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31 octobre 今天终于决定购买SAWSTUDIO 4.0了 算是结束了漫长的2年无聊转圈学习,我开始明白为什么要学习英文了.无论你如何看书,如何上网,如何上论坛,依然是无办法区学习更多的外来知识.音频知识是死的,可思想是活的,而我们只是稳定在自己的固有思想去支配固有的知识,那么很不幸你走的是DEADLINE,死路一条.
然而当你运用英文去了解这个世界,你会发现,同是一件事情里面有很多方法解决,不是一成不变的,在那里你看到了别人的经验,看到了别人的想法,开始我自己还认为中国的音频世界和外国的很相近,但是我现在明白了,中国和外国的差距不是技术,而是思想,我们的思想都怕别人学习了自己的技术而超过自己,只要有一个人这样做,那么周围就有很多人这样做.本来两个人的思想在交换以后就可能变成3个甚至更多的思想,可惜在中国的这个文化下,音频的前进步伐还是有问题,只有少数人因为爱好的去学习,往往这些人学到的东西是最好的,最广泛的.然后大部分人却为了赚钱去学习,那么他们永远只是学到能赚钱就够了,不会再去思考,不会再去融合.今天可能大家都觉得中国的音频和外国的差不多了,我们有自己的中国特色,但是实际上我们的特色却不受重视,京剧粤剧在中国学习的人数还比不上流行声乐班的1/10人数.
昨天有一个朋友问我:你知道如何做戏剧嘛?我当时蒙了,我脑袋里面,书本里面,根本没有这方面的知识,然而我有幸在我们的城市听国全世界最好的粤剧演员表演,所以我以自己的经验对她说:少量的压缩,保持最大的动态,合适的EQ保持婉转动人的歌声,自然的混响,模拟现场的感觉. 这段时间听到很多华人歌手开始把中国风融入到西方音乐风格里面,我非常喜欢听这样的歌曲,我自己想,什么时候华人的音乐才能在世界上占有一席之地呢?
以上只是一些胡言,回到正题,SAWSTUDIO 4.0能让你感觉到什么是自然,也让你明白到,什么才是音频最终要的东西. 3 juin The New York Compression trick（NY压缩秘诀）节选《The Mixing Engineers Handbook》 One of the little tricks that seems to set New York mixers apart form everyone else is something I call the “New York Compression Trick . “ It seems like every mixer who’s ever mixed in New York City comes away with this maneuver . Even if you don’t mix in NYC , once you try it you just might find yourself using this trick all the time , since it is indeed a useful method to make a rhythm section rock . 以下是我一些NY 混音师上学来的秘诀，我把他叫做“NY压缩秘诀”，好像所有在NY做混音都这样做。如果你没有在NY做过混过音乐（可能NY的MIX在美国很厉害，起码有一个音乐风格叫：NY STYLE(这个是我看《The Mixing Engineers Handbook》了解到的)，那么你可以从这文章中了解到一些NY的COMPRESSOR 秘诀，或者你会发掘到你自己个人的秘诀哦。 Here ‘s the trick: 1) Buss the drums , and maybe even the bass , to a stereo compressor . 把所有的鼓组输出到BUSS，也可以加上BASS，然后用一个STEREO 压缩。 2) Hit the compressor fairly hard , at least 10dB or more if it sounds good. 认真调整合适的压缩，力求完美，压缩最小要到10dB，甚至更多，当然如果声音已经很好了，那么就不用再多了。 3) Return the output of the compressor to a pair of fader inputs on the console . 然后把压缩器输出反送到一对控制器（console）的推子上(这里你可以理解为AUX发送)。 4) Add a pretty good amount of high end (6-10dB at 10KHZ or so) and low end (6-10dB at 100Hz or so) to the compressed signal . 对被压缩过的信号做一些美化：对高频上大约10KHZ的地方提高6到10dB，对于低频大约100HZ提高6－10dB； 5) Now bring the fader levels of the compressor up until it’s tucked just under the present rhythm section mix to where you can just hear it. 现在你推高压缩器的推子，直到在本来的节奏上刚刚好听到压缩反送的声音（那么这里就是先前AUX反送回来的压缩信号）。 The rhythm section will now sound bigger and more controlled without sounding overly compressed. 现在节奏部分会变得更大声，控制更容易了，而且不会听起来，压缩太重的感觉。 这里大家有点类似外国的parallel compressor,（参考HIMHUI的1176真面目）实际上就类似AUX发送COMPRESSOR效果。 2 juin What Happened To Dynamic Range? (动态范围到底发生了什么事情？)What Happened To Dynamic Range? (动态范围到底发生了什么事情？) By Bob Speer What happened to dynamic range? That's a question that should be asked of record labels, producers, artists, and last but not least, recording and mastering engineers. The question needs to be asked because we're the ones responsible for what's happened to our music. The music we listen to today is nothing more than distortion with a beat (see the sine wave reference in the chart below). It's not because it isn't good music. It's because it lacks dynamic range. When music lacks dynamic range, it lacks punch, emotion, and clarity. The record labels blame Napster, MP3s, CD burners, and a host of others for the lack of CD sales. While there is some truth to their constant whining, they only have themselves to blame for the steady decline in CD sales. The record labels need to reevaluate what they consider to be good music。 动态范围发生了什么事情？这个问题应该是由录音人员、制作人、艺术家，当然还有最重要的录音工程师和母带处理工程师。这个问题有责任需要我们去问，我们的音乐到底发生了什么事情？今天我们听的音乐，在一个小节上的失真是过往无法比较的(看图)。但不是因为这个，现在的歌曲不是好音乐，而是因为缺乏动态范围。当音乐区分了动态范围，它就缺乏力量(效果，吸引力)，感情以及澄澈;透明。那些录音人员（record labels 可能是录音记录人员，暂时这样翻译吧）责骂Napster，MP3,以及CD刻录机，以及很多人开始埋怨CD的销售不佳。而他们面对这个现实的时候，他们只有自己埋怨那些销售持续下降的CD。那些录音人员需要从新评价他们所认为是好的音乐。 The music available today isn't musical at all. It's best described as anti-music. It's anti-music because the life is being squashed out of it through over compression during the tracking, mixing, and mastering stages. It's simply, non musical. It's no wonder that consumers don't want to pay for the CDs being produced today. They're over priced and they sound bad. In 2005, CD music sales in the U.S. slid to their lowest level since 1996, ending all hopes that the music industry's downward sales trend may have bottomed out. This is according to sales data released by Nielsen SoundScan, a tracking firm that measures point of sale purchases across the U.S. Although there was a slight upturn in sales in 2004, total CD sales fell 7.2 percent from 2004 to 618.9 million units in 2005, the lowest since 1996, when they were 616.6 million. It's time for all of us in the music industry to wake up! Our musical heritage is being threatened by this wave of anti-music. 现在的音乐，不是所有都十分悦耳的。反音乐（anti－music，根据anti－c的意思，是分解音乐吧）是最好的描述。被成为反音乐是因为现在的歌曲是在tracking、mixing 以及mastering 的过程以后完成的。这样的歌曲十分简单，毫无音乐感。在今天，一点都不用惊奇人们会不买在这些情况下制造而成的CD。这些CD的标价超过了他们自身的价值，而且他们的声音十分差。在2005年，他们的CD销售陷入了自1996年以来的新低。（其他就是数据，不翻译了） What is dynamic range anyway? Dynamic range is the difference between the softest and loudest sounds we can hear. Or, to put it another way, the difference between the softest and loudest sounds in a recording. Dynamic range is measured in decibels (dB). The typical dynamic range for a cassette recording is around 60 dB, while today's digital recordings (CDs) can reach a dynamic range of 96dB. Compare this to 120dB or more for live performances. 那么到底动态范围是什么?动态范围是我们所能听到的最高音量以及最低音量的差值。或者认为是在录音中的最高音量和最低音量的差值。动态范围的标准单位是dB。磁带的典型动态范围是60dB左右。在今天，数字录音延伸到96dB的动态范围（理论上2496是144dB的动态范围）。与之比较，120dB以及以上比较多的出现在现场实况演出。 For years we've tried to recreate the excitement of a live performance by trying to maintain as wide a dynamic range as possible. This has always been difficult with analog recording. We had to keep the softest signals above the noise floor while keeping the loudest signals below the level of distortion. To keep the soft signals from being buried in tape hiss, we had to record with as high a level as possible. To keep our loud signals from distorting, we had to compress the signal which resulted in a restricted dynamic range. As the years went by, many improvements were made in recorder and tape technology. This, along with various types of tape noise reduction systems, helped to improve the dynamic range of our recordings, but it was still limiting. 多年来我们继续努力的继续扩大动态范围，让现场实况演出能由更多的刺激骚动。这个在模拟录音中总是很难达到的。我们不得保持最小的声音高于噪音底层，而且这个时候也要保持最大的声音低于失真削波的点。为了让磁带的HISS（噪音）声减少，我们不得不最大可能的提高音量，为了让大的声音不过载失真，我们不得不用压缩，导致最后失去了动态范围。 过了许多年，录音设备和磁带的制造技术提高了。由于不同类型得磁带噪音降低体统得出现，有助于改善我们录音时候得动态范围，但依然还是需要limiting。 Then, one day we awoke to a new technology. It was called "digital recording." Wow, now with a dynamic range of over 90 dB, our recordings could almost rival a live performance. Well, in theory. However, the music industry had other ideas. 直到有一天我们择到了一个新的技术。他被称为“数字录音”。WOW，现在动态范围已经超过了90dB，我们得录音几乎能和现场实况演出比美了。当然，是在理论上。但无论如何，音乐产业有了新得方向。 Rather than use this new technology to take advantage of it's wide dynamic range, the music industry went in the opposite direction. They decided that louder is better. Suddenly, we found ourselves in a race to see whose CD was the loudest. The only way to make CDs louder was to keep compressing the signal more and more. That's where we are today. Everyone's trying to make their CD sound louder than everyone else's. The term that is used for this process is called, hot. Yes, most of today's music is recorded hot. The net result, distortion with a beat. 运用了新得技术，有利于提高广阔得动态范围，但音乐产业却走向了相反得方向（我觉得这里是转折得意思），他们认为更好的选择是比过往更大声(大响度)。突然，我们发现我们在比赛，看谁的CD更大声，具有更大的响度。而保持CD拥有更大的响度，唯一的途径就是越来越多的压缩。在今天，所有人都努力的把CD音提高，超越其他人。这个处理过程被一个术语概括为：“HOT”(紧迫).是的，在今天，很多音乐都被录制得十分紧迫。最后，失真还是继续着（最后那句不知道什么意思～～，所以用这句代替先）。 In December, 2001, several prominent individuals in the recording industry served on a panel to judge the best engineered CD for the Grammy's. After listening to over 200 CDs, they couldn't find a single CD worthy of a Grammy based on the criteria they were given. Everything they listened to was squashed to death with heavy amounts compression. What they wound up doing was selecting the CD that had the least amount of engineering. In reality, the winner didn't win because of great engineering, he won simply because he had messed with the signal the least. On second thought, maybe that was great engineering. Anyway, what a way to win a Grammy. 在2001年12月，几个非常优秀的团体在录音界中找到了一些名单，在德国评选谁的CD是最好的。在听了200张CD以后，他们从德国标准的基础上没有找到一张有价值的CD.他们听了所有得CD都被重压缩得好像压死了一样。然而胜利者不是说他们的CD十分好，只是他们的CD没有其他人那么混乱。 Here's a quote from Roger Nichols, one of the participants on that panel. "Last month, I listened to all the CDs submitted to NARAS for consideration in the 'Best Engineered Non-Classical' Grammy category. We listened to about 3 to 4 cuts from the 267 albums that were submitted. Every single CD was squashed to death with no dynamic range. The Finalizers and plug-ins were cranked to 'eleven' so that their CD would be the loudest. Not one attempted to take advantage of the dynamic range or cleanliness of digital recording." - Roger Nichols Grammy winning engineer for Steely Dan, Beach Boys and more. EQ Magazine January, 2002, issue. 其中一位陪审员在Roger Nichols 上说，“上个月，我听了所有上交到NARAS的CD，为了评选出“最佳非古典音乐工程（暂时这样翻译吧）” 格莱美奖,我们从提交上来的267张CD重节选了3到4个片断来听。任何一张CD都是被压缩得毫无动态效果了，没有一个人把数字录音得大动态和清晰得优势表现出来。Roger Nichols Grammy winning engineer for Steely Dan, Beach Boys and more. EQ Magazine January, 2002, issue. There needs to be a compromise in what the average level of CDs should be. I believe we should go back to the level of 1990 (actually -14dB would be preferable). This would give us a healthy level as well as enough headroom to generate the musical peaks that would reestablish what's missing in today's music! 在CD得平均电平上必须要一个折衷得办法。我想我们必须回到1990年的电平级上（实际上－14dB会更好）。这样能让我们拥有一个“健康的”电平，也能让我们的HEADROOM生成音乐峰值（我想应该翻译成为音乐感吧），把遗忘失去的东西从新在今天的音乐上恢复过来。 Hopefully, one day we'll wake up from this nightmare. "BRING BACK DYNAMIC RANGE!" 我们有希望能从恶梦中醒来（其实我们已经醒来了）！“恢复动态范围！“ 然而今天我们需要什么样的动态呢？？就如同HIMHUI说的，等他整理好K-SYSTEM以后，大家一起了解。 21 mai 12个非效果卡支持Compressor的比较 很多朋友都在为找到合适自己的Compressor烦恼，现在鄙人不才选择了一些比较常见的Compressor做一个比较，顺便帮助SawStudio做一个宣传。
[Waves Rcomp] Waves Rcomp.mp3 (324.21 K) [BlueTube Bt Compressor] Bt compressor.mp3 (324.21 K) [GenComp（Freevst）] GenComp(Free).mp3 (324.21 K) [Kjearus Golden Compressor] kjaerhus Golden compressor.mp3 (324.21 K) [PSP Master Compressor] psp master compress.mp3 (324.21 K) [Saw Levelizer] saw levelizer.mp3 (324.21 K) [SawStudio 自带压缩器] SawStudio.mp3 (324.21 K)
[Sonoris Compressor] sonoris compressor.mp3 (324.21 K) [Sonoris Leveler （Free Saw）] sonoris leveler.mp3 (324.21 K) [Timeworks Compressor] Time Works compress x.mp3 (324.21 K) [Waves C1] Waves C1.mp3 (324.21 K) [原始文件] loop.mp3 (324.21 K) [Elenemtal Neodynium] Elenemtal Neodynium.mp3 (324.21 K) 14 mai 一個數字vs模擬測試 - PT VS Amek Galileo, 來聽聽喜歡那個和分別究竟有多大(转自音频应用HIMHUI）
有位朋友在 GEARSLUTS 放了兩文件的連接, 分別經 PT HD 和 Amek Galileo 處理。 My method was as follows - one mix was done entirely within protools. The song files I used for this was the protools session Nine inch nails posted for "only" for their remix contest. There was a little level setting within protools but no signal processing whatsoever. The system was a protools HD system (therefore usiing a 48 bit summing buss). 一個是完全在 pt 裡做, 歌曲是 " nine inch nail s"放在網上的分軌文件 "ONLY"(相信有些朋友也下載過)。只有少量音量調節, 訊號並沒有處理, 用 PT 的 HD SYSTEM ,故此是 48BIT SUMMING BUSS 。 The other mix was done on an Amek Galileo. Each track (as much a possible) was assigned to its own output of a Digidesign 192 interface (23ch in total). Each channel was calibrated with a 1k sine wave to be identical in terms of gain structure. The stereo tracks were panned hard, the panned centraly tracks did not have the pan pot "in", and any mono tracks that were panned were done manualy, although I did spend a long time making sure they were in the right place in the image. 另一個在 Amek Galileo 處理, 每軌由Digidesign 192 分配 共23軌。每軌以 1K SINE WAVE 測定, 作為相同的增益結構。立體聲的以極左極右分到兩通道, 單聲道的以手動盡量令到位置正確。 The faders on the desk were set to 0, as confirmed by the supertrue automation system, not just by eye. 推子以Amek Galileo 的超級準確的自動化 設在 0 位置。 This was assigned to the mix buss and recorded back into protools through the 192 interface. 最後安排到總輸並經 Digidesign 192 在 PT 錄音。 This was as fair a test as I could manage. 這是在我能力控制下的較公平的設置。 下載連接:- (是sitx 檔案, 要以stuffix 解壓) http://61.145.71.210/story/sawmaster/track1.aif http://61.145.71.210/story/sawmaster/track2.aif The audiofiles are 44.1k 24 bit .aif 答案還未公報的, 等揭曉時便馬上告訴大家。 Amek Galileo簡介 AMEK Galileo 40 Position Chassis: 24 GAL10 Mono In-Line Input Modules (Rupert Neve PreAmp, Classic AMEK 4 Band Fully Parametric Eq w/Hi and Lo Pass Filters) 8 REM10 Mono Dual Input Modules (Discrete Mic Amp and 2 X 4 Band Eqs) 8 Stereo Input Effects Return Modules 16 Aux Busses (8 selectable per Module) RG2 Cue Module providing 2 Stereo Cues which can be sourced from Auxes, Control Room or Stereo Buss 24 Multitrack Busses Right Hand Patchbay MPS15 Linear Power Supplies on 8 Meter Umbilical 42 LED Meters 2 VU Meters Recall Virtual Dynamics-One Device Per Module Assignable to Monitor or Channel Path VFX (Visual FX) Control of Select Midi Outboard Gear via midi sysex SuperTrue V3.X Automation Including VCA Fader Automation of Monitor and Channel Path Faders, additionally the following switches are automated on the Galileo Module: Aux 7 & 8 Mute Aux 5 & 6 Mute Aux 3 & 4 Mute Aux 1 & 2 Mute EQ in/Out Channel Path Insert In/Out Mix Path Insert In/Out Tape/Buss Switch Channel Path Mute Mix Path Mute Solo Dimensions are Length=97.24”, Depth=49”, Height=43.2” (to top of meterbridge |
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