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是招儿吧?
原帖由 himhui 于 2006-5-4 00:47 发表
響度是相對的, 大的要用小的去親托, 正如近的要以遠的去作比較, 靜和動....等。強行將所有提升,無形中減少了相對響度, 亦縮窄了空間。
这句话,我的体会是,你做的是什么音乐..................!
强行提升的确不是个办法,严重的就是失真,要不就是声音变成一锅粥!
普天之下只有一种乐器可以超越这个原则!
它就是可以得到无限级的压缩效果的失真吉他!!这也就让我明白了,为什么普通的音乐做不了象金属,朋克那么大的声音!如果重型音乐,用的不是失真!恐怕................................和普通的音乐就差不多了.............!个人心得!呵呵
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
这是之前翻译的文章,是SAW论坛上一个人对自己鼓声处理过程,当然不是全对~但是他的做法正好是多COMPRESSOR联用
[ 本帖最后由 himhui 于 2006-5-4 09:33 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
这是之前翻译的文章,是SAW论坛上一个人对自己鼓声处理过程,当然不是全对~但是他的做法正好是多COMPRESSOR联用
[ 本帖最后由 himhui 于 2006-5-4 09:33 编辑 ]
http://www.audiobar.net/viewthre ... &extra=page%3D2
这是原文~~最后一段看轩辕的翻译
http://www.audiobar.net/viewthre ... &extra=page%3D3
这是GATE的处理
这是原文~~最后一段看轩辕的翻译
http://www.audiobar.net/viewthre ... &extra=page%3D3
这是GATE的处理