Element Four: Dimension—Adding Effects
Element Four: Dimension—Adding Effects
The fourth element of a mix is dimension , which is the ambient field in which the track or tracks sit . Dimension can be captured while recording but usually has to created or enhanced when mixing by adding effects such as reverb or delay or any of the modulated delays such as chorusing or flanging . Dimension might be something as simple as recreating an acoustic environment , but it also could be the process of adding width or depth to a track or trying to spruce up a boring sound .
Mixing中的第四个元素就是dimension（空间），是对轨道（或者多个轨道）的环境气氛设置。Dimension（空间）能在录音进行获取（可以去看这文章做一些简单了解：《Space》），但很多时候，我们都是在mixing的过程中通过加入或者提高Reverb、delay 或者 被调整过的DELAY，例如 合唱（chorusing）和珐琅（镶边 flanging）。Dimension（空间处理）能让一个事物（房间、室外等等）声学环境非常容易的被改变，但是Dimension（空间处理）也能为轨道提高宽度和深度，或者把烦恼的声音弄整齐（这里应该是声音的空间设置得到统一）。
Actually , there are really four reasons why a mixer would add dimension to a track :
(实际上是，是有四个原因让MIX工程师要对轨道做空间处理)。
To create an aural space 建立一个（真实的）听觉空间 To add excitement 为歌曲注入激情
To make a track sound bigger , wider and / or deeper
让轨道的声音更丰满，更宽阔以及（或者）更有深度。
To move a track back in the mix ( give the impression it’s farther away )
将轨道在mixing中向后推（给予被人的印象是，轨道比较远）。
Although there are no specific rules for these , there are some guidelines.（尽管上面没有详细的细节规定，但有这些指导方针）
As a general rule a thumb , try to picture the performer in an acoustic space and then realistically recreate that space around them
.（同样是一个基本规则，尝试去想象表演者在一个声学空间，以及把这个空间在表演者周围重现）
This method usually saves some time over simply experimenting with different effects presets until something excites you ( although if that method works for you , that’s what you should continue to do ). Also , the created acoustic space needn’t be a natural one . in fact , as long as it fits the music ,the more creative the better .
这个方法是非常节省时间的，只是做一个非常简单的实验，你不停的变换效果预设，直到你找到适合的（虽然如此简单，但如果换作你运用这个方法，你会继续如何做？）同样，被你所建立的声学空间不需要是真实的自然的。实际上，只要是配合音乐，使用有创造性的空间设置会更好。
Smaller reverbs or short delays make things sound bigger.
（小混响和短延迟使得声音变丰满。）
Reverb with decays under a second ( usually much shorter than that ) and delays under 100 milliseconds ( again , usually a lot shorter than that ) tend to create an acoustic space around a sound , especially if the reverb or delay is stereo .
Reverb使用低于1秒的衰减时间（通常低于比1秒低很多）以及延迟低于100ms（同样，通常情况下比100ms低很多）的设置，为一个声音建立一个合适的声学空间，尤其是REVERB和DELAY在STEREO的情况下。
EQING REVERBS
From the early days of reverb chambers and plates ,it’s always
Been common to EQ the reverb returns , although the reasons for doing this have changed over the years . Back when plates and chambers were all that was available , usually some high-frequency EQ at 10kHz or 15kHz was added because the plates and chambers tended to be dark sounding and the reverb would get lost in the mix without the extra high frequency energy.
在运用PLATES 和 CHAMBERS的混响类型的时候，运用EQ对高频10KHZ或者15KHZ进行提高，因为PLATES 和 CHAMBERS 类型的混响的声音趋向于黯淡（DARK），而在MIX的过程中，如果没有对高频进行提高，高频是会有所损失的。
Nowadays , EQ is added to reverb in order to help create some sonic layering . Here are some points to consider when EQING a reverb return. The type of reverb ( digital ,real plate , etc .) doesn’t matter as much as how these are applied , and that depends on your ears and the song .
以下有几点提示，对于你建立混响是有好处的，这些方法对混响的类型是没有关系的，无论是数字、真是PLATE等等都是可以的，但如何运用完全依赖你的耳朵和歌曲类型。
Equalization tips for reverb and delays（REVERB和DELAY中运用EQ的TIPS）
To make an effect stick out , brighten it up（提高EQ设置，让声音变亮，这里的STICK OUT，就是对某一段的频率做提高，但提高那里，根据实际情况和歌曲情况所决定。又或者是为了在某一个歌曲中突出某个轨道，让混响变量突出）。
To make an effect blend in , darken it up ( filter out the highs ).
（让整个某一个轨道融入整体歌曲，让它变得DARKEN，对高频做衰减）
If the park is busy (like with drums ), roll of the low end of the effect to make it fit .
如果某个歌曲非常紧凑，那么对低频进行滚降，让他们变得协调。
If the park is open , add low end to the effect to fill in the space .
如果某个歌曲非常空旷，那么对低频进行增益，填补频率中的空隙。
If the source part is mono and panned hard to one side , make one side of the stereo effect brighter and the other darker .( Eddie Van Halen’s guitar on the first two Van halen albums comes to mind here .)
如果声源部分是单声道的，已经把PAN设置到极端的一边（极左，极右），通过立体声效果，使得一边是比较明亮，一边比较黯淡（这里可以通过AUX REVERB来达成）
Eddie Van Halen的头两张专辑都是这样来处理他的吉他的。
SONIC LAYERING OF EFFECTS
Sonic layering means that each instrument or element sits in its own ambient environment and this environment is generally created artificially by effects . The idea here is that these sonic atmospheres don’t clash with one another , just like in the case of frequency ranges .
Sonic layering 的意思是 每一个乐器或者元素都设置在他们自己的环境空间中，以及这个空间一般是由人工效果所建立的。这个概念就是为了让不同乐器的空间不会出现抵触，就好像FREQUENCY RANGES设置一样。
Layering tips for reverb and delay
Layer reverbs by frequency with the longest being the brightest and the shortest being the darkest .
（混响就像另一层东西, 声源和它就如处於不同的频率 ）
Pan the reverbs any way other than hard left or right .
REVERB的PAN设置最好不要设置到极左或者极右。
Return the reverb in mono and pan accordingly . All reverbs needn’t be returned in stereo .
REVERB返回到MONO和相对应的MONO（这里的意思是，REVERB的设置和MONO轨道的设置要一样。所有REVERB都不需要返回到STEREO轨道。）
Get the bigness from reverbs and depth from delays or vice versa.
让REVERB让声音变饱满，让DELAY让声音变得有深度，反之亦然。
Use a bit of the longest reverb on all the major elements of the track to tie all the environments together .
对整个歌曲中的主要元素加入一点非常长的混响（一点点就好），让这些主要元素都联系在一个空间里面。
在最后的两点中，第一个TIPS，说可以把GT放在极右极左，但是第二个TIPS就说尽量不要，其实这个大家不要太介意，如果一开始说的：不一定要真实，只要符合歌曲，创新是可以的。
The fourth element of a mix is dimension , which is the ambient field in which the track or tracks sit . Dimension can be captured while recording but usually has to created or enhanced when mixing by adding effects such as reverb or delay or any of the modulated delays such as chorusing or flanging . Dimension might be something as simple as recreating an acoustic environment , but it also could be the process of adding width or depth to a track or trying to spruce up a boring sound .
Mixing中的第四个元素就是dimension（空间），是对轨道（或者多个轨道）的环境气氛设置。Dimension（空间）能在录音进行获取（可以去看这文章做一些简单了解：《Space》），但很多时候，我们都是在mixing的过程中通过加入或者提高Reverb、delay 或者 被调整过的DELAY，例如 合唱（chorusing）和珐琅（镶边 flanging）。Dimension（空间处理）能让一个事物（房间、室外等等）声学环境非常容易的被改变，但是Dimension（空间处理）也能为轨道提高宽度和深度，或者把烦恼的声音弄整齐（这里应该是声音的空间设置得到统一）。
Actually , there are really four reasons why a mixer would add dimension to a track :
(实际上是，是有四个原因让MIX工程师要对轨道做空间处理)。
To create an aural space 建立一个（真实的）听觉空间 To add excitement 为歌曲注入激情
To make a track sound bigger , wider and / or deeper
让轨道的声音更丰满，更宽阔以及（或者）更有深度。
To move a track back in the mix ( give the impression it’s farther away )
将轨道在mixing中向后推（给予被人的印象是，轨道比较远）。
Although there are no specific rules for these , there are some guidelines.（尽管上面没有详细的细节规定，但有这些指导方针）
As a general rule a thumb , try to picture the performer in an acoustic space and then realistically recreate that space around them
.（同样是一个基本规则，尝试去想象表演者在一个声学空间，以及把这个空间在表演者周围重现）
This method usually saves some time over simply experimenting with different effects presets until something excites you ( although if that method works for you , that’s what you should continue to do ). Also , the created acoustic space needn’t be a natural one . in fact , as long as it fits the music ,the more creative the better .
这个方法是非常节省时间的，只是做一个非常简单的实验，你不停的变换效果预设，直到你找到适合的（虽然如此简单，但如果换作你运用这个方法，你会继续如何做？）同样，被你所建立的声学空间不需要是真实的自然的。实际上，只要是配合音乐，使用有创造性的空间设置会更好。
Smaller reverbs or short delays make things sound bigger.
（小混响和短延迟使得声音变丰满。）
Reverb with decays under a second ( usually much shorter than that ) and delays under 100 milliseconds ( again , usually a lot shorter than that ) tend to create an acoustic space around a sound , especially if the reverb or delay is stereo .
Reverb使用低于1秒的衰减时间（通常低于比1秒低很多）以及延迟低于100ms（同样，通常情况下比100ms低很多）的设置，为一个声音建立一个合适的声学空间，尤其是REVERB和DELAY在STEREO的情况下。
EQING REVERBS
From the early days of reverb chambers and plates ,it’s always
Been common to EQ the reverb returns , although the reasons for doing this have changed over the years . Back when plates and chambers were all that was available , usually some high-frequency EQ at 10kHz or 15kHz was added because the plates and chambers tended to be dark sounding and the reverb would get lost in the mix without the extra high frequency energy.
在运用PLATES 和 CHAMBERS的混响类型的时候，运用EQ对高频10KHZ或者15KHZ进行提高，因为PLATES 和 CHAMBERS 类型的混响的声音趋向于黯淡（DARK），而在MIX的过程中，如果没有对高频进行提高，高频是会有所损失的。
Nowadays , EQ is added to reverb in order to help create some sonic layering . Here are some points to consider when EQING a reverb return. The type of reverb ( digital ,real plate , etc .) doesn’t matter as much as how these are applied , and that depends on your ears and the song .
以下有几点提示，对于你建立混响是有好处的，这些方法对混响的类型是没有关系的，无论是数字、真是PLATE等等都是可以的，但如何运用完全依赖你的耳朵和歌曲类型。
Equalization tips for reverb and delays（REVERB和DELAY中运用EQ的TIPS）
To make an effect stick out , brighten it up（提高EQ设置，让声音变亮，这里的STICK OUT，就是对某一段的频率做提高，但提高那里，根据实际情况和歌曲情况所决定。又或者是为了在某一个歌曲中突出某个轨道，让混响变量突出）。
To make an effect blend in , darken it up ( filter out the highs ).
（让整个某一个轨道融入整体歌曲，让它变得DARKEN，对高频做衰减）
If the park is busy (like with drums ), roll of the low end of the effect to make it fit .
如果某个歌曲非常紧凑，那么对低频进行滚降，让他们变得协调。
If the park is open , add low end to the effect to fill in the space .
如果某个歌曲非常空旷，那么对低频进行增益，填补频率中的空隙。
If the source part is mono and panned hard to one side , make one side of the stereo effect brighter and the other darker .( Eddie Van Halen’s guitar on the first two Van halen albums comes to mind here .)
如果声源部分是单声道的，已经把PAN设置到极端的一边（极左，极右），通过立体声效果，使得一边是比较明亮，一边比较黯淡（这里可以通过AUX REVERB来达成）
Eddie Van Halen的头两张专辑都是这样来处理他的吉他的。
SONIC LAYERING OF EFFECTS
Sonic layering means that each instrument or element sits in its own ambient environment and this environment is generally created artificially by effects . The idea here is that these sonic atmospheres don’t clash with one another , just like in the case of frequency ranges .
Sonic layering 的意思是 每一个乐器或者元素都设置在他们自己的环境空间中，以及这个空间一般是由人工效果所建立的。这个概念就是为了让不同乐器的空间不会出现抵触，就好像FREQUENCY RANGES设置一样。
Layering tips for reverb and delay
Layer reverbs by frequency with the longest being the brightest and the shortest being the darkest .
（混响就像另一层东西, 声源和它就如处於不同的频率 ）
Pan the reverbs any way other than hard left or right .
REVERB的PAN设置最好不要设置到极左或者极右。
Return the reverb in mono and pan accordingly . All reverbs needn’t be returned in stereo .
REVERB返回到MONO和相对应的MONO（这里的意思是，REVERB的设置和MONO轨道的设置要一样。所有REVERB都不需要返回到STEREO轨道。）
Get the bigness from reverbs and depth from delays or vice versa.
让REVERB让声音变饱满，让DELAY让声音变得有深度，反之亦然。
Use a bit of the longest reverb on all the major elements of the track to tie all the environments together .
对整个歌曲中的主要元素加入一点非常长的混响（一点点就好），让这些主要元素都联系在一个空间里面。
在最后的两点中，第一个TIPS，说可以把GT放在极右极左，但是第二个TIPS就说尽量不要，其实这个大家不要太介意，如果一开始说的：不一定要真实，只要符合歌曲，创新是可以的。
