- 第 3 页 -
And that leads us to another control. It is a switch, and it is sometimes marked "Automatic" and
sometimes marked "Peak/RMS".
So what does this switch do?
这使我们找到另一个设置。它是一个开关，有时标为“自动”，有时注为“Peak/RMS”（峰值或有效值）。那么，这个
开关是用来干什么呢？
Well, as I mentioned before, the "Attack" and "Release" settings really depend on the music you are
using the compressor on. But music continually changes. What the "Automatic" or "Peak/RMS" switch does,
is to switch on an automatic setting that attempts to "listen" to the music and continually set the
correct "Attack" and "Release" settings for you. Of course it doesn't always do the best job, and that
is why you also have manual control if you want it. It is important to realise that with this switch
turned on, the "Attack" and "Release" controls are disabled and will do nothing.
正如我前面提到的，“启动”和“释放”设置是由你压缩的音乐决定的。但音乐是不断变化的。标有 “Automatic”（
自动）或“Peak/RMS”（峰值/有效值）的开关是什么呢，它是一个自动切换启动和释放时间设置的开关，你可以通过
“听”音乐调整它直到为你设置合适的“启动”和“释放”的参数设置。当然，这并不总是做的最好，如果你愿意也可
以手动操作。其重要的是要认识到，如果开关被打开了而“启动”和“释放”装置却禁用了，那将什么也不做了。
Some compressors (unfortunately) don't have "Attack" and "Release" controls at all, and are either set
to preset values, or permanently set to RMS (automatic).
而某些压缩器根本没有“启动”和“释放”装置。要么设置为预设值，要么设置为永久自动的RMS。
There is also an IN/OUT switch (often marked BYPASS). This is essential. It is there so you can switch
the compressing action on and off and thus hear the difference your changes have made. To make best use of this switch, you need to set the
"Output" control such that the sound appears to be at roughly the same level irrespective of whether the compressor is switched IN or OUT -
this allows you to easilly make comparisons by listening.
也有标为in/out的开关（常标注为直通）。这很重要。正在那里，你可以切换压缩，或开或关闭，因此可以听到不同的
声音。为了更好地使用此开关，你需要对“输出增益”进行调整，不论压缩器切换成in还是out，电平都是一样的，这
样你就可以轻而易举的听辨出来。
The final control on most stereo or two-channel compressors is called "Link". What is this for?
最终控制大多数立体声或双声道的压缩器叫做“连接”。这是什么呢？
Whenever you adjust the volume control on a stereo mix, you always expect both left and right volume
levels to change at the same time don't you? (otherwise the mix would wander off to one side or the other). That's what the "Link" control
is for. It makes sure that both left and right hand volumes always change in time with each other, so the mix stays "in the middle".
当你调整立体声混响的音量控制时，你总是希望左，右的音量是同时变化的，不是吗？ （否则混响会偏离到混合一方
或其他）。这就是由“连接”的控制的。它确保左，右音量在时间的变化上是一致的，使混合保持在“中间”地段。
As an added bonus, the "Link" control *usually* (although, not always) disables one set of compressor
controls on a two-channel unit, and takes all of its settings from just one set of controls. This is
because on a stereo signal you normally want *exactly* the same settings on both sides -
as well as keeping the volume levels equal. This is not the case on all compressors though, so it is
important that you check your manual to find out whether you need to set the controls on both channels
to be the same, or whether you only need to use one set of controls (the other ones being disabled).
作为额外的好处，“连接”控制通常（不总是）禁用压缩器的双通道控制单元，并只从一组控件中采取所有的设置。这
是因为在立体声信号中你通常想在两侧保持相同的音量设置。这并不是对所有的压缩器都适用，所以查看手册指南是必
要的，以了解自己是否需要把两个通道的控制设置成相同的，还是你只需要调整其中一个（其他的被禁用）。
On some compressors, even if one set of controls is disabled, the "Output" controls for each side may be
independant (don't ask me why - it does seem a bit silly) - again, you *must* check the manual, as it is
not always easy to tell simply by playing with the settings and listening.
在一些压缩器上，有一些设置是被屏蔽的，还有的在每侧的输出增益是独立的（不要问我为神马-这看起来是有点愚蠢
）-所以，你就有必要去看手册，因为这不是很简单的设置。
That completes our "tour" of the controls. I hope you understood it. Read it a couple of more times if
you don't, and if you're still feeling lost, perhaps it might come to you after you've tried these
examples.
大概的设置就这么多。我希望你懂了。如果你没懂就多读几次，如果你仍然很迷惑，在尝试了这些例子以后或许会好些。
So: Now onto the examples... 来看看例子吧！
Example 1: Hard Limiting
例1：硬压限
The problem: You are doing a live gig or an important digital recording. You want to leave the music
completely untouched, but what you don't want, is totally unexpected loud peaks causing damage or
distortion.
问题：你做现场或者做数字录音时。你不想影响音乐，但你有不详让过大峰值造成破坏或失真。
The solution: You want to stop TOTALLY any music or sound exceeding your expected maximum level. This is
an emergency situation! But this is also quite simple to do with a compressor. Set the "Attack" and
"Release" controls to their fastest - after all, it will only "kick-in" during cases of emergency, and
you want it to respond immediately (to prevent distortion), and you also want it to recover immediately
(so no-one notice s anything happened). Make sure that any "Automatic" or "Peak/RMS" switch is turned
off - so that the "Attack" and "Release" controls actually work and are not in automatic mode. The
"over-easy" or "soft-knee" switch (if present) should be turned off too.
解决方案： 你想要完全的阻止任何音乐或声音过大的电平。这是一个棘手的问题。但对于压缩这都不是事。把
“attack”和“release”都调到最快-毕竟，它会快速的进行压缩，并且它能快速的回应（防止失真），并且你希望它
快速恢复（没人会注意到这个处理带来的变化）。你得确保“automatic”或者“peak/RMS”开关都是关闭的-这样
“attack”和“release”参数才能正常工作而不是自动模式的。“over-easy”或者“soft-knee”（如果有的话）也
应该关闭。
Then set the "Threshold" control to maximum (probably marked +10Db or +20Db, but on some digital plugins
it may be marked as zero). This will prevent the compressor doing anything just yet.
把阈值开到最大（可能标注为+10Db或者+20Db，但是一些数字插件有可能标注为0DB）。这会让压缩器不做任何工作。
Then set the "Ratio" control to maximum (normally marked 20:1 or even infinity-to-one). You won't hear
anything happening just yet, because the "Threshold" control is set to maximum - effectively bypassing
the unit.
Now, play the LOUDEST MUSIC SIGNAL YOU EVER EXPECT TO HEAR through the compressor, and look at the
levels.
把压缩比设置到最大（一般标注为20：1或者无限：1），你不会听到有任何变化，因为阈值设置到最大-就像旁通了一
样。
现在，播放最大的音量经过压缩器，然后看电平。
Now, slowly turn down the "Threshold" control, carefully listening and looking at the levels. The moment
you even *start* to hear a decrease in volume or see it on the meters then stop, and back off a tiny
bit. You have found your optimum settings.
现在，慢慢的降低阈值，仔细的听和看电平。你听到音量变小或者看到电平表变小就停止，然后往回拉一点点，这样就
是很好的设置。
Just to check, try playing some excessively loud music through the compressor. You will find that it
refuses to exceed the maximum level you have set, no matter how loud the input!
检查一下，尝试放一些“勇猛”（音量大一点）的音乐，你会发现压缩很牛逼，能把音量控制在阈值的范围之内，无论
你给多大音量！
Needless to say, if you get a bit silly and try to blast the compressor with INCREDIBLY loud music, you
may indeed hear the compressor start to distort (it still won't exceed that maximum level though!). But
this is just unrealistic. You are setting it up to handle only the most unusual, unexpected and extreme
cases, which will be well below the level of distortion.
不用说，如果你用愚蠢一点的测试方法，播放一些爆炸式的震耳欲聋的音乐，你会听到压缩后的声音是扭曲的（它仍然
不会超过阈值设置内的最大音量！）。但这是不切实际的。这个设置只会处理特殊的，意外的或者很极端的情况，是不
至于让音乐失真的。
[ 本帖最后由 xin4545 于 11-3-18 14:17 编辑 ]
sometimes marked "Peak/RMS".
So what does this switch do?
这使我们找到另一个设置。它是一个开关，有时标为“自动”，有时注为“Peak/RMS”（峰值或有效值）。那么，这个
开关是用来干什么呢？
Well, as I mentioned before, the "Attack" and "Release" settings really depend on the music you are
using the compressor on. But music continually changes. What the "Automatic" or "Peak/RMS" switch does,
is to switch on an automatic setting that attempts to "listen" to the music and continually set the
correct "Attack" and "Release" settings for you. Of course it doesn't always do the best job, and that
is why you also have manual control if you want it. It is important to realise that with this switch
turned on, the "Attack" and "Release" controls are disabled and will do nothing.
正如我前面提到的，“启动”和“释放”设置是由你压缩的音乐决定的。但音乐是不断变化的。标有 “Automatic”（
自动）或“Peak/RMS”（峰值/有效值）的开关是什么呢，它是一个自动切换启动和释放时间设置的开关，你可以通过
“听”音乐调整它直到为你设置合适的“启动”和“释放”的参数设置。当然，这并不总是做的最好，如果你愿意也可
以手动操作。其重要的是要认识到，如果开关被打开了而“启动”和“释放”装置却禁用了，那将什么也不做了。
Some compressors (unfortunately) don't have "Attack" and "Release" controls at all, and are either set
to preset values, or permanently set to RMS (automatic).
而某些压缩器根本没有“启动”和“释放”装置。要么设置为预设值，要么设置为永久自动的RMS。
There is also an IN/OUT switch (often marked BYPASS). This is essential. It is there so you can switch
the compressing action on and off and thus hear the difference your changes have made. To make best use of this switch, you need to set the
"Output" control such that the sound appears to be at roughly the same level irrespective of whether the compressor is switched IN or OUT -
this allows you to easilly make comparisons by listening.
也有标为in/out的开关（常标注为直通）。这很重要。正在那里，你可以切换压缩，或开或关闭，因此可以听到不同的
声音。为了更好地使用此开关，你需要对“输出增益”进行调整，不论压缩器切换成in还是out，电平都是一样的，这
样你就可以轻而易举的听辨出来。
The final control on most stereo or two-channel compressors is called "Link". What is this for?
最终控制大多数立体声或双声道的压缩器叫做“连接”。这是什么呢？
Whenever you adjust the volume control on a stereo mix, you always expect both left and right volume
levels to change at the same time don't you? (otherwise the mix would wander off to one side or the other). That's what the "Link" control
is for. It makes sure that both left and right hand volumes always change in time with each other, so the mix stays "in the middle".
当你调整立体声混响的音量控制时，你总是希望左，右的音量是同时变化的，不是吗？ （否则混响会偏离到混合一方
或其他）。这就是由“连接”的控制的。它确保左，右音量在时间的变化上是一致的，使混合保持在“中间”地段。
As an added bonus, the "Link" control *usually* (although, not always) disables one set of compressor
controls on a two-channel unit, and takes all of its settings from just one set of controls. This is
because on a stereo signal you normally want *exactly* the same settings on both sides -
as well as keeping the volume levels equal. This is not the case on all compressors though, so it is
important that you check your manual to find out whether you need to set the controls on both channels
to be the same, or whether you only need to use one set of controls (the other ones being disabled).
作为额外的好处，“连接”控制通常（不总是）禁用压缩器的双通道控制单元，并只从一组控件中采取所有的设置。这
是因为在立体声信号中你通常想在两侧保持相同的音量设置。这并不是对所有的压缩器都适用，所以查看手册指南是必
要的，以了解自己是否需要把两个通道的控制设置成相同的，还是你只需要调整其中一个（其他的被禁用）。
On some compressors, even if one set of controls is disabled, the "Output" controls for each side may be
independant (don't ask me why - it does seem a bit silly) - again, you *must* check the manual, as it is
not always easy to tell simply by playing with the settings and listening.
在一些压缩器上，有一些设置是被屏蔽的，还有的在每侧的输出增益是独立的（不要问我为神马-这看起来是有点愚蠢
）-所以，你就有必要去看手册，因为这不是很简单的设置。
That completes our "tour" of the controls. I hope you understood it. Read it a couple of more times if
you don't, and if you're still feeling lost, perhaps it might come to you after you've tried these
examples.
大概的设置就这么多。我希望你懂了。如果你没懂就多读几次，如果你仍然很迷惑，在尝试了这些例子以后或许会好些。
So: Now onto the examples... 来看看例子吧！
Example 1: Hard Limiting
例1：硬压限
The problem: You are doing a live gig or an important digital recording. You want to leave the music
completely untouched, but what you don't want, is totally unexpected loud peaks causing damage or
distortion.
问题：你做现场或者做数字录音时。你不想影响音乐，但你有不详让过大峰值造成破坏或失真。
The solution: You want to stop TOTALLY any music or sound exceeding your expected maximum level. This is
an emergency situation! But this is also quite simple to do with a compressor. Set the "Attack" and
"Release" controls to their fastest - after all, it will only "kick-in" during cases of emergency, and
you want it to respond immediately (to prevent distortion), and you also want it to recover immediately
(so no-one notice s anything happened). Make sure that any "Automatic" or "Peak/RMS" switch is turned
off - so that the "Attack" and "Release" controls actually work and are not in automatic mode. The
"over-easy" or "soft-knee" switch (if present) should be turned off too.
解决方案： 你想要完全的阻止任何音乐或声音过大的电平。这是一个棘手的问题。但对于压缩这都不是事。把
“attack”和“release”都调到最快-毕竟，它会快速的进行压缩，并且它能快速的回应（防止失真），并且你希望它
快速恢复（没人会注意到这个处理带来的变化）。你得确保“automatic”或者“peak/RMS”开关都是关闭的-这样
“attack”和“release”参数才能正常工作而不是自动模式的。“over-easy”或者“soft-knee”（如果有的话）也
应该关闭。
Then set the "Threshold" control to maximum (probably marked +10Db or +20Db, but on some digital plugins
it may be marked as zero). This will prevent the compressor doing anything just yet.
把阈值开到最大（可能标注为+10Db或者+20Db，但是一些数字插件有可能标注为0DB）。这会让压缩器不做任何工作。
Then set the "Ratio" control to maximum (normally marked 20:1 or even infinity-to-one). You won't hear
anything happening just yet, because the "Threshold" control is set to maximum - effectively bypassing
the unit.
Now, play the LOUDEST MUSIC SIGNAL YOU EVER EXPECT TO HEAR through the compressor, and look at the
levels.
把压缩比设置到最大（一般标注为20：1或者无限：1），你不会听到有任何变化，因为阈值设置到最大-就像旁通了一
样。
现在，播放最大的音量经过压缩器，然后看电平。
Now, slowly turn down the "Threshold" control, carefully listening and looking at the levels. The moment
you even *start* to hear a decrease in volume or see it on the meters then stop, and back off a tiny
bit. You have found your optimum settings.
现在，慢慢的降低阈值，仔细的听和看电平。你听到音量变小或者看到电平表变小就停止，然后往回拉一点点，这样就
是很好的设置。
Just to check, try playing some excessively loud music through the compressor. You will find that it
refuses to exceed the maximum level you have set, no matter how loud the input!
检查一下，尝试放一些“勇猛”（音量大一点）的音乐，你会发现压缩很牛逼，能把音量控制在阈值的范围之内，无论
你给多大音量！
Needless to say, if you get a bit silly and try to blast the compressor with INCREDIBLY loud music, you
may indeed hear the compressor start to distort (it still won't exceed that maximum level though!). But
this is just unrealistic. You are setting it up to handle only the most unusual, unexpected and extreme
cases, which will be well below the level of distortion.
不用说，如果你用愚蠢一点的测试方法，播放一些爆炸式的震耳欲聋的音乐，你会听到压缩后的声音是扭曲的（它仍然
不会超过阈值设置内的最大音量！）。但这是不切实际的。这个设置只会处理特殊的，意外的或者很极端的情况，是不
至于让音乐失真的。
[ 本帖最后由 xin4545 于 11-3-18 14:17 编辑 ]
Example 2: Compression of an Instrument or Vocal
例2：压缩乐器和人声
The problem: You are working with a fairly good vocalist. Normally when they sing loudly everything is
fine - but every now and again they sing their little heart out so much that the recording either
distorts, or is simply just way too loud. Unfortunately the vocalist is so unpredicatable that when this
happens you don't have time to adjust the recording levels because it happens almost at random, and is
difficult to predict.
问题：一个非常不错的歌手。通常他们大声唱时都很好-但是他们一旦在歌声中融入感情做音乐表情时，就会导致有很
小的电平和很大的电平。通常我们无法在他们录音时对输入电平进行调节。
The solution: An ideal application for a compressor! Start with a good recording level for normal
recording, and with a fast "Attack" and a moderately slow "Release" on the compressor (ensuring these
controls are on a "manual" setting). Also switch ON the "Over-easy" or "Soft-knee" button (if the
compressor has one).
解决方案：对压缩机来说这都不是事！首先正常的调整好录音的输入增益，并且调整一个快速的“attack”和一个稍慢
的“release”（保证这些设置是手动设置）。也需要打开“over-esay”或者“soft-knee”开关（如果压缩器有的话
）
As before, begin with both the "Threshold" and "Ratio" at maximum. Whilst the vocalist is singing at a
fairly QUIET to moderate level, slowly turn down the "Threshold" control until either your ears or the
meters detect the slightest faint drop in level. If your compressor has a "Gain reduction" meter it
should *just* begin to indicate a change. Turn up the "Output" control until the quiet part is at a good
level for you.
在这之前，把阈值和压缩比都调整到最大。先让歌手用适度的正常音量歌唱，慢慢的降低阈值直到你听到或者看到电平
有轻微的下落。如果你的压缩器有GR（电平压缩）表，你会看到他的表针开始动起来。调大输出增益直到你感觉到适度
的电平（音量）。
Now go to the LOUDEST part of the song and get the vocalist to sing (or play back a recording). With the
ratio at maximum, you should now find that - ironically - the sound is far too quiet! Simply turn the
ratio control down until the level is just about as loud as seems reasonable. The "Gain reduction" meter
- if you have one - will probably be lighting up lots of pretty lamps at this point (unless it is just a
boring moving pointer :-)
现在去副歌部分（高潮，大声的部分）让歌手演唱（或者回放录音）。现在压缩比是最大的，你会发现-当然-声音是很
小很小的！调小压缩比直到电平到适当的大小。如果你有一个GR表-他这是便会亮起来（除非它只有一个无聊的指针）![]()
As a final pass on this example, you might want to get the artist to perform the song once through (or
playback a "take" if you are compressing on playback), and at this point you might want to play with the
"Attack" or "Release" settings to get the most "natural" sound. Be careful if choosing an slow "Attack"
though, as it might allow the compressor to "overshoot" and exceed the levels which you so carefully set
previously.
最后检验一下，让歌手唱一遍（或者回放一遍录音），现在的你去调整“attack”和“release”设置让声音变的更自
然。需要注意的是，如果你把“attack”调的太慢了，这会允许放过大的电平以至于超出你之前所仔细设置的音量水平
。
Example 3: Adding "Punch" to a Sound
例3：给声音增加冲击力
(normally bass instruments like bass guitar or bass drum)
（一般是低音乐器例如bass或者低音鼓）
The problem: The artist is performing a fairly rhythmic pattern, but somehow they don't seem to be
"punching" through the mix, even though their sound is basically quite good. Every time they play a riff
you know you really want to "feel" the "impact" - but it is simply not there.
问题：做一个强节奏的演出时，总是觉得它的冲击力不够，虽然这也许听起来是不错的。每次演奏一个小的即兴段的时
候都想让他更有感染力-但这显然是达不到的。
The solution: Although compressors are normally associated with *reducing* peak levels, did you know
that they are capable of actually GENERATING amazing peaks?
解决方法：尽管压缩器通常是降低峰值，你知不知道他们实际上更有能力产生惊人的峰顶？
This technique generally only works with "percussive" sounding instruments like drums, guitar (including
bass), and spiky keyboard sounds like "clavinet", that are playing a rhythmically "pulsating" part.
这种技术通常是于类似“敲击特征的（节奏感强的）”听起来想鼓，吉他（包含bass），尖锐的钢琴听起来像“击弦古
钢琴”起节奏性，波动的作用的部分。
The technique relies on the fact that the "Attack" control can be used to make the compressor respond in
a sloppy way - thereby allowing lound signals to "overshoot" and generate peaks that weren't even there
in the first place!
To do this, start with a moderately slow release, a SLOW attack, and with the ratio and threshold at
maximum. The "Soft-knee" or "Over-easy" control (if present) should be OFF.
该技术依托于“attack”设置让压缩器缓慢的作出反应-这样就相当于放过了峰值开头的大信号。
要做到这一点，开始用一个较比慢的“release”，一个较慢的“attack”，并且把阈值和压缩比调整到最大。
把"Soft-knee" 或者 "Over-easy"关掉。
Play back the quietest part of the performance, and as before, turn down the "Threshold" gradually. You
should find a setting where although the instrument is starting to get a bit quieter, it is starting to
have more "punch" to it. Use the "Output" control to restore the level to a good volume.
播放电平比较小的部分，像以前一样，逐渐的调低阈值。直到乐器开始变的有一点小声，开始让它拥有一些冲击力。调
整输出增益使其恢复到一他良好的音量。
Now go to the loudest part of the song. You will find at these settings that the instrument is -
surpringly - too quiet. Turn down the ratio until the sound is loud enough.
现在去歌曲音量最大的部分。在现在这个设置下-这里的音量是很小的。把压缩比降低直到有足够的音量。
Now check out the quiet part of the song again. You might now find that it is not as punchy anymore, and
you might have to turn down the "Threshold" some more (and of course boost the "Output" to compensate).
再回去听一下原来音量较小的部分。你也许会发现它没有那么铿锵有力，并且你需要把阈值降低一些（当然需要把输出
增益调大进行补偿）
Finally, rehearse the part (or playback), and adjust the "Attack" to give you the "punchiness" you need
overall.
最后，回放一下，调整“attack”来得到你需要的冲击力度。
The "Release" control is quite critical in this scenario too. If you have it set too fast, you can hear
the compressor "breathing" or "pumping" (you'll know what I mean when you hear it!). On the other hand,
if you set "Release" too slow, then you will start to lose the "punchiness" - it is a tricky balance.
“release”在这里也是相当关键的。如果你把它设置的太快了，你会觉得声音听起来想“呼吸”或者“用泵抽水”（
如果你听到了你就理解我什么意思了）。反之，如果你把“release”设置的太慢了，你会开始损失很多冲击力-这是个
很微妙的平衡。
例2：压缩乐器和人声
The problem: You are working with a fairly good vocalist. Normally when they sing loudly everything is
fine - but every now and again they sing their little heart out so much that the recording either
distorts, or is simply just way too loud. Unfortunately the vocalist is so unpredicatable that when this
happens you don't have time to adjust the recording levels because it happens almost at random, and is
difficult to predict.
问题：一个非常不错的歌手。通常他们大声唱时都很好-但是他们一旦在歌声中融入感情做音乐表情时，就会导致有很
小的电平和很大的电平。通常我们无法在他们录音时对输入电平进行调节。
The solution: An ideal application for a compressor! Start with a good recording level for normal
recording, and with a fast "Attack" and a moderately slow "Release" on the compressor (ensuring these
controls are on a "manual" setting). Also switch ON the "Over-easy" or "Soft-knee" button (if the
compressor has one).
解决方案：对压缩机来说这都不是事！首先正常的调整好录音的输入增益，并且调整一个快速的“attack”和一个稍慢
的“release”（保证这些设置是手动设置）。也需要打开“over-esay”或者“soft-knee”开关（如果压缩器有的话
）
As before, begin with both the "Threshold" and "Ratio" at maximum. Whilst the vocalist is singing at a
fairly QUIET to moderate level, slowly turn down the "Threshold" control until either your ears or the
meters detect the slightest faint drop in level. If your compressor has a "Gain reduction" meter it
should *just* begin to indicate a change. Turn up the "Output" control until the quiet part is at a good
level for you.
在这之前，把阈值和压缩比都调整到最大。先让歌手用适度的正常音量歌唱，慢慢的降低阈值直到你听到或者看到电平
有轻微的下落。如果你的压缩器有GR（电平压缩）表，你会看到他的表针开始动起来。调大输出增益直到你感觉到适度
的电平（音量）。
Now go to the LOUDEST part of the song and get the vocalist to sing (or play back a recording). With the
ratio at maximum, you should now find that - ironically - the sound is far too quiet! Simply turn the
ratio control down until the level is just about as loud as seems reasonable. The "Gain reduction" meter
- if you have one - will probably be lighting up lots of pretty lamps at this point (unless it is just a
boring moving pointer :-)
现在去副歌部分（高潮，大声的部分）让歌手演唱（或者回放录音）。现在压缩比是最大的，你会发现-当然-声音是很
小很小的！调小压缩比直到电平到适当的大小。如果你有一个GR表-他这是便会亮起来（除非它只有一个无聊的指针）
As a final pass on this example, you might want to get the artist to perform the song once through (or
playback a "take" if you are compressing on playback), and at this point you might want to play with the
"Attack" or "Release" settings to get the most "natural" sound. Be careful if choosing an slow "Attack"
though, as it might allow the compressor to "overshoot" and exceed the levels which you so carefully set
previously.
最后检验一下，让歌手唱一遍（或者回放一遍录音），现在的你去调整“attack”和“release”设置让声音变的更自
然。需要注意的是，如果你把“attack”调的太慢了，这会允许放过大的电平以至于超出你之前所仔细设置的音量水平
。
Example 3: Adding "Punch" to a Sound
例3：给声音增加冲击力
(normally bass instruments like bass guitar or bass drum)
（一般是低音乐器例如bass或者低音鼓）
The problem: The artist is performing a fairly rhythmic pattern, but somehow they don't seem to be
"punching" through the mix, even though their sound is basically quite good. Every time they play a riff
you know you really want to "feel" the "impact" - but it is simply not there.
问题：做一个强节奏的演出时，总是觉得它的冲击力不够，虽然这也许听起来是不错的。每次演奏一个小的即兴段的时
候都想让他更有感染力-但这显然是达不到的。
The solution: Although compressors are normally associated with *reducing* peak levels, did you know
that they are capable of actually GENERATING amazing peaks?
解决方法：尽管压缩器通常是降低峰值，你知不知道他们实际上更有能力产生惊人的峰顶？
This technique generally only works with "percussive" sounding instruments like drums, guitar (including
bass), and spiky keyboard sounds like "clavinet", that are playing a rhythmically "pulsating" part.
这种技术通常是于类似“敲击特征的（节奏感强的）”听起来想鼓，吉他（包含bass），尖锐的钢琴听起来像“击弦古
钢琴”起节奏性，波动的作用的部分。
The technique relies on the fact that the "Attack" control can be used to make the compressor respond in
a sloppy way - thereby allowing lound signals to "overshoot" and generate peaks that weren't even there
in the first place!
To do this, start with a moderately slow release, a SLOW attack, and with the ratio and threshold at
maximum. The "Soft-knee" or "Over-easy" control (if present) should be OFF.
该技术依托于“attack”设置让压缩器缓慢的作出反应-这样就相当于放过了峰值开头的大信号。
要做到这一点，开始用一个较比慢的“release”，一个较慢的“attack”，并且把阈值和压缩比调整到最大。
把"Soft-knee" 或者 "Over-easy"关掉。
Play back the quietest part of the performance, and as before, turn down the "Threshold" gradually. You
should find a setting where although the instrument is starting to get a bit quieter, it is starting to
have more "punch" to it. Use the "Output" control to restore the level to a good volume.
播放电平比较小的部分，像以前一样，逐渐的调低阈值。直到乐器开始变的有一点小声，开始让它拥有一些冲击力。调
整输出增益使其恢复到一他良好的音量。
Now go to the loudest part of the song. You will find at these settings that the instrument is -
surpringly - too quiet. Turn down the ratio until the sound is loud enough.
现在去歌曲音量最大的部分。在现在这个设置下-这里的音量是很小的。把压缩比降低直到有足够的音量。
Now check out the quiet part of the song again. You might now find that it is not as punchy anymore, and
you might have to turn down the "Threshold" some more (and of course boost the "Output" to compensate).
再回去听一下原来音量较小的部分。你也许会发现它没有那么铿锵有力，并且你需要把阈值降低一些（当然需要把输出
增益调大进行补偿）
Finally, rehearse the part (or playback), and adjust the "Attack" to give you the "punchiness" you need
overall.
最后，回放一下，调整“attack”来得到你需要的冲击力度。
The "Release" control is quite critical in this scenario too. If you have it set too fast, you can hear
the compressor "breathing" or "pumping" (you'll know what I mean when you hear it!). On the other hand,
if you set "Release" too slow, then you will start to lose the "punchiness" - it is a tricky balance.
“release”在这里也是相当关键的。如果你把它设置的太快了，你会觉得声音听起来想“呼吸”或者“用泵抽水”（
如果你听到了你就理解我什么意思了）。反之，如果你把“release”设置的太慢了，你会开始损失很多冲击力-这是个
很微妙的平衡。
观众反应
