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AMBIENCE CLINIC(关于混响中的气氛)

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4632
#1 06-4-26 13:16

AMBIENCE CLINIC(关于混响中的气氛)

Reverb and delay are the two basic building blocks of ambience. Reverb is designed to simulate the sonic characteristics of a real physical space: room type, size, and surface. After selecting an appropriate setting, you can then determine its virtual size by manipulating the decay time.
混响和延迟是制造ambience(气氛)的两个方法;混响是用来模仿真实的声音特性空间的,例如ROOM type ,size,surface(表面,房间的墙壁表面).在一个合理设置的情况下,你可以利用DELAY来确定一个虚拟空间SIZE的大小.
One way to achieve a subtle yet effective ambience is to drastically reduce the decay time of a reverb patch. More intense presets such as churches, large plates, or concert halls — which typically have decay times of three to four seconds — work best for achieving subtle ambience. Decrease the decay time to 0.5 seconds, and increase the predelay to 100 ms or more to create a sound that's spacious without being wet. That technique allows you to retain the sonic character of the space in a shorter, more concentrated package, although you may have to increase your send levels to make those effects work in your mix.
有的时候可以通过降低REVERB里面的DECAY来降低过于激烈的AMBIENCE.很多预置效果是教堂(CHRUCHES),LARGE PLATES或者那些CONCERT HALLS,他们的特征就是3到4秒的DECAY,其实达到精细的气氛效果,把DECAY的时间设置到0.5S,另外把PERDELAY(预延迟)设置到100MS甚至更多,这样就能创造一个广大的但不会过于WET的空间。这个技术能让在空间不足的情况下保留声音的特性,更浓郁的气氛(That technique allows you to retain the sonic character of the space in a shorter,more concentrated package,不知道翻译得是否正确),尽管你可以通过提高效果的发送量来达到这个效果。(意思就是你可以通过作者提供的方法,也可以通过你自己的方法以加大发送粮来扩大气氛)。
Many reverbs also include EQ controls. Highpass and lowpass filters are the norm, but some processors have even more elaborate EQ capabilities. Using a lowpass filter to reduce the high-frequency content of the ambience can quiet a noisy track. Cutting highs in the reverb on an acoustic guitar track, for example, can subtly deemphasize occasional finger squeaks. Similarly, a not-so-bright reverb may be a better choice for a snare track that has lots of hi-hat leakage. At the other end of the sonic spectrum, adding highs to a short, intense reverb can increase the impact of the effect.
很多REVERB效果同样包含EQ控制。高通和低通滤波是标准配备(看多了军事杂志,这里借用一下了),但是某些处理器拥有很好的功能。用低通滤波器去减少AMBIENCE的高频含量,能减少轨道的噪音。Cutting(衰减)acoustic guitar (声学吉他)轨道混响的高频量,例如,这个方法能降低偶然产生的finger squeaks(我不会吉他,所以我了解是过大的拔XUAN声音)。同样,一个不太明亮的混响,可能可以从一个很好的SNARE轨道中将弱HI-HAT的漏音。在别的频普图中看到,在混响中假如少量的高频混响,其激烈的混响能加大冲击的感觉(最后这句我自己了解,但是翻译就不知道是否正确了,所以还请HUIHIM帮忙看看)。
More elaborate reverb processors allow you to go even deeper and manipulate the balance between the room reflections (called early reflections) and the sustained reverb sound. You can experiment with creating ambiences that are all reflections, all reverb, or a blend of your choice. Experimenting with ambiences also allows you to see how your processor is able to simulate so many different spaces with so few controls.
很多优秀的REVERB效果器允许你调节深度,调节EARLY REFLECTIONS(早反射)和SUSTAINED REVERB(混响的维持时间)声音的比例。你可以做一个实验,设置AMBIENCES的时候,设置一个全reflections(这里要区分,reflections和predelay是不同的啊,不要和上文提动的混淆),一个全REVERB(REVERB SUSTAINER,混响持续时间),或者一个两者混合的设置,你可以在实验以后选择其中一个。这个实验能让了解到你的效果器能模仿多少不同的空间。
~本人的英文水平大概就是能意会不能言传~如果纰漏,不好意思。


[ 本帖最后由 Ying 于 2006-4-26 13:19 编辑 ]

4632
#2 06-4-26 13:22
这是http://homerecording.about.com/g ... clinic%2Findex.html
的第二部分
REVERBERANT PARAMETERS
的简单翻译,晚上有空就翻译DELAY部分,请各位大师指点.

13670
#3 06-4-26 15:10
謝謝!! 時常重溫這些資料確有幫助。

finger squeaks 是指在轉換和弦時所發出的吱嘎聲。

a not-so-bright reverb may be a better choice for a snare track that has lots of hi-hat leakage.
不明亮的混響對於有嚴重hi-hat 漏音的 snare 軌道會比較合適。

At the other end of the sonic spectrum, adding highs to a short, intense reverb can increase the impact of the effect.  以eq (混響的eq 或 外部的eq) 在那些短絀和強烈的混響提升高頻區 可增加沖激性的效果。

4632
#4 06-4-26 17:24
我当看资料,练习英文,HOHO ,多谢你的提点

#5 06-4-26 20:40
提示: 作者被禁止或删除 内容自动屏蔽

4632
#6 06-4-27 13:26
RHYTHM NATION
Delay times that are synchronized with a song's tempo can help generate bounce and flow in a mix. To make that happen, you'll have to accurately compute the delay times that fit your song's tempo. Many delay plug-ins automatically calculate that for you. If, however, you are using a hardware-based processor or your song was recorded into a DAW without a click, then you may need to calculate the delay times. Shareware or freeware delay calculators are available on the Web (you'll need to know the song's tempo to use them), or you can use simple math (see sidebar “Finding Delay Tempos”).

Delay时间是和歌曲的节拍同步的,在一个MIX工程中能帮忙生成BOUNCE(音符回弹),以及FLOW(音符洋溢)的效果(这里可能是描述延迟的量,有的DELAY有+100%到-100%的延迟量)。想要达到以上效果,你必须准确的把DELAY TIMES设置到和你的歌曲的节奏想配合。许多DELAY插件在这个方面自动计算。如果你使用一个硬件效果器或者你的歌曲是在没有的CLICK(打点器)的情况下在DAW上录制,那么你就可能要自己计算DELAY TIMES了。SHAREWARE和FREEWARE(免费和共享)DELAY插件能在网络上找到计算方法(但是前提条件是你必须了解歌曲的节奏),或者你可以用简单的数学计算(问中有提供,我尽快翻译,其实十分简单的,大家一看就明白了)。
If you mix live music, then you may have developed a knack for turning the delay knob at the right moment to send a phrase or word into a sonic spin. When mixing in the studio, however, there are more accurate ways to set a delay to kick in at a precise moment. In a DAW environment, one method is to generate a dedicated delay-effect track.

当你在现场MIX,在现场的时候你可以把一个旋纽用于改变发动到效果器的A PARASE(短语)或者WORD(词语)的量。在STUDIO MIXING的时候,为KICK录音的时候,有许多方法为KICK加入精确的DELAY效果。在DAW的环境中,完成以上的方法是生成一个专门加入DELAY-EFFECT的轨道。

To make a dedicated delay-effect track, create a new track with the same output assignments as those on the original track. Copy and paste the section (a word, note, or phrase) that you want delayed into the new track. Set the track's aux send to a reasonable level, set the aux send to prefader, and then turn the track's volume all the way down. Put a delay on the aux bus or aux track (depending on your software), and set the delay to 100 percent wet with a tempo setting that works with the song. When the song arrives at that section on the delay track, the delayed signal from the targeted section will play back precisely at the appointed time.

一条专门用于DELAY-EFFECT的轨道,首先建立一条全新的,与原始轨道有同样输出分配的轨道。复制粘帖你需要延迟的部分(词语,音符,短语)到新的轨道中去。本轨道的AUX发送量设置到一个合适的值上,同时设置AUX发送到推子前,以及降低其他所有轨道的音量。把DELAY放到AUX TRACK或者AUX BUS上(根据软件而定),设置DELAY的发送量为100%,当歌曲的时候,被安放在DELAY TRACK(前面有说)上歌曲部分(词语,音符,短语),那么这一部分的AUX 返回信号就在指定的位置播放。

By applying long delays to whole phrases, it's possible to create rhythmic call-and-response effects. To achieve cascading rhythmic repeats, increase the amount of the regeneration or feedback. Higher feedback levels increase the number of repeats. Shorter delay times increase the frequency of the repeats.

为一个完整的短语加入一个LONG DELAYS,可以为其加入有节奏合拍的CALL-AND-RESPONSE(呼叫和回答)的效果。为了实现cascading(级联,就是DELAY出来的效果)节奏重复,增加提高REGENERATION(再生)或者FEEDBACK的数值。比较高的FEEDBACK级别增加REPEATS(这里应该是节奏重复)的次数。比较短的DELAY TIMES增加重复的周期。

Mixes featuring rhythmically delayed phrases are in fashion in contemporary pop music. The delayed portion, however, is often not a sonic replica of the original line. It's often treated with an extreme effect, such as telephone EQ, deep distortion, or a rotating speaker sound. An extreme effect can help focus attention on the delayed line.

当代流行音乐十分流行对短语做节奏延迟。(以下是意译)那被延迟的部分,都不再是简单的原始复制了,而是被加入有些极端的处理,例如telephone EQ(电话音),失真,或者rotating speaker sound(不知道是什么了,不好意思)。这些极端的处理方法能帮助注意里聚焦在被延迟的轨道上。

Despite the popularity of rhythmically timed delays, they don't benefit every song. Sometimes it's better to throw away the bpm chart and dial in the delay that feels right.

不管是多么普及的节奏同步延迟(就是广泛使用),他们都不可能适应如何歌曲。某些时候要丢弃那些BPM表或者DELAY中标准。



FINDING DELAY TEMPO


If you're working in a DAW and your song is in sync with its metronome, the software can calculate the delay time for you. But what if your song wasn't recorded in a software-based environment or recorded to a click? Below are tips on how to figure out delay times in ms so that you can set your delays and predelays.

在插件无法计算TEMPO的时候,你可以通过以下方法计算,这个方法不但可以用于DELAYS还可以用与PREDELAYS。

To calculate the tempo in beats per minute (bpm), count the number of quarter notes that go by in ten seconds, then multiply the result by 6:
6 × (number of quarter notes in 10 seconds) = bpm
BPM的计算是6×(在10秒里面1/4音符的数量)=BPM
Next, divide 60,000 (the number of ms in a minute) by the bpm of your song. The result will be the length of a single quarter note expressed in ms:
这里计算是每MS里面的1/4音符的长度60,000       
________________________________________        = (quarter-note value in ms)
bpm       

You can multiply or divide that number to find the ms value of different note lengths:
这是通过1/4音符求1/8音符~
(quarter-note value in ms)       
________________________________________        = (eighth-note value in ms)
2       
2 × (eighth-note value in ms) = (half-note value in ms)   必须了解这个公式

Assuming that you're in 4/4 time, multiplying the quarter-note value by four results in the whole-note value. If you're in a more relaxed dub-style mix, you might want to know the quarter-note-triplet value, which can be calculated by dividing 40,000 by the bpm:
这里可能是计算3/4音符在MS里面的量吧,这里真的不熟悉了。
40,000       
________________________________________        = (quarter-note-triplet value in ms)
bpm       
Once you've found some useful values, jot them down in your mix notes and use them for all of your effects settings.



以上片段和第一帖是出自同一个文章的,只是不同段落,明天再看看PREDELAY,如果大家觉得翻译不好,请指出~我改正.

[ 本帖最后由 Ying 于 2006-4-27 13:32 编辑 ]

600
#7 06-4-27 15:01
谢谢ying的精神,收藏了

4632
#8 06-4-27 21:05

PUTTING THE PRE IN DELAY

One very useful way to tweak a reverb patch is to postpone its onset with predelay. A reverb with predelay adds simulated depth to a close-miked recording because it imitates the delayed reflections of a larger space. A definitive separation between the dry sound and the simulated reflections of a reverb helps to maintain clarity even with an extreme effect. Many engineers set predelay values that are related to the tempo. (Usually you have to use shorter note values than quarter-note or even eighth-note delays; otherwise, your predelay will be too long.)


Predelay,就是在混响之前扯出一段延迟时间。混响的Predelay用在封闭录音的情况下模拟空间深度的,因为Predelay本身就是模仿一个大空间的延迟反射。准确的把干声和模拟反射声分开,能让输入效果极大的情况下保持声音纯净清晰。许多工程师把设置Predelay和Tempo(节奏)关联起来。(经常情况下,你会用比较短的NOTE,而少用1/4NOTE或者1/8NOTE的DELAYS;否则你的PERDELAY就太长了);


Unfortunately, the predelays built into many reverb plug-ins and processors sound muddy and indistinct. One way to get a cleaner-sounding (and potentially longer) predelay is to use a dedicated delay line before the reverb. Turn the reverb's predelay off, and dial it in from the dedicated delay processor or plug-in. If it's patched the right way, then it's possible to make one reverb return do double or triple duty with several different predelay values (see Fig. 2).


但不幸的,Predelay加入到学多的混响插件和效果器中,声音听起来都是溷浊而且模糊的。而运用单独(专门营造)延迟的DELAY效果器在Reverb之前,是一个让声音变得清晰的方法(可能有更好的方法)。把混响自己的Perdelay关掉,然后调整专门生成DELAY的效果器或者插件。如果设置好了延迟的时候,那么就可以用一个REVERB作2到3个任务,而且可以设置不同的Predelay值。

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4632
#9 06-4-27 21:07
最有那个图太小了,我看不清楚,而且他是用MOTU的软件,一个AUX轨道能把他自己的三个效果分别发送到三个轨道???

1745
#10 06-4-27 22:13
庆贺我们又多了一位好同志 Ying

致敬!

4632
#11 06-4-27 22:55
~~我是自己学习兼之帮大家找不错的文章,原文是HUIHIM介绍的,只是前段时间有人问PREDELAY和单独DELAY的区别,于是我就把他们的简单关系翻译了一下咯

13670
#12 06-4-27 22:58
支持 ying 的努力!!

1096
#13 06-4-28 13:28
辛苦了 辛苦了  YING同志   
现在象你那么无私奉献的人,已经不多了!

4632
#14 06-4-28 22:35
http://www.cksde.com/p_6_250.htm

一个混响采样的网站(免费下载,起码我没有要求缴费)

646
#15 06-11-23 19:36
支持~~谢谢 YING 同志.
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