- 第 1 页 -
你是如何在立体声声像里面营造深度和立体感的？
How do you achieve depth or that third dimension in a stereo image?
你是如何在立体声声像里面营造深度和立体感的？
Depth perception in a recording is the result of a combination of values, including the ratio of direct to reverberant sound, the intensity of a sound source relative to others in the same field, and even EQ, especially in the presence area of about 1.5 kHz to, say, 5 kHz.
录音中的深度感是一个很多数值结合的结果，包括混响的干湿比例，在同一环境中一个声源相对于其它声源的强度，和恰当的EQ，尤其是在大约1.5kHz到5kHz出现的区域。
Probably the most important factor in creating a feeling of depth is the change in the ratio of direct to reverberant sound. As reverberant energy becomes more prominent the source appears to move back.
可能营造深度感最重要的因素就是混响干湿比例的变化，当混响能量变得更突出的时候，就会让人觉得声源在退后。
The absence of early reflections in a sound source makes it seem much closer. As you change the quality of early reflections in a sound they greatly affect the depth of field. These reflections are generally less than 40 milliseconds-once they're longer than that, the ear can pick them out as individual reflections, and below 40 milliseconds they tend to smear into one sound. That is why intelligent use of pre-delay with reverb devices can give a tremendous feeling of depth of field.
缺少早期反射的声音会让人觉得离自己比较近，当你改变声音中早期反射的质量时会对对它们的深度造成很大的影响。这些反射通常小于40ms — 曾经会比这要长，人耳可以分辨出每一次反射，小于40ms时它们更容易弄脏一个声音。这就是为什么混响器的预延时的合理利用可以给人以深度感上的极大感受。
Here's an example of how I use early reflections to create both presence and depth of field in recording Michael Jackson: First, I'll record a monophonic melody track with Michael fairly close to the microphone. Then I'll have him double the same track at the same position at the mic. Next, I'll have him step back two paces and record a third pass of the same melody with the gain raised to match the level of the previous two. That raises the ratio of early reflections to direct sound. Blended with the first two tracks, this has a wonderful effect. Finally, I might even have him step back further and record a stereo pass of the same line using an X-Y pair setup and blend that track in as well. You can hear the effect for yourself on a song like "Man in the Mirror" on the Bad album.
这里有一个例子是关于我在Michael Jackson的录音中如何使用早期反射来营造声场的存在和深度感的：首先，我将给Michael录一个离麦克风较近的的单声道旋律轨，然后我让他在离麦克风同样的位置录同样的一轨。接下来，我让他退后两步录第三遍同样的旋律并且增益提升音量与前两次的相称。它给直达声增加了早期反射的比例。和前两次的音轨混合，这是一个非常好的效果。最后，我甚至可以让他退的更后一些，用X-Y录音设备在同一条线上录制一遍立体声并且同样的混合这些轨。你就可以亲自听到像在BAD专辑中"Man in the Mirror"这首歌的效果。
This technique tricks the ear into perceiving a depth of field that isn't really there, through the addition of early reflections. (If I'm using any reverb on that vocal, I'll make sure that the pre-delay doesn't smear those early reflections.)
通过早期反射的增加使人耳感觉有深度感的这种技术手段是不真实的。（如果我在那个人声上不使用任何混响，我敢肯定预延迟不会把那些早期反射弄脏）。
Five-time Grammy -winner Bruce Swedien shares his ideas on recording.
~~~~~~~~~~~~~~~~~~~~最后括号里的话不太懂，是不是我翻译错了，谢谢大家指正。
~~~~~~~~~~~~~~~~~~~~~~~~~感谢YING兄提供好文。
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~希望大家积极讨论。
[ 本帖最后由 margindge 于 2006-9-26 23:07 编辑 ]
你是如何在立体声声像里面营造深度和立体感的？
Depth perception in a recording is the result of a combination of values, including the ratio of direct to reverberant sound, the intensity of a sound source relative to others in the same field, and even EQ, especially in the presence area of about 1.5 kHz to, say, 5 kHz.
录音中的深度感是一个很多数值结合的结果，包括混响的干湿比例，在同一环境中一个声源相对于其它声源的强度，和恰当的EQ，尤其是在大约1.5kHz到5kHz出现的区域。
Probably the most important factor in creating a feeling of depth is the change in the ratio of direct to reverberant sound. As reverberant energy becomes more prominent the source appears to move back.
可能营造深度感最重要的因素就是混响干湿比例的变化，当混响能量变得更突出的时候，就会让人觉得声源在退后。
The absence of early reflections in a sound source makes it seem much closer. As you change the quality of early reflections in a sound they greatly affect the depth of field. These reflections are generally less than 40 milliseconds-once they're longer than that, the ear can pick them out as individual reflections, and below 40 milliseconds they tend to smear into one sound. That is why intelligent use of pre-delay with reverb devices can give a tremendous feeling of depth of field.
缺少早期反射的声音会让人觉得离自己比较近，当你改变声音中早期反射的质量时会对对它们的深度造成很大的影响。这些反射通常小于40ms — 曾经会比这要长，人耳可以分辨出每一次反射，小于40ms时它们更容易弄脏一个声音。这就是为什么混响器的预延时的合理利用可以给人以深度感上的极大感受。
Here's an example of how I use early reflections to create both presence and depth of field in recording Michael Jackson: First, I'll record a monophonic melody track with Michael fairly close to the microphone. Then I'll have him double the same track at the same position at the mic. Next, I'll have him step back two paces and record a third pass of the same melody with the gain raised to match the level of the previous two. That raises the ratio of early reflections to direct sound. Blended with the first two tracks, this has a wonderful effect. Finally, I might even have him step back further and record a stereo pass of the same line using an X-Y pair setup and blend that track in as well. You can hear the effect for yourself on a song like "Man in the Mirror" on the Bad album.
这里有一个例子是关于我在Michael Jackson的录音中如何使用早期反射来营造声场的存在和深度感的：首先，我将给Michael录一个离麦克风较近的的单声道旋律轨，然后我让他在离麦克风同样的位置录同样的一轨。接下来，我让他退后两步录第三遍同样的旋律并且增益提升音量与前两次的相称。它给直达声增加了早期反射的比例。和前两次的音轨混合，这是一个非常好的效果。最后，我甚至可以让他退的更后一些，用X-Y录音设备在同一条线上录制一遍立体声并且同样的混合这些轨。你就可以亲自听到像在BAD专辑中"Man in the Mirror"这首歌的效果。
This technique tricks the ear into perceiving a depth of field that isn't really there, through the addition of early reflections. (If I'm using any reverb on that vocal, I'll make sure that the pre-delay doesn't smear those early reflections.)
通过早期反射的增加使人耳感觉有深度感的这种技术手段是不真实的。（如果我在那个人声上不使用任何混响，我敢肯定预延迟不会把那些早期反射弄脏）。
Five-time Grammy -winner Bruce Swedien shares his ideas on recording.
~~~~~~~~~~~~~~~~~~~~最后括号里的话不太懂，是不是我翻译错了，谢谢大家指正。
~~~~~~~~~~~~~~~~~~~~~~~~~感谢YING兄提供好文。
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~希望大家积极讨论。
[ 本帖最后由 margindge 于 2006-9-26 23:07 编辑 ]
(If I'm using any reverb on that vocal, I'll make sure that the pre-delay doesn't smear those early reflections.)
这句话的意思应该是：如果我用一些混响在人声上，我将肯定pre-delay 不会弄脏早期反射声。
这句话结合"Man in the Mirror"这首歌的录音来说的，因为在混音的时候 ，录音师用后几次不同距离（话筒）的声音制造出了early reflections的效果。所以给主人声加混响是不会干扰early reflections的。
这句话的意思应该是：如果我用一些混响在人声上，我将肯定pre-delay 不会弄脏早期反射声。
这句话结合"Man in the Mirror"这首歌的录音来说的，因为在混音的时候 ，录音师用后几次不同距离（话筒）的声音制造出了early reflections的效果。所以给主人声加混响是不会干扰early reflections的。