如何录制铜管和木管中英文对照版-2
The Brass Instruments
The full family of brass instruments as we know them today, including the cornet, trumpet, trombone, tuba, and euphonium, date from about 1850, by which time their designs had been optimised. The last major evolution was the invention of the valve as a means of introducing or bypassing sections of tubing and thereby allowing the performer to alter the tuning of an instrument whilst playing. Previously the only means available was a slide (like the modern slide trombone), and although short-slide trumpets were popular in the 19th century, the valve offered a more practical solution.
The basic principle of the trumpet (and its cousins) is that blowing into the tube through taut lips sets up an audibly resonant vibrating column of air. Changing the tension of the lips and the air pressure allows different harmonic resonances to be stimulated, thus providing a limited number of alternative notes, with big gaps in the lower register and not all the available harmonics conforming to the diatonic scale. However, altering the fundamental length of the pipe (with valves or a slide) enables a full and accurate compass of notes to be generated. The tonal qualities of the instrument are determined by the metal alloys used in its construction, the shape of the bell and the bore size of the tubing -- the latter determining the balance of harmonics and the instrument's volume capabilities amongst other things.
A characteristic of brass instruments which everyone knows is that they are all very loud! However, their loudness varies with pitch, because it requires much more energy to force the tube to resonate at the higher harmonics. For example, measured at four metres, a trumpet can produce well in excess of 96dB SPL, and easily over 130dB within 0.5m of the bell! At low registers the quietest notes possible (without using aids like mutes) would be around 60dB SPL (at 4m) but high notes will not be less than around 86dB SPL -- the trumpet has about twice as much dynamic range at the bottom of its range than at the top. By comparison, a trombone is not only capable of around 5dB greater volume than a trumpet, but also has a wider dynamic range.
In terms of the frequency spectrum, brass instruments all tend to be rich in harmonics. For example, although the fundamental of a trumpet is centred around 1200Hz, it generates strong harmonic components beyond 8kHz for the upper notes, with the implication that the harmonic series continues well into the ultrasonic region. The harmonic balance also varies enormously with volume, the fundamental and first overtone remaining relatively constant but the upper partials exhibiting a much greater dynamic range. Thus the trumpet (see Figure 1 below) can sound quite mellow when played softly, but brilliant when blown hard.
The trombone, on the other hand, has its fundamental centred around 550Hz (see Figure 2), but can produce frequency components above 10kHz when played hard. When played more softly, however, the balance of harmonics doesn't change quite as much compared to the trumpet, so it retains much of its rich and bright quality even during quieter passages. The lowest brass instruments are the bass and contrabass tubas (and their relatives) which are capable of generating notes as low as 29 Hz (a low Bb), although the first overtones are generally much stronger than the fundamentals.
1。铜管乐器
在铜管乐器自1850年以来它的大家族里包括了短号、小号、长号、大号、次中音号等
其中最具决定意义的一次演化就是阀键（活塞）的发明使用,使的演奏家可以更加方便的时时演奏!在次之前唯一的改变音高方法是用滑管（就像现在的长号演奏一样），虽然这种短滑管小号在19世纪很流行，但之后阀键（活塞）的应用被证明是更使用的方法！
小号的基本原理（作者注：以及它的“兄弟姐妹”都有同样的原理）是通过嘴将空气吹进铜管体内使空气由于压力变化在里面共鸣振动发出声音。并可以通过改变嘴唇的拉力来改变管内空气压力从而产生不同的谐和回响。从而影响到它低音区的音不能完全对应上每个全音阶的音。可是，我们也可通过活塞（阀）或滑塞来改变管身基本长度，从而产生准确的音高。而音色的质量取决于制作乐器的合金，喇叭口的形状大小和管身的内径决定了乐器的音量和均衡感。
就如我们大家都知道的那样：铜管乐器的音量都很大，然而他们的音量却是随着音高而变化的，那是因为音越高管体所需要的压力就越大随之而来的就是振动共鸣的增大，使的音量也变的更大。举个例子：在4米距离小号可以完美的产生超过96分贝音量左右的声压强度，在距离喇叭口周围0.5米内可以产生130分贝以上音量的声压强度.在低音区里最低的音可能产生的声压强度是60分贝左右(不使用弱音器,且在4米距离),同样在低音区里最高的音的声压强度也不会少于86分贝左右.由此可以看出小号高音时的动态范围是低音区的2倍.如果拿这些和长号比较,那么长号比小号不但音量大5分贝左右以外而且还拥有更宽的动态范围.
根据频率波谱表可以看出在谐和的演奏状态下,通管乐器的频率振幅都是非常大。举个例子:虽然小号的中心频率在1200Hz左右,但它可以演奏在8KHz左右的高音,并可衍生出超声波范围的泛音. 泛音的平衡会因为音量的变化而改变，但基本频率和第一个泛音不变，只是在高音时会有更大的动态范围。所以,小号可以在演奏抒情的乐段时很甜美宁静,在演奏比较热烈奔放的乐段时很灿烂辉煌.
就长号来说,它的中心频率是在550Hz左右,在演奏最激昂乐段时可以达到10KHz以上.但当长号演奏抒情的乐段时并不能象小号一样宁静甜美,它的音色依然保持着饱满和明亮.在铜管中音域最低的是BASS和低音大号,虽然,它们的第一个泛音可以超过基本原则,但仍有能力产生29Hz的低音!