高的音量是什么样的，并且
你要有个大体思路如何把这个声音达到最大化。
The "Threshold" control, sets the volume level at which the compressor starts to do its work. Below this
volume level, the compressor will literally do absolutely nothing. So you basically set the "Threshold"
control to the lowest volume level at which you want the compressor to start working.
阈值，设定压缩器开始工作的起始音量。低于这个音量，压缩器不会工作（不工作也就是没用的）。所以你要把阈值设
置为你要压缩器开始工作的最低音量上。
We will discuss in the examples how you actually make this setting. Naturally, if the "Threshold"
control is set to maximum, the compressor won't ever do anything at all because the level of the music
is usually way below this level, and therefore remains totally unnaffected.
我们将讨论阈值在实际应用中的设置。很显然，如果你把阈值设置成最高，而音乐的音量始终低于这个阈值，压缩器是
完全不会工作的。
The "Ratio" control sets how "powerful" the compressor is. At its lowest setting (1:1), the compressor
literally does nothing, and is effectively "switched off". On the other hand, at its highest setting
(normally marked 20:1 or even infinity-to-one), the compressor is 100% powerful - so powerful in fact
that it TOTALLY PREVENTS the volume level getting even the *slightest* bit louder than the threshold
level! Hard to believe? Try it and see. Set the compressor ratio at maximum, play some sound through the
compressor and start turning the threshold level down until you hear the effect. If you are playing solo
drums through the compressor the effect is quite astounding.
压缩比设置压缩机用多大力度压。最低设置是1：1，这样压缩器是不工作的，和关了是没啥区别的（1：1的设置可能是
为包络线设置的，个人理解）。反过来呢，如果你把比值（多数是20：1或者无限大：1），这压缩力度就100%给力了-
这样压缩器就完全的阻止了超过阈值的声音！咋的还不信？自己试试且，去！把压缩比调到最大，然后一直降低它的阈
值，知道你听到效果了。如果你听的是鼓solo那这个效果就很明显了！
The only problem with doing this is that (naturally) the total volume gets so much quieter, because you
are "constraining" it (compressing it) - so very much. That's why compressors are almost always equipped
with a powerful gain control marked "Output" or "Gain make-up" in order to boost the volume level back
up to a reasonable level after it has been "squashed" down.
问题是你压缩（限制）的音量会让声音扁扁的。这就是多数压缩器带有output（输出增益）或者“make-up（增益）”
为了原因，是可以把压扁的声音的音量合理的提升回去。
Every time you turn the "Threshold" down, you are "constraining" the sound more and more, and making it
quieter, and so you almost always need to use the "Output" control to boost the level back up again.
This is a bit irritating, so several compressors have a switch - normally marked something like "Auto
gain make-up" or similar - to automatically boost the output as you turn the "Threshold" down. It's not
on every compressor, but it is a nice little feature to have, and saves you fiddling about with the
"Output" control all the time.
每当你把阈值调低，声音受到越来越多的制约，就会变的越来越小，然后你几乎总是需要去调整增益使音量放大，这有
点费事（麻烦，无聊），所以许多压缩器有一个开关-一般叫做auto gain make-up（自动增益）或者类似的名称-能够
根据你降低的阈值补偿它的增益。不是每个压缩器都有，但是它是个不错的小设计，帮你节省了去旋转增益开关的时间
。
So far so good. "Threshold", "Ratio", and "Output" are the main controls on an compressor, and
"theoretically" give you everything you need.
目前为止都还好，阈值 压缩比 输出增益 这些是压缩器的主要设置参数，并且这些就能满足你的各种需求了！（当然不包括sm）。
So what are the other controls for?
但是其他的参数是干神马用的呢？（且听下回分解吧！）
accurate. They are only there for a "guide" - and to help you restore settings later, so simply looking
at the controls may not be a good indication of what the compressor is actually up to.
控制不好压缩器的参数也给我们带来了不少问题。参数设置对我来说只是一个向导，所以单纯的去看设置并不能知道压
缩机实际上在做什么！
Many compressors - including software plugins - don't even have meters on them, and needless to say,
this makes it incredibly difficult to know if they are operating correctly.
许多压缩-包括许多软件插件压缩-上面没有METER表，这就让我们很难知道压缩在做神马动作！
Getting Started 直译为开始
Because compressors have many different applications, the way that you use a compressor depends very
much on what you are trying to achieve with it. In this article, we will look at four main applications
of a compressor which are all quite different. Most applications are just variations on these four
different uses, so they should serve as a good starting point for most of the things you will want to
do.
因为压缩有很多种不同的应用，我们如何使用压缩在于我们想要达到一个神马样的目的。在这一节中，我们将了解到4
种完全不同用法的压缩。大多数的用法都是这4种用法的变化，所以这些会给你一个很好的方向着手于使用它。
The four main applications that we will look at, are:
4个主要的用法是：
1. Hard limiting - to prevent speakers or digital recordings from overload
硬限制-防止喇叭和数字录音过载（冲红……）
2. Compressing an instrument or vocal
压缩乐器或者人声（上面提到过在bass和人声中的处理）
3. Adding "punch" to bass drums and bass guitars
给低音鼓（这样翻译不会误导吧！）和bass增加冲击力
4. Compressing a final mix
对mix整体压缩
In addition, we will look at a specialised fifth example:
此外，列举5个例子：
1. De-essing a sibilant vocal
De—essing（这个我不道翻成啥）一个“怒吼”的人声
But before we get into these, let's look at the theory behind compressors and what the controls actually
do. This is a little difficult to understand at first, so don't worry if you haven't "got it" the first
time around. It will make more sense after you've experimented a bit with a real compressor in front of
you. Note that not all compressors have all of these controls, and some compressors are very
"minimalist" indeed. If you don't have all these controls, then look at the compressors instruction
manual to see what preset values the "missing" controls are set to.
在我们做这个之前，让我来了解一下压缩器的原理和它的参数。开始理解这个是有点难的，（搞音乐的都挺难的）所以
不用担心“第一次”谁都很弱的。尝试用一个真正的压缩器会给你带来不少经验。不是所有的压缩器都有很多参数，事
实上有一些压缩器是很简约（袖珍）的。如果你不能掌握这些参数，那么你就得看看压缩器的说明书查缺补漏了！
What The Controls Do
参数详解
Firstly, in order to compress the volume range of something into a more "workable" volume range, you
need to have in your mind an idea of what the lowest "normal" volume level is, and what the "loudest"
volume level is, and have a mental idea of how "loud" you are prepared to let the loudest get.
首先，为了让你压缩的声音达到一个OK的音量范围，你需要了解这里最低的正常的音量和最高的音量是什么样的，并且
你要有个大体思路如何把这个声音达到最大化。
The "Threshold" control, sets the volume level at which the compressor starts to do its work. Below this
volume level, the compressor will literally do absolutely nothing. So you basically set the "Threshold"
control to the lowest volume level at which you want the compressor to start working.
阈值，设定压缩器开始工作的起始音量。低于这个音量，压缩器不会工作（不工作也就是没用的）。所以你要把阈值设
置为你要压缩器开始工作的最低音量上。
We will discuss in the examples how you actually make this setting. Naturally, if the "Threshold"
control is set to maximum, the compressor won't ever do anything at all because the level of the music
is usually way below this level, and therefore remains totally unnaffected.
我们将讨论阈值在实际应用中的设置。很显然，如果你把阈值设置成最高，而音乐的音量始终低于这个阈值，压缩器是
完全不会工作的。
The "Ratio" control sets how "powerful" the compressor is. At its lowest setting (1:1), the compressor
literally does nothing, and is effectively "switched off". On the other hand, at its highest setting
(normally marked 20:1 or even infinity-to-one), the compressor is 100% powerful - so powerful in fact
that it TOTALLY PREVENTS the volume level getting even the *slightest* bit louder than the threshold
level! Hard to believe? Try it and see. Set the compressor ratio at maximum, play some sound through the
compressor and start turning the threshold level down until you hear the effect. If you are playing solo
drums through the compressor the effect is quite astounding.
压缩比设置压缩机用多大力度压。最低设置是1：1，这样压缩器是不工作的，和关了是没啥区别的（1：1的设置可能是
为包络线设置的，个人理解）。反过来呢，如果你把比值（多数是20：1或者无限大：1），这压缩力度就100%给力了-
这样压缩器就完全的阻止了超过阈值的声音！咋的还不信？自己试试且，去！把压缩比调到最大，然后一直降低它的阈
值，知道你听到效果了。如果你听的是鼓solo那这个效果就很明显了！
The only problem with doing this is that (naturally) the total volume gets so much quieter, because you
are "constraining" it (compressing it) - so very much. That's why compressors are almost always equipped
with a powerful gain control marked "Output" or "Gain make-up" in order to boost the volume level back
up to a reasonable level after it has been "squashed" down.
问题是你压缩（限制）的音量会让声音扁扁的。这就是多数压缩器带有output（输出增益）或者“make-up（增益）”
为了原因，是可以把压扁的声音的音量合理的提升回去。
Every time you turn the "Threshold" down, you are "constraining" the sound more and more, and making it
quieter, and so you almost always need to use the "Output" control to boost the level back up again.
This is a bit irritating, so several compressors have a switch - normally marked something like "Auto
gain make-up" or similar - to automatically boost the output as you turn the "Threshold" down. It's not
on every compressor, but it is a nice little feature to have, and saves you fiddling about with the
"Output" control all the time.
每当你把阈值调低，声音受到越来越多的制约，就会变的越来越小，然后你几乎总是需要去调整增益使音量放大，这有
点费事（麻烦，无聊），所以许多压缩器有一个开关-一般叫做auto gain make-up（自动增益）或者类似的名称-能够
根据你降低的阈值补偿它的增益。不是每个压缩器都有，但是它是个不错的小设计，帮你节省了去旋转增益开关的时间
。
So far so good. "Threshold", "Ratio", and "Output" are the main controls on an compressor, and
"theoretically" give you everything you need.
目前为止都还好，阈值 压缩比 输出增益 这些是压缩器的主要设置参数，并且这些就能满足你的各种需求了！（当然不包括sm）。
So what are the other controls for?
但是其他的参数是干神马用的呢？（且听下回分解吧！）
Well, sometimes - in the real world - things aren't quite so simple. For
example, you can have a vocal that is sometimes too quiet, sometimes too
loud, and occasionally, way, way, way, way too loud. Wouldn't it be nice
if the compressor somehow had an automatic "Ratio" control?
嗯，在实际操作中事情并不是这么简单。例如，有时人声很小，有时很大，甚至非常
大。如果压缩器带一个自动的压缩比设置岂不是更好？
That's why many compressors have a "soft-knee" or "over-easy" control.
With the "soft-knee" control turned on, the compressor doesn't simply and
immediately "kick-in" at the level set by the "Threshold" control - it
merely "starts" to work. As the level gets louder and louder, it reaches a
level where it is finally reaching the "power" of compression that is set
by the "Ratio" control.
这就是为什么许多压缩器都设置了“soft-knee”或者“over-easy”。当把soft-
knee打开，电平达到阈值时的压缩器不会立即开始压缩-这只是“单纯”的启动。当
电平越来越大，达到阈值的压缩器会把电平渐渐的压缩到压缩比设定的电平。
So if you wanted to control a vocal that was wildy out-of-control in terms
of levels, you could switch on the "soft-knee" control, set a "Ratio" much
higher than normal, and set the "Threshold" control to the quietest
"acceptable" vocal sound level. When the vocal exceeds this level with the
"Soft-knee" control switched on, the compressor starts to compress at
fairly moderate levels. If however, the vocal gets wildly out of control
and attempts to get *seriously* loud, then the compressor starts working
much harder to pull it back to sensible levels. It's a bit like having an
automatic "Ratio" control, with the maximum compression "power" controlled
by the setting of the "Ratio" knob on the front panel.
如果你想处理一个超出电平范围控制的人声，你需要把soft-knee打开，设置比平时
大一些的压缩比，并且把 阈值调整为你能接受的最低的电平位置。当soft-knee被打
开并且人声超过阈值，压缩器会进行适度的压缩 。然而，如果人声大到失去控制，
那么压缩器就会进行超给力的压缩，直到人声听起来舒服。这有点像自动压缩比的设
置，最大的压缩 力度是由压缩比来控制的。
Then there are the "Attack" and "Release" controls. So what do these do?
现在还有启动和释放的设置，它们有是做啥子的呢？
If you've followed this explanation so far, you'll realise that a
compressor is a bit like having a smart guy hanging onto a volume control
and adjusting it by hand according to the music. But how quickly can this
"person" respond? Well, the "Attack" control, adjusts how quickly this
"person" is, at turning down the volume when things get too loud. The
"Release" control is how quickly that same "person" can
turn the volume back up again when things have calmed down.
如果你一直读到这里，你会发现压缩器就像是在一个自动控制电平的聪明的"伙计"在
你调整音乐的过程中。但是这个聪明的伙计反应的速度有多快呢？对了，起始设置，
就是控制这个伙计的反应速度，去对过大的声音进行压缩。释放参数就是控制这个伙
计多久被压缩的电平还原到原始的电平上。
But why would you want to adjust this? Surely you would want it to be
instantaneous? (after all, it *is* supposed to by an automatic system...)
但是，为什么要调整呢？你一定希望它能瞬间调整好？ （毕竟，它是由自动系统
来...）
It turns out that in practice, in many situations, you don't want the
volume to be "instantly" cranked down the moment things get too loud.
Under certain conditions you can really *hear* the volume being pulled
down, and this is very undesireable. Instead, it *sometimes*
sounds better if the "person" is a bit sloppy and slow at yanking the
volume down. The "Attack" control affects this sloppyness.
在实践中结果表明，在许多情况下，你不想让声音在瞬间就变的太大。在一定条件下
你真的听到声音被压小了，并且这是非常不自然的。相反，有时它会听起来很舒服就
想人为的让音量慢慢的，柔滑的降低。而attack设置就是决定这个的！
What about the "Release" control? Well, in a similar way, if the
compressor is too fast at turning the volume control back up again, you
can hear it working (the audible effect is known as "pumping"). It just
sounds "artificial". So the "Release" control adjusts the speed at which
the compressor "recovers" after yanking down the volume. The exact speed
which sounds "correct" depends on the music, so that's why you can adjust
it by hand. The examples following in a moment give somesuggested
settings, but by all means experiment in order to find the most "natural"
sounding setting.
那么“释放”参数呢？类似的方式，如果压缩器来回调节音量太快，你可以听到它的
工作的声音（你听见的这种声音就像用泵抽水一样）。听起来就像是人为操作。因此
，“释放”参数调整压缩器对突然降低的音量进行恢复的速度。这种速度决定的声音
准确与否要由音乐来决定，这就是为什么你可以手动调整。在接下来的例子中提供一
些暗藏的设置，当然可以通过实验来找到最“自然”的声音设置。
哈哈今天的翻译里面有我媳妇的功劳！我得感激 感谢！
example, you can have a vocal that is sometimes too quiet, sometimes too
loud, and occasionally, way, way, way, way too loud. Wouldn't it be nice
if the compressor somehow had an automatic "Ratio" control?
嗯，在实际操作中事情并不是这么简单。例如，有时人声很小，有时很大，甚至非常
大。如果压缩器带一个自动的压缩比设置岂不是更好？
That's why many compressors have a "soft-knee" or "over-easy" control.
With the "soft-knee" control turned on, the compressor doesn't simply and
immediately "kick-in" at the level set by the "Threshold" control - it
merely "starts" to work. As the level gets louder and louder, it reaches a
level where it is finally reaching the "power" of compression that is set
by the "Ratio" control.
这就是为什么许多压缩器都设置了“soft-knee”或者“over-easy”。当把soft-
knee打开，电平达到阈值时的压缩器不会立即开始压缩-这只是“单纯”的启动。当
电平越来越大，达到阈值的压缩器会把电平渐渐的压缩到压缩比设定的电平。
So if you wanted to control a vocal that was wildy out-of-control in terms
of levels, you could switch on the "soft-knee" control, set a "Ratio" much
higher than normal, and set the "Threshold" control to the quietest
"acceptable" vocal sound level. When the vocal exceeds this level with the
"Soft-knee" control switched on, the compressor starts to compress at
fairly moderate levels. If however, the vocal gets wildly out of control
and attempts to get *seriously* loud, then the compressor starts working
much harder to pull it back to sensible levels. It's a bit like having an
automatic "Ratio" control, with the maximum compression "power" controlled
by the setting of the "Ratio" knob on the front panel.
如果你想处理一个超出电平范围控制的人声，你需要把soft-knee打开，设置比平时
大一些的压缩比，并且把 阈值调整为你能接受的最低的电平位置。当soft-knee被打
开并且人声超过阈值，压缩器会进行适度的压缩 。然而，如果人声大到失去控制，
那么压缩器就会进行超给力的压缩，直到人声听起来舒服。这有点像自动压缩比的设
置，最大的压缩 力度是由压缩比来控制的。
Then there are the "Attack" and "Release" controls. So what do these do?
现在还有启动和释放的设置，它们有是做啥子的呢？
If you've followed this explanation so far, you'll realise that a
compressor is a bit like having a smart guy hanging onto a volume control
and adjusting it by hand according to the music. But how quickly can this
"person" respond? Well, the "Attack" control, adjusts how quickly this
"person" is, at turning down the volume when things get too loud. The
"Release" control is how quickly that same "person" can
turn the volume back up again when things have calmed down.
如果你一直读到这里，你会发现压缩器就像是在一个自动控制电平的聪明的"伙计"在
你调整音乐的过程中。但是这个聪明的伙计反应的速度有多快呢？对了，起始设置，
就是控制这个伙计的反应速度，去对过大的声音进行压缩。释放参数就是控制这个伙
计多久被压缩的电平还原到原始的电平上。
But why would you want to adjust this? Surely you would want it to be
instantaneous? (after all, it *is* supposed to by an automatic system...)
但是，为什么要调整呢？你一定希望它能瞬间调整好？ （毕竟，它是由自动系统
来...）
It turns out that in practice, in many situations, you don't want the
volume to be "instantly" cranked down the moment things get too loud.
Under certain conditions you can really *hear* the volume being pulled
down, and this is very undesireable. Instead, it *sometimes*
sounds better if the "person" is a bit sloppy and slow at yanking the
volume down. The "Attack" control affects this sloppyness.
在实践中结果表明，在许多情况下，你不想让声音在瞬间就变的太大。在一定条件下
你真的听到声音被压小了，并且这是非常不自然的。相反，有时它会听起来很舒服就
想人为的让音量慢慢的，柔滑的降低。而attack设置就是决定这个的！
What about the "Release" control? Well, in a similar way, if the
compressor is too fast at turning the volume control back up again, you
can hear it working (the audible effect is known as "pumping"). It just
sounds "artificial". So the "Release" control adjusts the speed at which
the compressor "recovers" after yanking down the volume. The exact speed
which sounds "correct" depends on the music, so that's why you can adjust
it by hand. The examples following in a moment give somesuggested
settings, but by all means experiment in order to find the most "natural"
sounding setting.
那么“释放”参数呢？类似的方式，如果压缩器来回调节音量太快，你可以听到它的
工作的声音（你听见的这种声音就像用泵抽水一样）。听起来就像是人为操作。因此
，“释放”参数调整压缩器对突然降低的音量进行恢复的速度。这种速度决定的声音
准确与否要由音乐来决定，这就是为什么你可以手动调整。在接下来的例子中提供一
些暗藏的设置，当然可以通过实验来找到最“自然”的声音设置。
哈哈今天的翻译里面有我媳妇的功劳！我得感激 感谢！