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The trick is to copy (clone) the track to which you want to apply the parallel effects, resulting in several parallel audio tracks. You then apply effects to these tracks as needed. For example, suppose you want to add a parallel effect to a piano track, where a noise gate lets through only the peaks; furthermore, this goes to a reverb that's panned far left. Meanwhile, a second noise gate sends a different set of peaks through a short delay, to a different reverb that's panned far right. You could do this with aux sends, but there's an alternative.
（诀窍是复制一个你需要对他进行PARALLEL EFFECTS的轨道，生成几个平衡音频轨道。然后加入这些轨道所需要的效果。例如，加入你要对一个钢琴轨道加入PARALLEL EFFECT，加入一个NOISE GATE，只是让PEAK（峰值）通过；此外，加入一个混响，但混响声相位设置在左边（FAR LEFT，很左边的意思吧）。同时，第二个NOISE GATE发送一个不同的峰值设置到一个短DELAY上，然后紧接的混响把声相设置到左（FAR RIGHT：很右边），但这个只是一个选择）

For this example, we need three parallel tracks:
•        Straight piano only
•        Straight piano + noise gate + reverb1 (panned left)
•        Straight piano + noise gate + delay + reverb2 (panned right)
•        （这里有少少类似模拟立体声了）

Copy the straight piano track two times for a total of three piano tracks. The first track is the "straight," unprocessed track. In the second track, insert the noise gate and reverb, then pan the track left. For the third track, insert the noise gate, delay, and second reverb, then pan that track right. (Of course, you could also just slide the third track behind a bit in time to create the delay, but sometimes it's a lot more convenient to just dial in a delay, particularly if you need to sync to tempo).
把钢琴轨道复制两次，变成一共3个轨道。首先是原始轨道，不需要加效果。在第二轨道，插入NOISE GATE＋REVERB，然后设置PAN为左。第三个轨道，插入NOISE GATE+DELAY +第二个REVERB，然后设置PAN为右。（当然，有时候把第三轨道拉后一点，以此当作DELAY也是可以的，毕竟某些时候他比纯粹的加DELAY更好效果，特别是需要同步速度的时候）

而作为其他乐器，同样可以运用这个PARALLEL EFFECT来做处理

"VIRTUAL MICS" WITH PARALLEL EQ（用平衡EQ模拟多MIC录音）
我们用吉他作模拟，首先我们正对吉的时候，右耳朵听到的是手指拔动琴弦的声音和STRING本身发出的噪音，同时，你的左耳听到的是吉他发出的低频声音。

The first step in simulating the effect of being close to the guitar was to clone the original guitar track to two more tracks. The first clone provided the "squeak" component by including a highpass filter that cut off the low end starting around 3 kHz, with 11 dB of total cut. This was panned right. The second clone for the "boom" channel used a lowpass filter with a sharp cutoff from 350 Hz on up. An additional shelf added a mild 3 dB of bass boost, kicking in at 125 Hz. This came in a little closer to center than the squeak channel.
第一步是复制多两个吉他原声音，用于模仿非常靠近GT的感觉。第一个复制轨道保护“吱吱声”，对其实行HIGI PASS 滤波器，从3KHZ开始切，大概衰减11dB吧。这个轨道设置成右；第二个轨道复制GT的“BOOM"轨道，运用一个LOW PASS滤波器，在350HZ开始做衰减，另外以125HZ为中心点对低频做3dB的提高。这个使得比SQUEAK轨道更接近中间
I also needed to remove some low end from the "straight" channel to make some sonic space for the boom channel. Adding these two tracks to the main track pulled out some of the "finger squeaks" and "boom" components that were in the original sound, and positioned them in a more realistic stereo location. This also stretched the stereo image somewhat. And because these signals were extracted from one mic, there were none of the phasing problems associated with multiple mics.
我同样需要在原声轨道上做一些低频调整，以此为BOOM GHANNEL做一些声波空间。把另外个轨道加入以后，把"finger squeaks" and "boom"部分从原声中抽出，然后把他们放置在一个现实中立体声空间中。这样多少也会拉展立体声宽度。（这里是简单翻译一下，其实就是模拟GT录音中的两个MIC，中间轨道是原声，用来消除一些噪音，而左边是CUT高频，模拟录音中的靠近GT的MIC，而右边的轨道CUT低频，模拟GT录音中比较远的MIC，这个是我自己的想法，可能不对的，又到下班时间拉～～～～～～～吃饭拉～～88）

大家可以自己去原地址看看：http://www.harmony-central.com/a ... l_effects_and_daws/

英文好就是不一样，我嫉妒。。。

不太明白，为何Main Gtr要衰减中频？

强贴。。。。衰减得是99.1是低频  支持了

哦，谢谢，没仔细看。

pulled out some of the "finger squeaks" and "boom" components that were in the original sound

应该是为了消除这些声音～其实大家可以尝试一下～这个只是简单引用一个例子而已。

这个方法特实用。。。人声也可以这样得处理。。。。。我记得KINGHAND干活就使用过这样得方法，，应该差不多。。

其实很久以前的一个网络教材,两个轨道,一个轨道不处理,一个轨道处理(提高高频然后大压缩,然后加混响)

PARALLEL是平行，或并行，不是平衡。

~~~~~~广东话中平行读音=平衡嘛~~~~~~

晕~~~~~~``凑字

翻译成 并联 好一些吧！个人看法

其实就是从电路图上(某文章的电路图,明天贴上来),的确可以翻译成并联

[ 本帖最后由 Ying 于 2006-6-30 10:54 编辑 ]

原始轨是不是完全不加效果