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Jazz 咖啡厅我的小日记 24 janvier 2008的第一个月今年是奥运年，可以说全中国都好像刘翔一样加速前进，股市加速攀升，物价同样加速提高价格，但奈何我的工资~~还是那样，虽然我也明白我的工作性质不会有太大的工资提高，但人总是有欲望的，是不是？ 07年的时候我去找了一个不错的算命先生，问了一下明年我自己的行情，他说还不错，努力一点就会好的了。的确对于我自己来说，我不是一个急躁的人，也不是一个反应太快的人，难听点就是有点慢。没办法我的做事方法就是一步一步来，快了也没用，理顺了顺序事情也都渐渐快了。于是我身边很多做事雷厉风行的朋友老“骂”我慢，傻~~hoho。 纵观2007年，我最有意义的事情？说真的，特别有意义的事情的确没什么，但我自己思想上有了挺大的转变，从一个条条框框走到了一个自由的思想区域，受到很多人的感染，有一些外国的作者，也有国内的朋友，国外的作者就不说了，是在太多了，但是国内的朋友应该是HIMHUI和小马，他们给予我太大的启发，的确我不应该在某人或者某特定的条例的规定下去做任何事情。Mixing就好像人生一样，驾驭着人生之中不同的元素，然而从一个条框的思维方法跳跃到一个自由的空间，的确是很有意义的事情，我会慢慢的去学习体会这种感觉。 而最深刻的事情呢？就是我的曾祖母的去世106岁了，笑丧了~HOHO，不必多说，心里想着她就好。 至于最大的突破，我居然会去看时尚杂志，哈哈~~VOGUE/芭莎~有的时候自己还真的有点奇怪。
2008年，将会是伟大的一年。 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. 15 juin Tech Tip: Using compression on a stereo mix for vocals vs. drumsTech Tip: Using compression on a stereo mix for vocals vs. drums (在立体声MIX中对人声和鼓声运用压缩) Q: "How can I use compression on my final stereo mix that will affect the vocals and not the drums?" (问:我怎么能在最后的立体声(stereo)混音中对人声做压缩,而不影响鼓声). A: Compression on your final mix is an art that many mastering engineers have been able to hang their hat on. In other words, it's not the easiest thing to master (pun intended). (答:在你的最终混音上加压缩,对于母带工程师来说,不是一件容易的事情) There's really no way to do anything to the stereo mix without it having some effect on all the elements. With that said, you can sometimes manipulate things in ways that can emphasize certain aspects of a recording while not causing too much harm to others. The secret to this with compression comes from understanding the attack and release parameters. 在立体声混缩中,某效果只对其中某些MIX原始加效果,那的确是不可能作到的.但是你能在某些方法上,通过操作, 去着重确定某一录音部分不会对其他部分产生伤害.而秘密就是通过压缩器上的ATTACK 和 RELEASE 的参数调节了. The basic idea is that fast attack compression will usually help to tame drums on stereo masters, while slower attack settings tend to affect vocals and other similar instruments (bass, strings, etc.). Just how fast or slow depends a lot on the specific instruments and how they are mixed. 基础想法是这样的,快速ATTACK 压缩设置在stereo masters上经常用与使鼓声平淡(快速CATCH THE PEAK),而慢速ATTACK设置就比较趋向于影响人声以及其他类似的乐器(例如BASS/弦乐等等).而快或者慢就由乐器的细节和他们是如何MIX的情况来决定的. There's simply no hard rule on this, to get started you can turn up a pretty extreme amount of compression and play with the attack and release controls. You'll begin to be able to hear how different elements are changed by the compression. 这个方法是简单的而且没有硬性规律的,刚刚开始的时候,你能通过对ATTACK 和 RELEASE的操作,你能找到一个恰当的压缩设置.这个时候,MIX原始之间的不同就会随着压缩设置的改变,慢慢的被你发觉(这个步骤都是一步一步的设置,慢慢听,按照不同的情况找到恰当的点,这个的确需要一个比较长的时候,是一个慢工出细活的步骤). Once you get close to understanding the attack and release times that change the vocals while not killing the attack of the drums you can dial it back to a more reasonable setting and go from there. 一旦你开始慢慢找到了你想要的ATTACK TIME 和 RELEASE TIME之后,在没有影响到鼓声启动设置(ATTACK)的情况下,你可以把之前的设置拨回一点(dial it back:这里我自己理解是把原先的设置拨回去一点,就是减少一点的数值),然后从这里开始找到一个更合理的设置.(意思就是在没有影响DRUM的情况,再减少原先的ATTACK AND RELEASE设置,这样应该是为了让DRUM拥有更多余地.以次找到更好的耦合点). It's all about experimentation. (这个就是此实验方法的大概) 最后在我自己的看法里面,在MIX方面看,这个方法实在是在没办法情况下才用的.我觉得在进入FINAL MIX之前你就应该对各个元素作好处理.而作为MASTERING方面来处理,我自己实在没什么经验,所以也只能说这是一个十分消耗时间的工序,而且是一个十分抽象的工作,所以多练习多实践是必不可少的.但无论如何也算是一个值得了解的方法. 而对于初学者或者某些翻唱爱好者,这个绝对是一个懒惰的办法,人声和伴奏声音不均衡的时候就能尝试这个方法~~HOHO~~当然难度也是比较大的. 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。 |
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