- 第 4 页 -
Example 4: Compressing a Final Mix
例：总线压缩
Ooooh! This is the trickiest one of the bunch! You will probably have one of two problems. Either (a)
the mix overall doesn't sound "punchy" enough - which requires slightly different settings to the
previous example, OR - (b) you have the more common problem - you simply can't get your mix to sound
"loud" enough compared to other recordings that you have in your collection.
看我口型：Ooooh！这是最精彩的一部分！你可能会遇到一个或者两个问题。例如（a）整体听起来动态不够-这和前面
的例子设置就略有不同的，或者-（b）一个很普遍问题-你无法让你的音乐有足够的电平（动态），和你收藏的其他录
音比起来。
The problem (a): The mix overall doesn't sound "punchy" enough
问题（a）：总体听起来动态不够猛
The solution (a): If your mix doesn't sound punchy enough you have to start with some "preset" settings
on your compressor as follows:
解决方案（a）：如果你的混缩听起来不够猛你可以用一些压缩器上带的预制参数：
Start with the "Automatic" or "Peak/RMS" switch turned ON (RMS setting). Music is a complex thing, and a
"final mix" even more so. The "Automatic" or "RMS" setting will literally "listen" to your music and try
to find the "ideal" settings for both the "Attack" and "Release" controls and disable them.
If your compressor doesn't have an "Automatic" or "RMS" setting, then set both the "Attack" and
"Release" settings to medium. In both cases we will end up adjusting them manually later so don't worry
too much.
打开"Automatic" 或者 "Peak/RMS"的开关（RMS设置）。音乐是个复杂的东西，而最后的混缩更是。"Automatic" 或者
"RMS"设置会“分析”你的音乐并尝试找到一个合适的"Attack" 和"Release"参数。如果你的压缩器没有"Automatic"
或者"RMS"设置，这时把"Attack" 和"Release"设置到中间。在两种情况下我们降手工设置他们，不要担心。
Set (as before), the "Threshold" setting to maximum (which "bypasses" the compressor), but this time
pre-set the "Ratio" control to about 3:1 or thereabouts. Now, whilst playing the mix gradually turn down
the "Threshold" level until you start to get a more punchy sound. You will (as always) have to turn up
the output to compensate.
之前设置，把阈值设置到最大（就像旁通了一样），但这次我们把压缩比设置成3：1或者3：1大概的范围。现在播放音
乐调低阈值直到你感觉声音更有冲击力了！然后还是一样用输出增益调节到合适的音量。
When you can hear the compressor making a difference, try experimenting with the "Attack" and "Release"
settings. If you previously set "RMS" or "Automatic" ON, then try to match both "Attack" and "Release"
to the same sound as "Automatic" and use that as your starting point. The slower the "Attack" the longer
the overshoot. Sometimes a short attack will sound good (making quick transients), other times, a slower
attack will sound more appropriate.
如果你能听出压缩器的变化，你可以试着调整"Attack"和"Release" 。如果你以前打开了"RMS"或"Automatic"，现在尝
试调整"Attack"和"Release"和自动化那个一样作为你的起点。 "Attack"越慢音头越长（overshoot冲击）。有时一个
短的attack听起来不错（有快速的瞬变），而有时，一个慢的attack听起来更适合。（这两句是废话）
It's a good idea to go around ALL the controls in turn, making slight changes until you believe that you
have the best settings on all of them.
Use the IN/OUT button to compare results with the original - using the "Output" control to match the
sound level between the IN and OUT settings, so they are at the same volume - this greatly helps make a
good comparison.
在你认为你找到最佳设置前，把所有的设置做微量调整是一个很不错的办法。切换in/out按钮来进行比较-使用输出增
益来调整IN/OUT的电平，使他们在同样的电平上-这是个比较的不错的办法。
The problem (b): You can't get your mix to sound "loud" enough compared to other recordings
问题（b）：和其他的录音比起来你的混缩听起来不够“响”
The solution (b): You really need TWO sorts of compression here. Firstly, you need "limiting" set up as
per example (1) previously. Turn down the "Threshold" until you can start to hear the limiter making an
unpleasant difference to the mix. Then turn it back up a bit, and try to find the position where you
have the best balance between cutting down the peaks, and making an undesireable change to the
music. In most cases it should be possible to apply quite a lot of limiting without any significant
difference to the sound of the track.
解决方案（b）：这里你必要需要两个的压缩。首先，你需要一个像例（一）里一样的一个限制器。慢慢的调低阈值直
到你听到或看到限制器工作了。然后稍微往回拉一点，并且找到在切断峰值与破坏音乐听感之间的一个平衡点。在多数
情况下，它应该会限制很多轨道的声音而不影响听感的。
Now that you have trimmed off the peaks, you can crank up the "Output" to a much more respectable level
for mastering on CD. But you might want your CD to sound louder still. If that's the case, then apply
another compressor BEFORE the limiter and just try some conventional compression as in solution (b)
above (but probably with a faster attack). Many mastering compressors have a compressor AND a limiter
combined in one unit for this very purpose.
现在限制了峰值，我们就可以调大输出增益到一个合理水平（和其他的cd比起来），但是你仍然想要它听起来更大一些
的话。这种情况我们就需要在这前面在加一个常规的压缩器（但是需要一个比较快的attack）。为了达到这个特殊的目
的，我们就需要在限制器前在加一个压缩器。
As an alternative approach, set quite a fierce compression (5:1 or more), and switch on the "over-easy"
or "soft-knee" button, and with fast attack. Start (as always) with the "Threshold" high, and slowly
turn it down until you achieve the balance between a good amount of compression, and best sound quality.
Adjust the "Release" control to help minimise how much you can "hear" the compressor working. The speed
of "Release" setting is different depending on the speed and type of music - let your ears judge it.
作为一种可选的方法，设定一个比较狠的压缩量（5：1或者更大），打开"over-easy"或"soft-knee"开关，和一个比较
快的attack。把阈值调到最大，并且慢慢的调低直到声音失真、变质、被破坏之前（有很大的压缩量），调整release
降低你能听到的压缩器工作的声音。release的速度设置是根据不同速度和类型的音乐决定-这也取决于你的耳朵。（大
师们都爱说的一句话，哇咔咔）
That concludes our four main examples.
上面就是我们4个主要的例子了！
例：总线压缩
Ooooh! This is the trickiest one of the bunch! You will probably have one of two problems. Either (a)
the mix overall doesn't sound "punchy" enough - which requires slightly different settings to the
previous example, OR - (b) you have the more common problem - you simply can't get your mix to sound
"loud" enough compared to other recordings that you have in your collection.
看我口型：Ooooh！这是最精彩的一部分！你可能会遇到一个或者两个问题。例如（a）整体听起来动态不够-这和前面
的例子设置就略有不同的，或者-（b）一个很普遍问题-你无法让你的音乐有足够的电平（动态），和你收藏的其他录
音比起来。
The problem (a): The mix overall doesn't sound "punchy" enough
问题（a）：总体听起来动态不够猛
The solution (a): If your mix doesn't sound punchy enough you have to start with some "preset" settings
on your compressor as follows:
解决方案（a）：如果你的混缩听起来不够猛你可以用一些压缩器上带的预制参数：
Start with the "Automatic" or "Peak/RMS" switch turned ON (RMS setting). Music is a complex thing, and a
"final mix" even more so. The "Automatic" or "RMS" setting will literally "listen" to your music and try
to find the "ideal" settings for both the "Attack" and "Release" controls and disable them.
If your compressor doesn't have an "Automatic" or "RMS" setting, then set both the "Attack" and
"Release" settings to medium. In both cases we will end up adjusting them manually later so don't worry
too much.
打开"Automatic" 或者 "Peak/RMS"的开关（RMS设置）。音乐是个复杂的东西，而最后的混缩更是。"Automatic" 或者
"RMS"设置会“分析”你的音乐并尝试找到一个合适的"Attack" 和"Release"参数。如果你的压缩器没有"Automatic"
或者"RMS"设置，这时把"Attack" 和"Release"设置到中间。在两种情况下我们降手工设置他们，不要担心。
Set (as before), the "Threshold" setting to maximum (which "bypasses" the compressor), but this time
pre-set the "Ratio" control to about 3:1 or thereabouts. Now, whilst playing the mix gradually turn down
the "Threshold" level until you start to get a more punchy sound. You will (as always) have to turn up
the output to compensate.
之前设置，把阈值设置到最大（就像旁通了一样），但这次我们把压缩比设置成3：1或者3：1大概的范围。现在播放音
乐调低阈值直到你感觉声音更有冲击力了！然后还是一样用输出增益调节到合适的音量。
When you can hear the compressor making a difference, try experimenting with the "Attack" and "Release"
settings. If you previously set "RMS" or "Automatic" ON, then try to match both "Attack" and "Release"
to the same sound as "Automatic" and use that as your starting point. The slower the "Attack" the longer
the overshoot. Sometimes a short attack will sound good (making quick transients), other times, a slower
attack will sound more appropriate.
如果你能听出压缩器的变化，你可以试着调整"Attack"和"Release" 。如果你以前打开了"RMS"或"Automatic"，现在尝
试调整"Attack"和"Release"和自动化那个一样作为你的起点。 "Attack"越慢音头越长（overshoot冲击）。有时一个
短的attack听起来不错（有快速的瞬变），而有时，一个慢的attack听起来更适合。（这两句是废话）
It's a good idea to go around ALL the controls in turn, making slight changes until you believe that you
have the best settings on all of them.
Use the IN/OUT button to compare results with the original - using the "Output" control to match the
sound level between the IN and OUT settings, so they are at the same volume - this greatly helps make a
good comparison.
在你认为你找到最佳设置前，把所有的设置做微量调整是一个很不错的办法。切换in/out按钮来进行比较-使用输出增
益来调整IN/OUT的电平，使他们在同样的电平上-这是个比较的不错的办法。
The problem (b): You can't get your mix to sound "loud" enough compared to other recordings
问题（b）：和其他的录音比起来你的混缩听起来不够“响”
The solution (b): You really need TWO sorts of compression here. Firstly, you need "limiting" set up as
per example (1) previously. Turn down the "Threshold" until you can start to hear the limiter making an
unpleasant difference to the mix. Then turn it back up a bit, and try to find the position where you
have the best balance between cutting down the peaks, and making an undesireable change to the
music. In most cases it should be possible to apply quite a lot of limiting without any significant
difference to the sound of the track.
解决方案（b）：这里你必要需要两个的压缩。首先，你需要一个像例（一）里一样的一个限制器。慢慢的调低阈值直
到你听到或看到限制器工作了。然后稍微往回拉一点，并且找到在切断峰值与破坏音乐听感之间的一个平衡点。在多数
情况下，它应该会限制很多轨道的声音而不影响听感的。
Now that you have trimmed off the peaks, you can crank up the "Output" to a much more respectable level
for mastering on CD. But you might want your CD to sound louder still. If that's the case, then apply
another compressor BEFORE the limiter and just try some conventional compression as in solution (b)
above (but probably with a faster attack). Many mastering compressors have a compressor AND a limiter
combined in one unit for this very purpose.
现在限制了峰值，我们就可以调大输出增益到一个合理水平（和其他的cd比起来），但是你仍然想要它听起来更大一些
的话。这种情况我们就需要在这前面在加一个常规的压缩器（但是需要一个比较快的attack）。为了达到这个特殊的目
的，我们就需要在限制器前在加一个压缩器。
As an alternative approach, set quite a fierce compression (5:1 or more), and switch on the "over-easy"
or "soft-knee" button, and with fast attack. Start (as always) with the "Threshold" high, and slowly
turn it down until you achieve the balance between a good amount of compression, and best sound quality.
Adjust the "Release" control to help minimise how much you can "hear" the compressor working. The speed
of "Release" setting is different depending on the speed and type of music - let your ears judge it.
作为一种可选的方法，设定一个比较狠的压缩量（5：1或者更大），打开"over-easy"或"soft-knee"开关，和一个比较
快的attack。把阈值调到最大，并且慢慢的调低直到声音失真、变质、被破坏之前（有很大的压缩量），调整release
降低你能听到的压缩器工作的声音。release的速度设置是根据不同速度和类型的音乐决定-这也取决于你的耳朵。（大
师们都爱说的一句话，哇咔咔）
That concludes our four main examples.
上面就是我们4个主要的例子了！
观众反应
Advanced Use 拓展应用
Most analog compressors have a "Side-chain" socket on the back, and now some plugins are offering a
similar facility too. So what's it for?
许多模拟压缩器的背面有一个side-chain（侧链）插口，现在一些插件也包含类似的功能。这个干神马用的呢？
The compressor works by feeding the sound through the compressor itself, but also by feeding the sound
to the compressor "control system".
The control system "listens" to the sound and controls the compressor volume.
压缩器工作是通过经过它自身的声音，也可以是通过它“控制系统”的声音。
声音激发控制系统然后压缩机开始工作。
The side-chain is a system that lets you insert something - like a graphic equaliser for example -
immediately before the compressors control system.
Note this is NOT in the main audio path and doesn't affect the sound as such - just the way the
compressor responds. This system lets you over-emphasise a certain frequency that you want the
compressor to listen out for.
侧链是一个插入式的系统-例如一个图表均衡器-插入到压缩器前面。注意侧链插孔不是在主要的音频轨上并且不会因此
影响声音-它只是控制压缩器反应。这个系统是让压缩器对特殊频段进行反应。
For example: 例如
Example 5: De-essing a Vocal
例5：给人声去齿音
The problem: You have a vocal, but sounds such as the letters "S" and "T" are sounding really harsh, and
burst through the mix too much. You don't want to equalise them out of the vocal sound, because the
vocal sound is actually quite nice apart from those explosive "S" and "T" sounds.
问题：你有一段人声，但是这里面的"S"和"T"听起来太尖锐了，并且在混缩中听起来很刺耳。你还不想去eq（原文也是
做动词用了一下）这个人声，因为除了那坑爹的"S"和"T"其他部分都很完美。
The solution: Using fast "Attack" and quite fast "Release", set the compressor at about 3:1 and then
place an equaliser into the side-chain. Suck out all bottom end, and middle, and apply a boost at around
3 to 6KHz. You will find that adjusting the "Threshold" will control how powerful the "S" and "T" sounds
can get. Overdo it and the vocal can sound very strange. Set it so that it gets the "S" and "T" sounds
just how you like them.
解决方案：用快速的“attack”和相当快的“release”，把压缩比设定在3：1并且把eq插到侧链上。中低频eq掉，并
且在3-6KHz一带做提升。你会发现调整阈值能控制"S"和"T"的能量。如果弄过头了声音会听起来很奇怪。你可以通过这
个让"S"和"T"挺起来更舒服一点。
Note: It is understandable to think that you might need two compressors on a vocal - one to perform de-
essing, followed by another one doing "normal" compression. This is not so. One compressor can do the
two jobs at the same time! Simply compress the vocal as normal. Then insert an equaliser into the side
chain, and apply a small boost around the sibilant region (around 3KHz-6KHz). This will cause the
compressor to over-react on sibilant sounds, thereby de-essing at the same time as compressing. Use the
EQ BOOST to control how much sibilant sounds are CUT.
注意：你可能认为这需要在一个人声上用两个压缩器-一个用来去齿音-另一个正常压缩（前面有压缩人声部分）。事实
并非如此。一个压缩起可以同时做这两个工作的！可以正常的压缩人声。在侧链上插入一个eq，在齿音区做小小的提升
（大概3-6KHz）。这就会导致压缩对齿音产生过度反应，同时压缩齿音。使用eq来控制需要去掉多少齿音。
It is VERY, VERY IMPORTANT not to overdo de-essing. If you do, the singer will sound like they have a
lisp. Or should that be lithp? :-) In any case, once you've screwed it up by overdoing it during
recording, then there is little you can do to rescue it later - so go easy on it! (you can always de-ess
some more during mixing if required).
千万千万不要过度的去齿音。如果你这样做了的话，歌手听起来会像个大舌头。或者他真的是个大舌头？:-)任何情况
下，在录音中你齿音去的不够，你可以稍后在补救-并且是简单的！（你可以在混音时随时去齿音）。
It's important to understand that the equaliser you choose to place in the side-chain does NOT affect
the frequency response of the sound going THROUGH the compressor, just what the compressor internally
LISTENS to. It therefore effects how the overall volume responds to changes in volume at certain
frequencies. This is known as "Frequency SENSITIVE compression". It is also possible to purchase more
complex compressors that actually DO affect the frequency response in different bands, and this is known
as "Frequency SELECTIVE" compression - there is a big difference between the two, although the names are
similar, and even professionals get the two terms mixed up sometimes.
要知道侧链的eq不会影响通过压缩器声音的频段是很重要的，侧链控制的声音只是用来给压缩器自己听的（不是给我们
听的）。因此它作用于整个音量中某个频段的音量。这叫做“频段敏感压缩”。用更多复杂的压缩机对不同频段的频率
进行压缩也是可能的，这就叫做“分段压缩”-它们还是有很大的不同的，虽然名字听起来有点像，甚至一些专业认识
也容易混淆。
The example above isn't the only use for the side-chain - and indeed you don't even have to feed the
same sound into the side-chain as you are feeding into the main input. You could for example feed the
sound of your voice into the side-chain. In that way you can create a system that automatically fades
down music when you speak, and fades it back up when you stop speaking - the same feature that
some disco consoles have - except you have full control over the fade in/out rates using the "Attack"
and "Release" controls.
上面的例子不是侧链唯一的应用-并且你甚至可以不需要把相同的声音发送的侧链和发送的总输出一样。例如你可以把
你的人声发送到侧链，用那种方式你可以做一个在你说话时就把音乐音量压小的设置，并且在你不说话时就恢复到原来
的音量-这在disco里很常见-你可以通过"Attack"和"Release"参数来设置淡入淡出。
In a similar way, you could feed the reverb returns from your lead vocal reverb through the compressor,
but plug the dry vocal into the side-chain. That gives you a system where the reverb fades down when the
vocalist sings, giving quite a "dry" sound, but returns to a strong "wet" reverb inbetween words and
phrases in the song. It keeps the reverb from messing up the vocal in the parts when the words get busy.
Such a technique is also useful for controlling the level of repeat "echo" effects at the end of
phrases.
用类似的方式，你可以把人声混响的returne发送到压缩，然后在侧链里插入人声的干声。这是一个当人声唱起时混响
变小的系统，这给你一个纯净的“干”声，但是在字与字、词与词之间的混响还是很“足”的，这会让在比较快的句子
里的字不会变的模糊（脏，你懂的）。这个技术也可以用在词之后的回声效果上，（人声响时不会有回声效果，没了才
会出现。原理一样）
这一部分压力很大，因为很难理解，我基于自己理解了通顺了才发出来。不足地方多指教多包含！作揖了！！![]()
Most analog compressors have a "Side-chain" socket on the back, and now some plugins are offering a
similar facility too. So what's it for?
许多模拟压缩器的背面有一个side-chain（侧链）插口，现在一些插件也包含类似的功能。这个干神马用的呢？
The compressor works by feeding the sound through the compressor itself, but also by feeding the sound
to the compressor "control system".
The control system "listens" to the sound and controls the compressor volume.
压缩器工作是通过经过它自身的声音，也可以是通过它“控制系统”的声音。
声音激发控制系统然后压缩机开始工作。
The side-chain is a system that lets you insert something - like a graphic equaliser for example -
immediately before the compressors control system.
Note this is NOT in the main audio path and doesn't affect the sound as such - just the way the
compressor responds. This system lets you over-emphasise a certain frequency that you want the
compressor to listen out for.
侧链是一个插入式的系统-例如一个图表均衡器-插入到压缩器前面。注意侧链插孔不是在主要的音频轨上并且不会因此
影响声音-它只是控制压缩器反应。这个系统是让压缩器对特殊频段进行反应。
For example: 例如
Example 5: De-essing a Vocal
例5：给人声去齿音
The problem: You have a vocal, but sounds such as the letters "S" and "T" are sounding really harsh, and
burst through the mix too much. You don't want to equalise them out of the vocal sound, because the
vocal sound is actually quite nice apart from those explosive "S" and "T" sounds.
问题：你有一段人声，但是这里面的"S"和"T"听起来太尖锐了，并且在混缩中听起来很刺耳。你还不想去eq（原文也是
做动词用了一下）这个人声，因为除了那坑爹的"S"和"T"其他部分都很完美。
The solution: Using fast "Attack" and quite fast "Release", set the compressor at about 3:1 and then
place an equaliser into the side-chain. Suck out all bottom end, and middle, and apply a boost at around
3 to 6KHz. You will find that adjusting the "Threshold" will control how powerful the "S" and "T" sounds
can get. Overdo it and the vocal can sound very strange. Set it so that it gets the "S" and "T" sounds
just how you like them.
解决方案：用快速的“attack”和相当快的“release”，把压缩比设定在3：1并且把eq插到侧链上。中低频eq掉，并
且在3-6KHz一带做提升。你会发现调整阈值能控制"S"和"T"的能量。如果弄过头了声音会听起来很奇怪。你可以通过这
个让"S"和"T"挺起来更舒服一点。
Note: It is understandable to think that you might need two compressors on a vocal - one to perform de-
essing, followed by another one doing "normal" compression. This is not so. One compressor can do the
two jobs at the same time! Simply compress the vocal as normal. Then insert an equaliser into the side
chain, and apply a small boost around the sibilant region (around 3KHz-6KHz). This will cause the
compressor to over-react on sibilant sounds, thereby de-essing at the same time as compressing. Use the
EQ BOOST to control how much sibilant sounds are CUT.
注意：你可能认为这需要在一个人声上用两个压缩器-一个用来去齿音-另一个正常压缩（前面有压缩人声部分）。事实
并非如此。一个压缩起可以同时做这两个工作的！可以正常的压缩人声。在侧链上插入一个eq，在齿音区做小小的提升
（大概3-6KHz）。这就会导致压缩对齿音产生过度反应，同时压缩齿音。使用eq来控制需要去掉多少齿音。
It is VERY, VERY IMPORTANT not to overdo de-essing. If you do, the singer will sound like they have a
lisp. Or should that be lithp? :-) In any case, once you've screwed it up by overdoing it during
recording, then there is little you can do to rescue it later - so go easy on it! (you can always de-ess
some more during mixing if required).
千万千万不要过度的去齿音。如果你这样做了的话，歌手听起来会像个大舌头。或者他真的是个大舌头？:-)任何情况
下，在录音中你齿音去的不够，你可以稍后在补救-并且是简单的！（你可以在混音时随时去齿音）。
It's important to understand that the equaliser you choose to place in the side-chain does NOT affect
the frequency response of the sound going THROUGH the compressor, just what the compressor internally
LISTENS to. It therefore effects how the overall volume responds to changes in volume at certain
frequencies. This is known as "Frequency SENSITIVE compression". It is also possible to purchase more
complex compressors that actually DO affect the frequency response in different bands, and this is known
as "Frequency SELECTIVE" compression - there is a big difference between the two, although the names are
similar, and even professionals get the two terms mixed up sometimes.
要知道侧链的eq不会影响通过压缩器声音的频段是很重要的，侧链控制的声音只是用来给压缩器自己听的（不是给我们
听的）。因此它作用于整个音量中某个频段的音量。这叫做“频段敏感压缩”。用更多复杂的压缩机对不同频段的频率
进行压缩也是可能的，这就叫做“分段压缩”-它们还是有很大的不同的，虽然名字听起来有点像，甚至一些专业认识
也容易混淆。
The example above isn't the only use for the side-chain - and indeed you don't even have to feed the
same sound into the side-chain as you are feeding into the main input. You could for example feed the
sound of your voice into the side-chain. In that way you can create a system that automatically fades
down music when you speak, and fades it back up when you stop speaking - the same feature that
some disco consoles have - except you have full control over the fade in/out rates using the "Attack"
and "Release" controls.
上面的例子不是侧链唯一的应用-并且你甚至可以不需要把相同的声音发送的侧链和发送的总输出一样。例如你可以把
你的人声发送到侧链，用那种方式你可以做一个在你说话时就把音乐音量压小的设置，并且在你不说话时就恢复到原来
的音量-这在disco里很常见-你可以通过"Attack"和"Release"参数来设置淡入淡出。
In a similar way, you could feed the reverb returns from your lead vocal reverb through the compressor,
but plug the dry vocal into the side-chain. That gives you a system where the reverb fades down when the
vocalist sings, giving quite a "dry" sound, but returns to a strong "wet" reverb inbetween words and
phrases in the song. It keeps the reverb from messing up the vocal in the parts when the words get busy.
Such a technique is also useful for controlling the level of repeat "echo" effects at the end of
phrases.
用类似的方式，你可以把人声混响的returne发送到压缩，然后在侧链里插入人声的干声。这是一个当人声唱起时混响
变小的系统，这给你一个纯净的“干”声，但是在字与字、词与词之间的混响还是很“足”的，这会让在比较快的句子
里的字不会变的模糊（脏，你懂的）。这个技术也可以用在词之后的回声效果上，（人声响时不会有回声效果，没了才
会出现。原理一样）
这一部分压力很大，因为很难理解，我基于自己理解了通顺了才发出来。不足地方多指教多包含！作揖了！！
回复 xin4545 在 #47 的 pid=3023955 的贴子
这里的扩展应用方法不会的看
http://www.audiobar.net/viewthread.php?tid=115092&extra=page%3D1%26amp%3Bfilter%3Ddigest
闪避1
http://www.audiobar.net/viewthread.php?tid=247117&extra=page%3D1%26amp%3Bfilter%3Ddigest
闪避2
http://www.audiobar.net/viewthread.php?tid=276282&extra=page%3D1%26amp%3Bfilter%3Ddigest
TC套包闪避
[ 本帖最后由 xin4545 于 11-3-26 19:25 编辑 ]
http://www.audiobar.net/viewthread.php?tid=115092&extra=page%3D1%26amp%3Bfilter%3Ddigest
闪避1
http://www.audiobar.net/viewthread.php?tid=247117&extra=page%3D1%26amp%3Bfilter%3Ddigest
闪避2
http://www.audiobar.net/viewthread.php?tid=276282&extra=page%3D1%26amp%3Bfilter%3Ddigest
TC套包闪避
[ 本帖最后由 xin4545 于 11-3-26 19:25 编辑 ]
Summary 综述
In all of the above examples, the settings and approaches suggested are merely a guide. Your best
teacher of compression is your own ears, and the compressors that you own. When you find a setting that
really works on a certain instrument, write it down - it will save you a lot of time later when you next
record that same instrument. You need to work with your compressor for a long time, and develop a good
working relationship with it, until you can really trust what it is up to.
在以上的例子中，设置和方法只是一个引导性的建议。你最好的压缩器老师是你自己的耳朵，并且耳朵就是你自己的压
缩器。如果你找到了对某个乐器的设定参数，你就写下来-这会为你下次对这个乐器实用压缩器节省时间，并且发展成
一个良好的工作习惯，直到你真正相信它是什么为止。
Every model of compressor on sale sounds different. That's why people talk with great affection about
certain old valve compressors, or perhaps a particular model of DBX compressor that they love (DBX are
the world leaders in sound compression harware, and make by far most of the chips in the world that
achieve it. This means that many compressors not even made by DBX, often contain DBX chips at the center
inside them).
每种型号的压缩器都有不同的声音。这就是为什么人们谈起喜爱一些老阀门压缩器，或者某一特殊型号的DBX压缩器
（DBX是在声音硬件压缩领域世界领先的，并且做了很多芯片在发到世界各地。这就意味着很多压缩器虽然不是DBX制造
的，但是它们却使用的是DBX的芯片）[有广告嫌疑么，呵呵 莫非他代言了DBX？]
Settings vary between equipment. A setting that sounds great on one compressor, often sounds terrible on
another. This applies to software plugins too, which is surprising, as one would expect the maths and
figures to be identical in each one.
设备之间的设置都是有区别的！在一个压缩上听起来很伟大很牛逼的设置，经常在另一台压缩器上听起来像一坨屎。插
件也存在这样的情况，不用惊讶，就像人们期望每一个都是相同的设置一样。
The fact that people have a personal preference for different types of compressed sound, means that
there will always be a market for compressors from different manufacturers. There will always be the
"classic" compressors that almost everyone likes, and there will also be a number of obscure quirky
units and plugins that only appeal to a select few.
事实上人们都有不同的偏好在压缩声音上，意味着不同的生产商在压缩机上都有一个市场。也会有每个人都喜欢的经典
的压缩器，同样也会有喜欢一些稀奇古怪的，或者插件的群体。
Compression is an extremely difficult thing to describe in writing, and you really need to hear
compression - in all its different forms - to get an understanding of how it can help you. Never apply
compression to something simply because other people do. Apply it because you KNOW that you really NEED
it and that you UNDERSTAND exactly what it is DOING to the sound. If in doubt, compress too little
rather than too much (it is very difficult - indeed, often impossible - to undo bad compression later),
and remember that too little compression during recording can always be made up for when mixing later
(at the expense of a little quality).
压缩用文字来解释还是比较不容理解的，所以你需要自己去听-通过各种不同的形式-去得到对自己有用的帮助。不要因
为看别人用压缩你才去用，使用压缩你得知道你真的是需要压缩才去使用压缩，并且要了解压缩对声音产生了什么作用
。如果不确定的话，就不要压的太很（事实上，往往不可能把压缩坏的进行回退，这也是很难的）如果在录音中压缩量
小了，可以在后期混缩中随时进行调整（这也是会损失很小的音质为代价的）
As always, practice makes perfect, and I hope that this article has gone some way towards demystifying
the process for you.
一如既往的练习做效果，并且我希望这篇文章能够为你成为一个“牛逼的大湿”提供一点帮助。
哥们一使劲给弄完了！昨天看了看就剩这么几段兴奋不已！哈哈！！！绝对好教程！配合坛子里以前几个老师的压缩教学贴，人人都可以掌握压缩了！
In all of the above examples, the settings and approaches suggested are merely a guide. Your best
teacher of compression is your own ears, and the compressors that you own. When you find a setting that
really works on a certain instrument, write it down - it will save you a lot of time later when you next
record that same instrument. You need to work with your compressor for a long time, and develop a good
working relationship with it, until you can really trust what it is up to.
在以上的例子中，设置和方法只是一个引导性的建议。你最好的压缩器老师是你自己的耳朵，并且耳朵就是你自己的压
缩器。如果你找到了对某个乐器的设定参数，你就写下来-这会为你下次对这个乐器实用压缩器节省时间，并且发展成
一个良好的工作习惯，直到你真正相信它是什么为止。
Every model of compressor on sale sounds different. That's why people talk with great affection about
certain old valve compressors, or perhaps a particular model of DBX compressor that they love (DBX are
the world leaders in sound compression harware, and make by far most of the chips in the world that
achieve it. This means that many compressors not even made by DBX, often contain DBX chips at the center
inside them).
每种型号的压缩器都有不同的声音。这就是为什么人们谈起喜爱一些老阀门压缩器，或者某一特殊型号的DBX压缩器
（DBX是在声音硬件压缩领域世界领先的，并且做了很多芯片在发到世界各地。这就意味着很多压缩器虽然不是DBX制造
的，但是它们却使用的是DBX的芯片）[有广告嫌疑么，呵呵 莫非他代言了DBX？]
Settings vary between equipment. A setting that sounds great on one compressor, often sounds terrible on
another. This applies to software plugins too, which is surprising, as one would expect the maths and
figures to be identical in each one.
设备之间的设置都是有区别的！在一个压缩上听起来很伟大很牛逼的设置，经常在另一台压缩器上听起来像一坨屎。插
件也存在这样的情况，不用惊讶，就像人们期望每一个都是相同的设置一样。
The fact that people have a personal preference for different types of compressed sound, means that
there will always be a market for compressors from different manufacturers. There will always be the
"classic" compressors that almost everyone likes, and there will also be a number of obscure quirky
units and plugins that only appeal to a select few.
事实上人们都有不同的偏好在压缩声音上，意味着不同的生产商在压缩机上都有一个市场。也会有每个人都喜欢的经典
的压缩器，同样也会有喜欢一些稀奇古怪的，或者插件的群体。
Compression is an extremely difficult thing to describe in writing, and you really need to hear
compression - in all its different forms - to get an understanding of how it can help you. Never apply
compression to something simply because other people do. Apply it because you KNOW that you really NEED
it and that you UNDERSTAND exactly what it is DOING to the sound. If in doubt, compress too little
rather than too much (it is very difficult - indeed, often impossible - to undo bad compression later),
and remember that too little compression during recording can always be made up for when mixing later
(at the expense of a little quality).
压缩用文字来解释还是比较不容理解的，所以你需要自己去听-通过各种不同的形式-去得到对自己有用的帮助。不要因
为看别人用压缩你才去用，使用压缩你得知道你真的是需要压缩才去使用压缩，并且要了解压缩对声音产生了什么作用
。如果不确定的话，就不要压的太很（事实上，往往不可能把压缩坏的进行回退，这也是很难的）如果在录音中压缩量
小了，可以在后期混缩中随时进行调整（这也是会损失很小的音质为代价的）
As always, practice makes perfect, and I hope that this article has gone some way towards demystifying
the process for you.
一如既往的练习做效果，并且我希望这篇文章能够为你成为一个“牛逼的大湿”提供一点帮助。
哥们一使劲给弄完了！昨天看了看就剩这么几段兴奋不已！哈哈！！！绝对好教程！配合坛子里以前几个老师的压缩教学贴，人人都可以掌握压缩了！
回复 xin4545 在 #48 的 pid=3025063 的贴子
http://www.audiobar.net/viewthread.php?tid=328657&extra=page%3D1%26amp%3Bfilter%3Ddigest
holdtime
http://www.audiobar.net/viewthread.php?tid=305592&extra=page%3D1%26amp%3Bfilter%3Ddigest
反向压缩
http://www.audiobar.net/viewthread.php?tid=290022&extra=&page=1
动态效果器与设计原理
[ 本帖最后由 xin4545 于 11-3-26 19:27 编辑 ]
holdtime
http://www.audiobar.net/viewthread.php?tid=305592&extra=page%3D1%26amp%3Bfilter%3Ddigest
反向压缩
http://www.audiobar.net/viewthread.php?tid=290022&extra=&page=1
动态效果器与设计原理
[ 本帖最后由 xin4545 于 11-3-26 19:27 编辑 ]
