以下为我从插件版本看的一个英文版的帖子，然后我字典加理解手工翻译的！粗糙了点，对付看一下，希望对你有帮助！
A basic mastering chain looks like this:一个基本的混音链看起来像这样：
EQ--> Compressor --> Limiter
You have to listen to what the song needs. I have heard that answer for years and I
really disliked it, but it's true. Compare to commercial songs and decide.
一首歌倒地需要什么。我听过的多年的答案，我真的不喜欢它，但它是事实。这是比较商业的歌曲的
决定。
There are countless discussions about whether you should put the eq or the compressor in
front and I think this is the most useful answer: corrective compression (to make the
spectral balance better) should be used before the compressor. If you use eq to color
the sound (for example, make it more vintage; add warmth or flavor), you can use it
after the compressor.
有无数的讨论关于你是否应该把eq或者在压缩放在前面，我认为这是最有用的答案：纠正频谱（使频
谱变平衡更好）应该把压缩放在前面，如果你使用eq去使声音变的有色彩，（例如让他更加老式，温
暖或风味），你可以在压缩以后使用eq。
So now you can extend your chain to this, if necessary:
现在你可以扩展关于这个思路，如果有必要：
Corrective EQ --> Compressor --> Colour EQ --> Limiter
I'm still learning about mastering (and I hope I'll never stop learning) and I realize
that I need much less compression than I thought of in the first place. I work mainly
with electronic music and in lots of cases I don't use compression at all. Or there are
other ways to be creative with compression, like saturation or using a clipper. I use
parallel compression more and more these days. It doesn't destroy the dynamics like
regular compression.
我还在学习混音（并且我希望我将每天都继续学习）并认识到我需要的压缩比我想象中的要少的多。
我的作品多数是电子音乐我并没有在所有的地方都加了压缩。有很多的方法去用压缩做创意，像饱满
度或者作为clipper。我这些日子越来越多的去用压缩。他不会破坏动态像regular压缩
。
Sometimes it's necessary to make your songs broader. You need a stereo imager to achieve
this. I put it after the compressor or the coloring eq.
有时候你必须让你的歌声场更大，你就需要一个立体声效果器来实现它，我把他放在压缩或者eq后面
。
If you want your song really loud, you can put a clipper before the limiter. I don't
advice to make your songs really loud because it destoys the dynamics but we all know
that feeling that we want our song as loud as commercial songs.
如果你想让你的歌更加响，你可以放一个clipper在压线前面，不建议让你的歌非常响，因为他会破
坏动态，但是我们都知道作为商业歌曲一定要“响”。
So now we can extend our mastering chain to this:
所以我们可以扩展思路像这样：
Corrective EQ --> Compressor --> Coloring EQ --> Stereo Imager --> Clipper --> Limiter
Some people say you can put the clipper behind the limiter, after all, lots of AD/DA
converters add clipping as last part in the chain, but when I do this, I just hear more
distortion and somehow it doesn't work for me. Maybe it does for you. Try it, you should
trust your ears more than any tutorial.
Remember that you don't always need all plugins, these are just recommendations. Listen
to what your songs need.
一些人说你可以把clipper放在限制器后面，毕竟，多数的AD/DA转换clipper都是放在最后的，但是
当我们这样做，我只听到更多的失真，我觉得这样不适合我。也许这样会适合你。试试吧，你应该更
加相信自己的耳朵而不是教程。请记住，你并不总是需要所有的插件，这些只是建议，根据你的歌曲
需要。
Some plugins I like a lot:
我喜欢的一些插件
Corrective EQ:
DDMF eq's
DMGaudio EQuality
Voxengo Harmonieq
Compressor:
PSP mastercomp
PSP Oldtimer
Cytomic The Glue (great for parallel compression)
Variety of sound's density (freeware)
Voxengo Polysquasher
Coloring EQ:
DMGaudio EQuality
Voxengo Harmonieq
Stereo Imager:
DDMF Stereooerets
Hbasm stereoizer
Clipper:
Gvst Gclip
Stillwell Event horizon+
Limiter:
Jeroen Breebaart Barricade Pro
Voxengo Elephant
PSP Audioware Xenon
Oops, I almost forgot my special sauce; Do you know that feeling when your mix sounds
thin, in comparison to commercial mixes? In lots of cases it can be solved by using a
very short reverb. A reverb which is shorter than 30 ms, is called ambience. Add this as
first plugin in the mastering chain. I really recommend variety of Sound's 'Epicverb'
for this. You can highpass the reverb to take the boominess of the low end out of the
reverb. And the best thing is, if the mix doesn't sound thin, this reverb will be
unnoticable, not destroying your mix.用一个短于30ms的混响，
糟糕，我几乎忘了我的特别任务，你知道吗？当你混出来的歌曲感觉薄时，想较于商业来说。多数情
况下可以用很短的混响来解决，应该叫氛围。在你的总输出把他放在第一个位置，知道听到各种声音
的“epicverb”为止。你可以高通混响去得到嗡嗡的混响效果。而最好的是，如果混出来歌曲听起来
不薄，这个混响将不会引人注目，也不会破坏你的混音。
So now we end up with a pretty large mastering chain:
现在我们有了一条非常大的混音效果链
Ambience Reverb --> Corrective EQ --> Compressor --> Coloring EQ --> Stereo Imager -->
Clipper --> Limiter
If you --somewhere in this process-- want to add saturation, I would recommend (in no
particular order):
如果你 --在这个过程中的某处--想增加饱和度，我会建议（在任何特定的顺序）：
Variety of sound Tessla SE or PRO
Variety of sound ferricTDS
Audioteknikk.net Green Eugene
You can add the saturation in the beginning of the chain:
你可以增加爆满度在这个链条的开始
Saturation --> Ambience Reverb --> Corrective EQ --> Compressor --> Coloring EQ -->
Stereo Imager --> Clipper --> Limiter
This is a mega mastering chain but I repeat, not very song needs every plugin.
这是一个大型的混音效果链但是我要重申。不是所有的歌都需要插件。
Use limits to set yourself free
使用限制使你自己自由
We all know that since the last decade (or 2 decades) we have access to many more
musical (digital) tools. And those tools are much cheaper than hardware. Having access
to so many plugins can work contra-productive because we always want to test the newest
'flavour of the month'.
我们都知道，自过去10年（或20年），我们能够获得更多的音乐（数字）工具。而这些工具比硬件更
便宜，拥有这么多的插件会影响工作效率因为我们一直会去测试新的插件。
To cut the experimenting and to really get results, I limit my arsenal of mastering
plugins to maximum 5 of each type (5 compressors, 5 equalizers,...) or even less.
为了减少实验，真正取得成果。我限制掌握每个插件最多5种类型（5压缩，5eq……）或者更少。
Even the shortest mastering chain gives us the opportunity --by combining plugins-- to
get many different outcomes. If you have 5 compressors, 5 equalizers and 3 limiters to
choose from, you can have 75 possible mastering chains (5x5x3=75). It's pretty common to
use 2 compressors in a row to prevent pumping, while mastering. If you have 5 comps, you
can get 25 combinations (5x5) of serial compression alone. Trust me, if none of these
combinations will give you a satisfying result, what will? It means that you have to
work on your skills, because a new plugin won't save your master either.
即使是掌握最少的效果链也是我们有机会--结合插件--去得到很多不同的结果。如果你有5个压缩，5
个eq和3个限制器需要选择，你可以有75个效果链(5x5x3=75)。也有连着用2个压缩在一条里以防止破
，当你混音时。如果你有5个压缩，你可以得到25种组合单独序列压缩。相信我，如果没有任何一种
序列能够给你满意的结果，怎么办？这以为这你必须要提高你的技能，因为一个新的插件并不能拯救
一个歌的混缩。
How many hardware did the engineers of the greatest records in the pre-digital area had
access to? Do you think the Beatles or the Rolling Stones had access to 100 eq's and 250
compressors? I guess not, and their records still sound awesome. They had a bunch of
engineers who kept tweaking the tools until the sound was right. They just couldn't take
a zillion dollar equalizer and say: 'Damn let's take another one because this one
doesn't fit the sound.' Their amount of hardware was limited in comparison to our choice
of software but they worked their asses of to get a fine sound. It was done by hard
work, not by taking a random tool without knowing what that tool can do.
有多少机会能够获得多少在pre-digital领域顶级工程师设计的硬件呢？你觉得披头士或者滚石乐队
有100个eq或者250个压缩？我猜不会，并且他们的唱片听起来很棒。他们有一个工程师为他们调整直
到声音听起来是对的。他们不会拿着一个价值亿万美元的均衡器说：该死的，让我们换另一个eq来吧
，因为这个声音不对。和我们的软件数量比起来他们的硬件数量是有限的，但是他们的工作为他们获
得了一个很好的声音。他是通过辛勤的工作得到的，不是无知的去随即的采取工具而都不知道自己在
做什么。
What am I trying to tell? Choose some good tools and stick to them. learn the controls
and characteristic sound of each plugin. Do you find a new great compressor with a
killer sound? Good, use it, but ditch another compressor, otherwise you'll end up with
to many plugins... again.
为什么我要告诉大家？选择一些好的工具并且去精通他们。学习控制和每个特有的声音插件。你找到
一款非常让你满意的压缩了么？好的，使用它，但是另外的压缩，否则你将最终与很多插件打交道…
…再次。
I guess that's all I have to say
我想这就是我要说的。
Maybe you found something useful in this text
也许你会发现游泳的东西在这个文本。