Tech Tip: Using compression on a stereo mix for vocals vs. drums
Tech Tip: Using compression on a stereo mix for vocals vs. drums
(在立体声MIX中对人声和鼓声运用压缩)
Q: "How can I use compression on my final stereo mix that will affect the vocals and not the drums?"
(问:我怎么能在最后的立体声(stereo)混音中对人声做压缩,而不影响鼓声).
A: Compression on your final mix is an art that many mastering engineers have been able to hang their hat on. In other words, it's not the easiest thing to master (pun intended).
(答:在你的最终混音上加压缩,对于母带工程师来说,不是一件容易的事情)
There's really no way to do anything to the stereo mix without it having some effect on all the elements. With that said, you can sometimes manipulate things in ways that can emphasize certain aspects of a recording while not causing too much harm to others. The secret to this with compression comes from understanding the attack and release parameters.
在立体声混缩中,某效果只对其中某些MIX原始加效果,那的确是不可能作到的.但是你能在某些方法上,通过操作, 去着重确定某一录音部分不会对其他部分产生伤害.而秘密就是通过压缩器上的ATTACK 和 RELEASE 的参数调节了.
The basic idea is that fast attack compression will usually help to tame drums on stereo masters, while slower attack settings tend to affect vocals and other similar instruments (bass, strings, etc.). Just how fast or slow depends a lot on the specific instruments and how they are mixed.
基础想法是这样的,快速ATTACK 压缩设置在stereo masters上经常用与使鼓声平淡(快速CATCH THE PEAK),而慢速ATTACK设置就比较趋向于影响人声以及其他类似的乐器(例如BASS/弦乐等等).而快或者慢就由乐器的细节和他们是如何MIX的情况来决定的.
There's simply no hard rule on this, to get started you can turn up a pretty extreme amount of compression and play with the attack and release controls. You'll begin to be able to hear how different elements are changed by the compression.
这个方法是简单的而且没有硬性规律的,刚刚开始的时候,你能通过对ATTACK 和 RELEASE的操作,你能找到一个恰当的压缩设置.这个时候,MIX原始之间的不同就会随着压缩设置的改变,慢慢的被你发觉(这个步骤都是一步一步的设置,慢慢听,按照不同的情况找到恰当的点,这个的确需要一个比较长的时候,是一个慢工出细活的步骤).
Once you get close to understanding the attack and release times that change the vocals while not killing the attack of the drums you can dial it back to a more reasonable setting and go from there.
一旦你开始慢慢找到了你想要的ATTACK TIME 和 RELEASE TIME之后,在没有影响到鼓声启动设置(ATTACK)的情况下,你可以把之前的设置拨回一点(dial it back:这里我自己理解是把原先的设置拨回去一点,就是减少一点的数值),然后从这里开始找到一个更合理的设置.(意思就是在没有影响DRUM的情况,再减少原先的ATTACK AND RELEASE设置,这样应该是为了让DRUM拥有更多余地.以次找到更好的耦合点).
It's all about experimentation. (这个就是此实验方法的大概)
最后在我自己的看法里面,在MIX方面看,这个方法实在是在没办法情况下才用的.我觉得在进入FINAL MIX之前你就应该对各个元素作好处理.而作为MASTERING方面来处理,我自己实在没什么经验,所以也只能说这是一个十分消耗时间的工序,而且是一个十分抽象的工作,所以多练习多实践是必不可少的.但无论如何也算是一个值得了解的方法.
而对于初学者或者某些翻唱爱好者,这个绝对是一个懒惰的办法,人声和伴奏声音不均衡的时候就能尝试这个方法~~HOHO~~当然难度也是比较大的.
[ 本帖最后由 Ying 于 2006-6-15 14:42 编辑 ]
(在立体声MIX中对人声和鼓声运用压缩)
Q: "How can I use compression on my final stereo mix that will affect the vocals and not the drums?"
(问:我怎么能在最后的立体声(stereo)混音中对人声做压缩,而不影响鼓声).
A: Compression on your final mix is an art that many mastering engineers have been able to hang their hat on. In other words, it's not the easiest thing to master (pun intended).
(答:在你的最终混音上加压缩,对于母带工程师来说,不是一件容易的事情)
There's really no way to do anything to the stereo mix without it having some effect on all the elements. With that said, you can sometimes manipulate things in ways that can emphasize certain aspects of a recording while not causing too much harm to others. The secret to this with compression comes from understanding the attack and release parameters.
在立体声混缩中,某效果只对其中某些MIX原始加效果,那的确是不可能作到的.但是你能在某些方法上,通过操作, 去着重确定某一录音部分不会对其他部分产生伤害.而秘密就是通过压缩器上的ATTACK 和 RELEASE 的参数调节了.
The basic idea is that fast attack compression will usually help to tame drums on stereo masters, while slower attack settings tend to affect vocals and other similar instruments (bass, strings, etc.). Just how fast or slow depends a lot on the specific instruments and how they are mixed.
基础想法是这样的,快速ATTACK 压缩设置在stereo masters上经常用与使鼓声平淡(快速CATCH THE PEAK),而慢速ATTACK设置就比较趋向于影响人声以及其他类似的乐器(例如BASS/弦乐等等).而快或者慢就由乐器的细节和他们是如何MIX的情况来决定的.
There's simply no hard rule on this, to get started you can turn up a pretty extreme amount of compression and play with the attack and release controls. You'll begin to be able to hear how different elements are changed by the compression.
这个方法是简单的而且没有硬性规律的,刚刚开始的时候,你能通过对ATTACK 和 RELEASE的操作,你能找到一个恰当的压缩设置.这个时候,MIX原始之间的不同就会随着压缩设置的改变,慢慢的被你发觉(这个步骤都是一步一步的设置,慢慢听,按照不同的情况找到恰当的点,这个的确需要一个比较长的时候,是一个慢工出细活的步骤).
Once you get close to understanding the attack and release times that change the vocals while not killing the attack of the drums you can dial it back to a more reasonable setting and go from there.
一旦你开始慢慢找到了你想要的ATTACK TIME 和 RELEASE TIME之后,在没有影响到鼓声启动设置(ATTACK)的情况下,你可以把之前的设置拨回一点(dial it back:这里我自己理解是把原先的设置拨回去一点,就是减少一点的数值),然后从这里开始找到一个更合理的设置.(意思就是在没有影响DRUM的情况,再减少原先的ATTACK AND RELEASE设置,这样应该是为了让DRUM拥有更多余地.以次找到更好的耦合点).
It's all about experimentation. (这个就是此实验方法的大概)
最后在我自己的看法里面,在MIX方面看,这个方法实在是在没办法情况下才用的.我觉得在进入FINAL MIX之前你就应该对各个元素作好处理.而作为MASTERING方面来处理,我自己实在没什么经验,所以也只能说这是一个十分消耗时间的工序,而且是一个十分抽象的工作,所以多练习多实践是必不可少的.但无论如何也算是一个值得了解的方法.
而对于初学者或者某些翻唱爱好者,这个绝对是一个懒惰的办法,人声和伴奏声音不均衡的时候就能尝试这个方法~~HOHO~~当然难度也是比较大的.
[ 本帖最后由 Ying 于 2006-6-15 14:42 编辑 ]
