Sawstudio

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Air - causes sound to lose energy and tends to swallow up higher freq.'s
空气－导致声音能量的损失以及高频损失的原因。

Humidity - has an effect on the freq.'s as well.
空气湿度－同样对频率有效果影响。

Temperature - will effect the sound by breaking the "beam" of the wave as it moves between different temperatures. An open-air concert will have different sound during the day then at night.
温度－在不同的温度下，都会对声音传播有不同的阻挡效果。一个露天演唱会在白天和晚上，声音上都有不同。

Reflections - sound waves are reflected from objects and it changes it's angle. Important - the wave doesn't stop after one hit but it continues on to hit more surfaces until it losses so much energy that we can't hear it any more. We hear the different reflections because it comes to our ears at different times and at different levels. The more reflections, the less powerful we hear the sound. It losses energy due to...
反射－声波会被物体反射已经改变他的角度。重要的一点：声波不会在撞击物体以后就停止传播，但是在继续撞击多次反射面（平面）以后，声波会消耗大量的能量，直达我们无法听到如何的声音位置。我们能听到不同的反射声，是因为声音到达我们耳朵的时间不同以及声音大小不同。越多次的反射，我们听到的声音就越小。

Absorption - as the wave hit's a surface, it is reflected. But, part of it is absorbed in the surface, thus, the reflected wave losses some of its energy. The amount absorbed is dependent on the material of the surface it hits. Of course it will also effect the freq.'s, and the reflected sound we'll be different then before it hit the surface, although some material (like wood) have less of a impact on the sound. In a concert hall, the audience will absorb some of the reflections as well as the chairs (with padding? without?).
吸收－如果声音撞击到一个平面，声音就是被反射。但是一部分的声音会被反射面吸收，因此被反射的声音会失去一部分的能量。反射面的吸收量是由声波撞击反射面的材质所决定。当然反射也是会影响到声音的频率，声音被反射的前后对照，是有不同的，尽管一些材料（例如木材）对声音的影响很小。在一个演唱大厅里面，听众和椅子都能吸收一部分的反射声。

Reverberation - The size of the hall and it's absorption conditions will have an impact on the volume of the sound (in different halls the same guitar can sound loud or soft) and it's reverb quality.
回响－大堂的大小，已经大堂的吸收环境（限制）会对声音的大小有影响（在不同的大堂里面，同样的吉他听起来会有不同，可能大声可能小声），以及他的混响质量。

When the direct source stops singing/playing, the waves continue to reflect off of objects, creating a mesh of echoes (losing energy at the same time) until it dies away. This is known as reverberation. The time it takes for the reverberation to die away is called reverberation time, or decay time.
当直达声源停止播放/演唱，声波还在空间里面进行反射，建立出一个回音网（与此能量也正在消耗）直到声音消失为止。这个现象被成为回响。回响从出现到消失的时间被成为的decay。

The more absorption in a hall - the shorter the decay time.
（大厅吸收越厉害，decay time 越少）

The bigger the hall - the longer the decay time (it takes more time between reflections as they hit each object).
（大厅越大，decay time 就越长，因为物体之间的反射时间变得更长了）

If the decay time is short - the sound will be drier.
（如果decay time 短，那么声音就会变得干燥）

If the decay time is longer - our sound will seem to sustain. Sort of like using the sustain pedal on a piano, and it can make a small voice sound bigger.Go sing in your shower. Not much absorption in there! Very hard surfaces, thus, longer decay time.
You will not hear the reverb immediately. It has a build up process. At first you will hear the direct sound then early reflections then later reflections, as little by little the multiple reflections will wash together until they die away.
（如果decay time 比较长－我们得声音就会维持一个时间。例如钢琴运用得延音踏板，而且在你得演唱中还能使得音量变大。如果那里的的吸收率很小，非常硬的表面（反射面），那么decay time 会变大。在产生混响的时候你不会立刻听到，因为他有一个变大的过程，在多次反射后，声音会越变越小，知道声音完全消失为止）

Diffraction - not only will a wave of sound reflect or absorb but it can go over the obstacle. That is why we can hear somebody even with a baffle between.

衍射－声音虽然会被反射已经吸收，但是他能绕过阻挡物。这个就是为什么能听到某人在阻挡物后面说哈的声音了。

Shape - the shape of a room can have a big effect on the sound. For example, a room with an ellipse shape will cause the sound to focus more at certain points in the room.
I hope you followed until now. If not, don't despair because now we will discuss the reverb unit itself, and you can still pick up some helpful info.
形状－房间的形状会对声音有一个非常大的影响。例如，一个椭圆型的房间会导致声音大部分聚焦在房间的某一点（或者某几点）。我希望你的情况一直都是这样，如果不是，也不要失望，我们将会在混响单元一张讨论到他，你仍然能在其中得到帮助。

The Reverb Unit（混响单元）
A reverb unit simulates the sound of different acoustical areas. This area can be as small as a closet or as big as a gym, or even bigger. Digital Reverb can even create spaces that don't exist in reality.
混响单元是模拟不同声学空间中的声音。能模拟的空间可以是小的封闭空间，大的体操馆，或者其他更大的。数字混响还能创造不真实的空间。

When you combine the direct sound of your instrument with the reflections in the room, decay time, etc., you hear the sonic character of that specific environment. How does the reverb do this? In simple terms, it reproduces Delays and Echoes similar to the reflections of a acoustic space and then combines them and Kazam!, you hear a natural reverb in a room.
当你吧乐器的直达声以及房间的反射声、decay time 等等联系起来以后。你会在特定的环境听到声音的特征。混响是如何工作的？在simple terms(简单术语)，他复制了延迟和回音去模拟声学空间的反射以及把他们联合起来and Kazam（kazam不知道是什么意思，所以只有原文照抄了）。那么你就在房间里面听到一个自然混响了。

On each reverb the parameters are set under an algorithm. Here is where you can edit the parameters. Only one problem here, some reverb units works a bit differently. They give their parameters different names and they react differently then you might expect compared to another unit you might know. Every time I come across a unit I don't know well, I have to sit and tweak the parameters quite a bit to understand what effect I'm going to get from this specific parameter.
每混响的参数都是设置在运算法则之下（就是算法啦）。这就是你为什么能编辑参数的原因了。但是有一个问题，一些混响单元的工作情况会有一点不同。给予他们的参数名称会有不同以及作用上的不同，在与其他不同单位后你可能知道他们之间的不同。

Also, not all Reverbs are created equally. You get what you pay for. You can find nice budget compressors, decent gates or efficient pre-amplifiers. But Reverbs! You got to pay big bucks for a high quality reverb unit, and you will hear the difference!
当然，不是所有混响都被设计成相同的。你能用什么混响就要看你付出的金钱了（意思就是这样啦）。你可以用预算以内的压缩器，能用过得去的门限或者能干的前置放大，但是你必须把大把的金钱投资到一个高质量的混响单元上，那么你就能听到他们之间的不同了。


What are the common parameters on Reverbs?.（混响上的一般参数有那些？）

Reverb types - What type of reverb it is. There are Halls, Rooms, Chambers, Plates, etc...（混响类型，这里不用说了，接触过WAVES的人都知道）

Size - What the physical size of the space is. This can range from small through large. Diffusion - How far apart are the reflections from each other.（空间的物理大小，参考TC混响。扩散（密度，diffusion）－反射声之间间隔的距离）。

Pre-delay - Sets a time delay between the direct signal and the start of the reverb
（预延迟－设置一个计算直达信号和混响开始的延迟时间）

Decay time - The time it takes for the reverb to die away after the direct signal stops.
（decay time－从直达声停止开始，到混响时间消失的时间）

Mix (Wet/Dry) - Sets the balance between the dry signal and the effect signal. When it's totally wet, the dry signal is shut off.
（混合，这里就是干湿比啦～用过WAVES RVERB的都应该知道）。

Early reflection level - Controls the level of the first reflection you hear usually within 50-80 milliseconds.
（早反射声－控制最先被你听见的反射声音，经常在50－80MS之间）

Hi Freq. Roll Off - Helps control the decay of high Freq.'s (as it's found in natural reverb).
（高频滚降）－帮助控制的decay的高频（用来模拟自然混响）。

You can find even more parameters in some reverbs (in the case of a Lexicon PCM 90, you can have up to 90 parameter controls for certain algorithms!), or different names for the same parameters. But if you understand the concepts involved you should have little trouble figuring out parameters from unit to unit. The manual is helpful too.
We could sum up the order of how the parameters effect the sound in this way:
你可以找到某些混响上找到更多的参数控制（例如LEXICON PCM 90,你可以利用中心算法设置多大90个参数控制），或者相同参数不同的名字。如果你明白了相关的概念，那么你就能很容易的判断出不同混响的参数功能了。当然数名书也是十分有用的。我们能把所有影响声音的参数数量综合为以下几个：

·        Direct Sound （直达声音）
·        Possible pre-delay time （可能有预延迟，某些混响是没有的，特别是免费的插件）
·        Early reflections （早反射，WAVES/WIZOO的混响都有早反射，WAVE ARTS 好像也有）
·        Late reflections （后反射，这个WAVES以及WIZOO就绝对的有了，其他不清楚）
·        Decay time （这个在H2O版本里面就WAVES/WIZOO和TC有了，我说的是H2O版本）


Some Audio Examples of Reverb
In order for you to understand these parameters, Audio examples will be used to illustrate different situations in which the various parameters can be put to good use.
为了让你理解这些参数，那些声音例子能帮助你了解不同情况下用好这些不同的参数。

Hall reverbs - This is a simulation of a concert hall. It is one of the smoother and richer sounding reverbs. It usually has a high amount of density.
大堂混响－这是模仿一个演奏厅。是一个听起来顺滑以及具有丰富回响声音混响。通常拥有比较大的密度。

Room reverbs - Typically smaller then a Hall but can vary from a very small room to a big room. It can also range from bathrooms (hard surface) to soft sounding rooms (soft surface). A room will provide mostly ambience and will usually have a small decay time.
房间混响—特点是比大厅小，但是调节从一个很小的房间到一个非常的房子。也能设置成从浴室（大反射）到声音听起来比较小的房子（小反射）。房间能提供大部分的气氛以及往往让混响拥有一个小的decay time。

Plate reverbs - It simulates a large sheet of metal in a box with a speaker attached to the plate to make it vibrate and mics to pick up the sound. This kind of reverb is very clean and bright sounding.
金属板混响－他是模拟在一个空间里面的一大块薄金属，让喇叭付在金属板上，使得金属板震动，一定把声音用MIC录制下来。这个类型的混响十分清晰，听起来十分明亮。

顶一下！支持！！

Let's Get Practical Here!(让我们实践一下吧)
What's important here is not how I would use reverb (this is a subjective matter and what works for me may not work for you) but to understand the outcome of adjusting any parameter. If you can conclude what will happen as you change each parameter, you will be well on your way to use reverb effectively!
应该如何用混响，在这里不是最重要的（这是一个主观问题，可能适合你，但不适合我），但是要了解每一个参数在调整以后结果是什么。如果你能判断出你所动的参数会发生什么事情，那么你将会很有效地运用混响。

So, how do we use the various parameters?Lets start with Rooms.
那么，我们应该如何运用这些不同的参数呢？让我们从房间（混响）开始。

The type of room you use is a personal choice, but certain music styles might just sound more natural in a certain type of room. Examples of this could be Classical music in a hall, or Jazz in a small to medium room.
房间的类型的运用是一个个人风格，但某几种音乐风格就必须要在某集中房间类型中才能更自然。例如交响乐要在大厅里面演奏，JAZZ要在小房子或者中等房子里面一样。

Here is some very General uses for room types that I like (remember, each to his own).
这里有一些我喜欢的房间类型的基本用法（记住，每个人都有他们自己的用法，不要一概而论）

Rooms - since they have a short decay time this can help your mix sound clearer. Try to use them on pop mixes and some Hip-hop productions.
A tight room can be great for a piano (see also plate on piano).
Try to use bright rooms with short decay for things like - pop brass -blues/rhythm guitar - Hip-hop drums - Backing vocals.
Try to use with medium decay, things like drums - pop piano - rhythm E. guitars - bass - vocals - percussion - acoustic guitar - string quartet.
Try to use with longer decays, things like - solo instruments - rock drums - Ballad percussion -synth pads - Short cymbals - solo acoustic guitar – strings

房间混响——因为房间具有比较短的decay time，这个特点能帮助的MIX变得干净。尝试把他们运用于流行音乐的MIX，以及一些HIP-HOP的制作中。
一个密封的房间，能让钢琴的混响非常优秀。（钢板混响也有同样的效果）。
明亮的房间混响风格，拥有短decay time，尝试把他用在BLUES 的 POP BRASS(应该是他们的铜管乐器吧)/节奏吉他、HIP-HOP的鼓声、背景人声。
尝试把一个中等decay time 的房间混响运用于 鼓声、流行钢琴、节奏电子吉他、贝司、人声、打击乐、声学吉他、弦乐四重奏。
尝试把比较长的decay time 运用在 乐器独奏、ROCK DURMS、民谣打击乐、合成衬底、Short cymbal（我的中文打字法无法输出这个中文解析，郁闷）、声学吉他独奏、弦乐。

Halls - The use of a hall can push your sound back in the mix and make your drums sound big, but can also make your mix muddy due to it's larger response to lower freq.'s and longer decay time. So on a Ballad you might prefer a hall because it fills the sound well. On a solo piano in a Ballad this can sound great. But on a fast tempo song you have to use so much effect to hear it and this would result in a muddy mix.
Another example would be strings - A hall can smooth the harshness of a synth pad and make any sample sound more realistic due to the full sound a hall gives, especially with a long decay.
Careful using this type with different sounds that are not of the same character.
Try to use it on orchestras - choir's - strings - rock drums - Big bands - acoustic instruments - ethnic style music.
大厅混响——运用大厅风格，能让你的声音在MIX中的混响扩大到后面（我想是这样解释吧），而且还能提高你的鼓声音量，但是也能让你的混响变得溷浊，因为大厅混响对低频反应很大，以及有很长的DECAY TIME。所以你可以把大厅混响用在民谣上，因为这个适合民谣的声音已经充满了感情（非常饱满）。而民谣中的独奏钢琴在大厅混响中会有很好声音。但一个节奏快的歌曲用了很多的效果，那么你的MIX就会变得溷浊。
而另外一个例子是用于弦乐——大堂能让粗糙的synth pad（这个真的不会翻译）变得顺滑溜，以及让任何简单的变得栩栩如生，这是因为大堂能让声音变大饱满（扩散到开来），实际上就是一个长decay。
小心得运用这个类型得混响，不同的音乐特制（特性，特点）听起来都会有不同的感觉。尝试把这个类型的混响用于这里：管弦乐－合唱（唱诗班）－strings（这里应该翻译成弦乐吧）－ROCK DURMS－big bands（很大的乐队？HOHO）－声学乐器－ethnic style music（异族风格的音乐）

Plates - No two plates sound the same so beware as you switch from one reverb unit to another. A plate works very well on fast tempo songs. You can hear the effect without over doing it. Also on Trumpets a good plate can enhance the brilliance. Another example - If you want to mix in a piano but you know that using a "hall" might push your piano to the far end of the room or clutter the mix, use a short plate with a short pre-delay and you'll get a nice effect with the closeness you want.
I like Plates on vocals - percussion - woodwinds - Jazz drums - strings - trumpets - acoustic instruments – guitar
金属板混响—没有两块声音一样的金属板，所以你选择混响元件的时候就要小心选择了。在快拍子的歌曲里面金属板混响有非常好的表现。你不需要过多的调整就能听到效果了。为小号加上一个金属板混响，能让你的小号更明亮、更出色。另外一个例子——如果你需要为一个钢琴加混响，但是你知道如果用“HALL”混响使得声音被推向房间远端,或者让整个MIX变得混乱，而用一个短金属板混响，配合短的PRE-DELAY（预延迟），那么就会让钢琴拥有十分好的效果，然而在封闭的空间中，这个效果是你所需要的（这里有猜想的成分）。
我喜欢把金属板混响用在 人声－打击乐－木管乐器－Jazz 鼓－弦乐－小号－声学乐器－吉他。

Gated/reverse reverb - I like to use on pop/rock drums - bass - E. guitar
门限混响和反向混响－我喜欢在POP/ROCK 鼓－贝司－电吉他上用。


Size - It means just what it would seem to be, the size of the room. Usually you can select small, medium, and large.
房间大小－房间的大小通常可以选择大中小。

Why is size important?
Lets use an example. You have drums that sound good with your chosen reverb but as you hear it in the mix with those heavy guitars, it sounds a bit to small. Enlarge the size of your chosen reverb and you now have a bigger drum sound.
In a smaller room size you will have more direct sound, but the sound will decay faster.
Let's say I want a big lush sound. After reading the preceding lines we can come to the conclusion that, if I use a small Room on a sting patch, this will give me a sound as if it was recorded with a mic in a small room. In other words, ambience. Now if I add another reverb to this string sound (Yes a double reverb), lets say a hall, I will get a lush string sound.
让我们运用一个例子来说明吧。你现在有一个鼓声，你选择的混响让你的鼓声十分悦耳，可惜在MIX中和heavy（声音比较重）吉他对比，总是觉得有点小声。把混响的SIZE参数提高，那么你现在的鼓声就变大了（是调整鼓声的混响啊，如果你是用AUX一同发送的，这个方法不是最好的办法）。
在一个小房间里面，你会有更多的直达声（干声），但是声音会很快的衰减（decay）。
假定我要一个十分豪华的声音，在阅读完上面以后，我们得出这样的结论，如果我对弦乐运用一个小房间类型的混响，那么这样就会让我觉得声音好像是在一个小房间里面录制的。换句话说，就是缺少气氛（这里我觉得是转折的意思）。现在，如果把另外一个混响加在弦乐上（双混响），我们假设是一个“hall”的混响，那么我就会得到豪华的弦乐了。

Use of pre-delay - Why would I want to delay the reverb a bit to hear the instrument dry for a couple of milliseconds? Clarity is the key word. I can use the pre-delay to help move the sound in the stereo spectrum and to help the mix sound clearer and punchier. For example you can get a tighter mix and also help the text be much clearer using a long pre-delay on a small voice. This can give it a bigger sound.

运用PRE-DELAY(预延迟)－为什么我为了要听那么几毫秒的乐器干声音，而为混响加入延迟呢？清晰～就是这样做的原因。我能运用pre－delay去帮助在立体声频谱中移动声音（有这会事情？我还是第一次知道，可能是改变频率吧）以及使得混响的声音听起来更加清晰，更加有力。例如你在一个小的人声上加入比较长的pre－delay，你可以获得一个紧凑的MIX以及让人声更清晰，而且还能让人声变大。Pre－delay能让声音变大。

A little pre-delay on Brass can simulate the typical feeling of hearing a brass section in a hall. First you hear the direct sound, then you hear the room reverberation.
一点点pre－delay加在brass（铜管乐器）上，能模拟一组brass在大厅的演奏的感觉。首先你听到的是直达声音，然后你就听到了被延迟的混响声音了。

On Vocals the pre-delay can simulate a "slap-back delay" effect. First you hear the dry vocals, then you hear the delay (due to the pre-delay setting) and then you hear the reverb fill out the sound. This is why every vocal note and lyric is clear.
在人声上用pre－delay能模拟"slap-back delay"（不知道slap－back是什么意思啊）的效果。首先你听到了人声干声，然后你听到延迟（pre－delay设置的结果），然后听到混响开始变大的声音。这个就是为什么每一个人声的音符和歌词都是清晰的原因啦。

這些東西多看無妨, 好!!

多多看当然好了！呵呵

还有两段上不了啊，等等啊

Use of Decay - The thing to understand about decay is that the longer the decay, the more the sound washes your mix. Too much and you'll lose clarity. You want a big hall sound? Great, but keep the decay under control. You like the sound of a big decay? Then keep the wet/dry of the effect low to keep the sound from getting lost in the mix.
运用decay－decay是你要了解的东西，越长的decay，MIX就越是被decay冲蚀。你想要一个大堂的声音？好，但必须保持decay在控制之内。你喜欢大DECAY的声音，那么你就保持低干湿比，以此保持在MIX中减少声音的（质量）的流失。

Changing this parameter will enlarge your room size. The more the room is filled with absorbent the faster the sound decays. If you do a sound check before people walk in to the hall, expect it to sound different when they are sitting down! Too long of a decay time will usually mess up your mix, Keep it as long as needed, not longer.
调大这个参数，能让你的房间变大。房间的吸收率越高，声音就衰减得越快。如果你做一个用来检查人们步入大堂得声音，预料当他们坐下得时候，声音就会变化。Decay time越长，通常都会让你得混响变差，保持decay足够长就好，不要太长了。



In up-tempo songs, I like to use a short decay for most of the instruments. This helps keep the mix clear and have space for the other instruments. This also makes more room for the solo instruments where I might want a longer decay time.
在反拍的歌曲里面，我喜欢为大部分的乐器运用一个短衰减（decay）。这样的设置能使得MIX保持干净清晰，以及能让乐器之间留有空间。如果是在房间里面进行乐器独奏，那么我可能会用一个长衰减时间（decay time）；

One way to choose the correct amount of decay time is to work it out with the tempo of the song. For example: time the reverb on the snare on a ballad so that if the snare is being hit on the 2 and 4 beat, the decay will run for 2 beats long. On some higher end reverbs you can see the decay split into 3 frequencies, low, medium, and high. With this kind of parameter control, you can have more control over how the different frequency ranges decay. For example you can make the high freq.'s decay longer and the lower end, shorter. This can make a sound sharper or airy. If you prolong the lower freq.'s in relation to the higher ones you can also make the sound bigger.
我们必须为歌曲的节拍选择正确的衰减时间（decay time）。例如：在计算民谣歌曲中军鼓混响的时候，如果军鼓是2拍和4拍的，那么decay就应该设置成2个拍子的长度。在高端的混响器中，你能发现decay被分开成为3个频率，低频、中频以及高频；对于这类的参数控制，你可以在不同的频率区域上设置更多的decay调整控制。例如你能让高频衰减变得更长，而低频就变得更短（waves的混响RVERB和WAVES IR就有这样的设置），这样能让声音变得更锐利更具有空气感。
如果你拉长低频衰减，以及联系前面高频的调整（高频依然是长DECAY），那么就可以把声音变大了。

First, listen to EX #2 to the different decays, then listen to EX. #5 - A snare with a hall then a cut in low freq's (starting from the fade in). Listen to the difference in color and texture.
首先，聆听例子2中不同的decay，然后听例子 5，一个军鼓用"HALL“混响，然后CUT掉低频，聆听变化

这是例子5。没办法一起发无法发，只能这样了

Diffusion - High settings of diffusion gives you a smoother sounding reverb because the reflections are closer to each other. With a busy arrangement your mix might sound too thick and unclear. I like to use a higher setting on ballads and open arrangements. Sometimes on rock drums I like the less smooth diffusion setting.
With a lower setting, it has a tendency to sound grainy. I like to use it on up-tempo stuff and drums.
扩散（漫射）－设置高扩散值，能让你的混响声音变得更顺滑，因为反射声之间彼此更靠近了。在一个比较“热闹”的编排下你的MIX可能听起来很厚以及不干净。我喜欢用一个高扩散值在民谣以及间隔比较开的编排上。某些时候，在ROCK DRUMS上我喜欢粗糙一点（less smooth就是少的顺滑啦）的扩散设置。
如果用一个低扩散值的设置，那么就会倾向于颗粒的感觉。我喜欢在反拍的曲子以及鼓声上这样运用。


On some reverb units this parameter is called Density. However, Density may be a parameter that controls the early reflections while diffusion might control only the distance BETWEEN ALL reflections. Low density works well with smooth sounds like strings or to make a vocal sound fuller, while high density works well with percussion.
在一些混响器上，这个参数被称为密度。密度只是一个控制早期反射声音的参数，当散射只是控制了所有反射之间的距离的时候（意思就是说，扩散控制反射声音之间的距离，而密度只是控制早期反射声音的距离）。低密度的设置能让声音听起来顺滑，例如弦乐，或者让人声变得丰满，当高密度设置的情况下，适合用于打击乐。

辛苦了

真是不错！！！！

最后，
混响不是万能，不要不停的加，加多了声音就有问题，在加混响的时候，必须记住：声音是否有损失。声音是否清晰，声音是否变得比干声更好了？

在电脑年代，什么软件都是吃资源的，如果轨道真的不需要这个混响那么就算了，别要了；

尝试在一个混响前面或者后面加一个EQ。（如果你是SAW，那么用吧，SAW的自带EQ全世界最节省资源的EQ，而且质量在非线性EQ中，我觉是第一集团的）

尝试在混响前面加一个DELAY，这样能让MIX更清晰；（代替混响中的 PRE-DELAY，如果自身混响有PRE-DELAY，请设置位0。还是支持SAW的DELAY，我觉得它也是第一集团的）；

在选择混响类型的时候（HALL/ROOM/PLATE）真的要认真多听，认真浪费一小时，好过事后后悔一整天。

尝试运用一个以上的混响在SNARE，或者你会找到很好的声音，但是前提是你的用一个混响的情况下实在无法达到你的要求，另外要你的电脑允许你这样做，毕竟好的EQ很吃资源。

不要把混响用在BASS 和 KICK上（如果真的需要，一点点还是可以的）。

H2O没了，免费插件也没了，如果手头上有WAVES/WIZOO等混响就够了，不要再找了，如同文中说的，混响要用最好的，不要用过得去的。（某些时候，价钱的确等于一切）

我曾经有一段时间收集过很多的混响软件，有好的有坏的，但是到了最后，能上台面的真不多（非效果卡支持），WAVES/WAVE ARTS/WIZOO都是不错的，而其他呢？我据的都市过得去的（个人意见，不要当真）



以上是一点感悟，欢迎大家一起来讨论。

[ 本帖最后由 Ying 于 2006-6-10 20:42 编辑 ]

谢谢。决好得资料！