关于DRUM的动态讨论(SAWSTUDIO的论坛)
I have found myself doing this project "by departments", and at present am working mostly in the Drum Department. I think I know the basic "EQ rules", but I am less sure about dynamics processing. We are talking rock/pop here, so I'm going for fatness and impact (but without completely destroying the dynamics, except where called for). Here is what I am doing so far:
我自己做这个PROJECT（工程啦）的时候，是用“分部”来做的，而当前做得最多得就是DRUM 部分。我想我是知道鼓得基本“EQ规则”。但我是比较少得了解动态处理得（不知道这个对不对，但是根据上下文大概是这个意思）。我们在这里只说ROCK和POP，所以我们一般是让鼓声“fatness（矮矮胖胖）”和“impact（冲击力）”（在不破坏动态得情况下）。下面是我们做得步骤
First, "cleanup" of Kick, Snare, Toms. For toms, I start by soloing each track all the way through and hand editing at the fills (sometimes I find leakage on those tracks that benfits the overall drum sound at certain points). Then I will use "stip silence" on kick and snare tracks with a -5 ms attack, 90-150 ms release, and a threshold low enough to allow an occasional false trigger. I turn the channel gates off afterwards. I then solo through each of those tracks and trim by ear as necessary (the trick is to keep natural sounding decays while killing the bleed).
第一：把底鼓声，军鼓，Toms鼓“cleanup（你就理解是清理吧）“。
我开始各自得轨道进行SOLO，并进行处理（有时候，我会在那些轨道上找leakage（我自己理解是泄漏得声音，就是压缩前某些音头或者音尾）这样有利于突出鼓声）。
对于底鼓和军鼓，ATTACK上，我会用自动或者5MS，而release上我会用90到150MS（和WAVES的教材有出入，大家各自理解尝试了），同时THESHOLD设置到足够低的点上，让鼓声偶尔受到影响。然后我在压缩以后用GATE，做GATE的时候必须认真细听每一个轨道（SOLO听），这样的原因是消除鼓声的尾音。
Next, I will compress kick, snare and tom tracks individually using the channel compressors to "grab" the attacks so thath the "body" of the hit can be turned up without overloading the channel. I use 0 or 1 ms attack, about 30 ms release, ratio of at least 6, threshold pulled down to catch all of the attack peak while leaving the decay untouched. Channel compressor is patched BEFORE the eq.
next，我会压缩底鼓、军故和TOM鼓，分别对每一个轨道压缩（这样能更好处理过载的轨道），我用0或者1ms做ATTACK值，用大约30ms做RELEASE值，RATIO 最少是6，THRESHOLD只要降低到所有的峰值就好（当然那些鼓声的DECAY必须不被压缩）。压缩必须在EQ之前（这个见人见智了）
The snare, toms, and sometimes overheads are assigned, not only to the master output, but also to another output for a "squeezed" submix, to which I apply a Levelizer pre-fade. I set it to compress heavily, 30 ms attack, 90 ms release, threshold around -20 to -24 dB. Then, with compression "off", I will set the limiter to pull down at least 8 to 12 dB on peaks. I will also sometimes gate (if there is a noise floor problem) with 1 ms attack, 150-200 ms release, and floor at about -20 dB. I may or may not use any gain makeup at the end. The resulting submix is assigned back to the master.
最后，军鼓 和 toms 输出到其他的BUSS，不要只输出到MASTER OUTPUT。然后对于军鼓和TOMS的BUSS，我用LEVELIZER做推子前效果，我会设置十分打的压缩，30MS的ATTACK.90MS的RELEASE，threshold是-20到-24DB。当压缩不工作的时候（就是没东西让他压缩的时候），我就用LIMITER限制到最少－8到－12DB，作为PEAK限制。然后有时候也会用GATE处理，这个GATE处理可以参照这里：http://www.audiobar.net/viewthre ... &extra=page%3D2
[ 本帖最后由 Ying 于 2006-4-23 10:16 编辑 ]
我自己做这个PROJECT（工程啦）的时候，是用“分部”来做的，而当前做得最多得就是DRUM 部分。我想我是知道鼓得基本“EQ规则”。但我是比较少得了解动态处理得（不知道这个对不对，但是根据上下文大概是这个意思）。我们在这里只说ROCK和POP，所以我们一般是让鼓声“fatness（矮矮胖胖）”和“impact（冲击力）”（在不破坏动态得情况下）。下面是我们做得步骤
First, "cleanup" of Kick, Snare, Toms. For toms, I start by soloing each track all the way through and hand editing at the fills (sometimes I find leakage on those tracks that benfits the overall drum sound at certain points). Then I will use "stip silence" on kick and snare tracks with a -5 ms attack, 90-150 ms release, and a threshold low enough to allow an occasional false trigger. I turn the channel gates off afterwards. I then solo through each of those tracks and trim by ear as necessary (the trick is to keep natural sounding decays while killing the bleed).
第一：把底鼓声，军鼓，Toms鼓“cleanup（你就理解是清理吧）“。
我开始各自得轨道进行SOLO，并进行处理（有时候，我会在那些轨道上找leakage（我自己理解是泄漏得声音，就是压缩前某些音头或者音尾）这样有利于突出鼓声）。
对于底鼓和军鼓，ATTACK上，我会用自动或者5MS，而release上我会用90到150MS（和WAVES的教材有出入，大家各自理解尝试了），同时THESHOLD设置到足够低的点上，让鼓声偶尔受到影响。然后我在压缩以后用GATE，做GATE的时候必须认真细听每一个轨道（SOLO听），这样的原因是消除鼓声的尾音。
Next, I will compress kick, snare and tom tracks individually using the channel compressors to "grab" the attacks so thath the "body" of the hit can be turned up without overloading the channel. I use 0 or 1 ms attack, about 30 ms release, ratio of at least 6, threshold pulled down to catch all of the attack peak while leaving the decay untouched. Channel compressor is patched BEFORE the eq.
next，我会压缩底鼓、军故和TOM鼓，分别对每一个轨道压缩（这样能更好处理过载的轨道），我用0或者1ms做ATTACK值，用大约30ms做RELEASE值，RATIO 最少是6，THRESHOLD只要降低到所有的峰值就好（当然那些鼓声的DECAY必须不被压缩）。压缩必须在EQ之前（这个见人见智了）
The snare, toms, and sometimes overheads are assigned, not only to the master output, but also to another output for a "squeezed" submix, to which I apply a Levelizer pre-fade. I set it to compress heavily, 30 ms attack, 90 ms release, threshold around -20 to -24 dB. Then, with compression "off", I will set the limiter to pull down at least 8 to 12 dB on peaks. I will also sometimes gate (if there is a noise floor problem) with 1 ms attack, 150-200 ms release, and floor at about -20 dB. I may or may not use any gain makeup at the end. The resulting submix is assigned back to the master.
最后，军鼓 和 toms 输出到其他的BUSS，不要只输出到MASTER OUTPUT。然后对于军鼓和TOMS的BUSS，我用LEVELIZER做推子前效果，我会设置十分打的压缩，30MS的ATTACK.90MS的RELEASE，threshold是-20到-24DB。当压缩不工作的时候（就是没东西让他压缩的时候），我就用LIMITER限制到最少－8到－12DB，作为PEAK限制。然后有时候也会用GATE处理，这个GATE处理可以参照这里：http://www.audiobar.net/viewthre ... &extra=page%3D2
[ 本帖最后由 Ying 于 2006-4-23 10:16 编辑 ]
军鼓、桶鼓以及有时的静空间不仅被分配给主输出，也分配给了其他输出，我通常在推前使用电平器（leverlizer）。我还对其设置了较重的压缩，30毫秒的启动时间，90毫秒的释放时间，阀值在-20到-24dB左右。然后，随着压缩器“停止工作”，我会设置限制器（limiter）至少拖下8到12dB的峰值电平。有的时候，我也会使用1毫秒启动时间，150-200毫秒释放时间的门效果器（gate），使用-20dB的floor值。在最后，我有时会使用增益补偿。最后的主混缩再进行母带处理。
最后一段仅做参考
前面没有太多的问题,比我想象的translation情况要好.值得夸奖,继续努力！！
最后一段仅做参考
前面没有太多的问题,比我想象的translation情况要好.值得夸奖,继续努力！！