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不知有誰可翻譯一下....
, 個人覺得"線性和非線性編輯"是須要知道的。
Linear and Non-Linear Editing
There are two general methods commonly used to manipulate digital audio once it has been brought into the computer environment - Linear and Non-Linear.
The Linear method is generally a simpler concept to implement when designing a digital audio environment. Original soundfile data is typically marked, cut, copied, pasted, processed, and otherwise assembled from beginning to end, in a sequential fashion, most likely into a new soundfile representing the finished production. The process of linear editing is much like stacking bricks one on top of the other, one at a time. As the bricks are stacked, removing one brick near the bottom topples the entire structure. Each editing operation is usually performed on the actual soundfile data, requiring mass amounts of data manipulation, slowing processing time drastically. Also, many of the editing operations can actually be considered destructive as they permanently alter the original audio data. In order to provide Undo capabilities, copies of large amount of original data are required to be stored prior to each destructive operation. For instance, to cut six seconds from the front of a one minute soundfile might require saving one megabyte worth of data to an Undo file, and then copying the remaining nine megabytes forward. Undoing the cut would then require recopying the first megabyte from the Undo file and appending the remaining nine megabytes to the end. Expand this concept to editing a 20 minute soundfile and realize you might move and copy up to 200 megabytes of data each time you remove a few seconds from the file. This translates into large amounts of extra storage space and lots of precious time needed to perform simple editing operations in a typical production.
The Non-Linear method is a more complex concept to implement, but offers phenomenal benefits, incredible power, and time-saving capabilities that a linear system can't begin to compare to. In this environment, small objects, typically called clips or Regions, that represent and link to the original soundfile data are manipulated instead of the original data. Two immediate advantages of this concept are 1) there is no longer a need to move and copy large amounts of original soundfile data to perform simple editing operations, and 2) most editing operations can be considered non-destructive as they do NOT alter original soundfile data. Most non-linear environments are built around the concept of a virtual multitrack workspace. Regions can be randomly placed on any combination of tracks and assembled to create a finished production. A powerful non-linear editing environment like SAWStudio allows the Regions to be copied, moved, overlaid, processed and otherwise manipulated non-destructively in real-time, allowing instant auditioning of the production as it's being built, and eliminating the need for the Undo function for most operations. For example, the procedure of cutting a small amount of materiel from the front of a large soundfile requires absolutely no copying or moving of the data, and can be undone or altered at any time without the need for an Undo file. A small Region is created to represent the part of the soundfile in front of the desired cut point. Another Region is created to represent the part of the soundfile after cut. The two Regions are simply placed side by side on a track, and the cut is complete. Playback can occur instantly and original soundfile remains intact! To alter the cut, one or both of the Region boundaries can be simply redefined and once again, the original soundfile remains intact!
The advantages of non-linear editing are numerous, and will continue to astound you the more you work with this concept. So hold on to your hat and fasten your seatbelt as we begin our journey into the powerful world of the SAWStudio non-linear multitrack editing environment.
[ 本帖最后由 himhui 于 07-4-23 15:54 编辑 ]
, 個人覺得"線性和非線性編輯"是須要知道的。Linear and Non-Linear Editing
There are two general methods commonly used to manipulate digital audio once it has been brought into the computer environment - Linear and Non-Linear.
The Linear method is generally a simpler concept to implement when designing a digital audio environment. Original soundfile data is typically marked, cut, copied, pasted, processed, and otherwise assembled from beginning to end, in a sequential fashion, most likely into a new soundfile representing the finished production. The process of linear editing is much like stacking bricks one on top of the other, one at a time. As the bricks are stacked, removing one brick near the bottom topples the entire structure. Each editing operation is usually performed on the actual soundfile data, requiring mass amounts of data manipulation, slowing processing time drastically. Also, many of the editing operations can actually be considered destructive as they permanently alter the original audio data. In order to provide Undo capabilities, copies of large amount of original data are required to be stored prior to each destructive operation. For instance, to cut six seconds from the front of a one minute soundfile might require saving one megabyte worth of data to an Undo file, and then copying the remaining nine megabytes forward. Undoing the cut would then require recopying the first megabyte from the Undo file and appending the remaining nine megabytes to the end. Expand this concept to editing a 20 minute soundfile and realize you might move and copy up to 200 megabytes of data each time you remove a few seconds from the file. This translates into large amounts of extra storage space and lots of precious time needed to perform simple editing operations in a typical production.
The Non-Linear method is a more complex concept to implement, but offers phenomenal benefits, incredible power, and time-saving capabilities that a linear system can't begin to compare to. In this environment, small objects, typically called clips or Regions, that represent and link to the original soundfile data are manipulated instead of the original data. Two immediate advantages of this concept are 1) there is no longer a need to move and copy large amounts of original soundfile data to perform simple editing operations, and 2) most editing operations can be considered non-destructive as they do NOT alter original soundfile data. Most non-linear environments are built around the concept of a virtual multitrack workspace. Regions can be randomly placed on any combination of tracks and assembled to create a finished production. A powerful non-linear editing environment like SAWStudio allows the Regions to be copied, moved, overlaid, processed and otherwise manipulated non-destructively in real-time, allowing instant auditioning of the production as it's being built, and eliminating the need for the Undo function for most operations. For example, the procedure of cutting a small amount of materiel from the front of a large soundfile requires absolutely no copying or moving of the data, and can be undone or altered at any time without the need for an Undo file. A small Region is created to represent the part of the soundfile in front of the desired cut point. Another Region is created to represent the part of the soundfile after cut. The two Regions are simply placed side by side on a track, and the cut is complete. Playback can occur instantly and original soundfile remains intact! To alter the cut, one or both of the Region boundaries can be simply redefined and once again, the original soundfile remains intact!
The advantages of non-linear editing are numerous, and will continue to astound you the more you work with this concept. So hold on to your hat and fasten your seatbelt as we begin our journey into the powerful world of the SAWStudio non-linear multitrack editing environment.
[ 本帖最后由 himhui 于 07-4-23 15:54 编辑 ]
软件翻译的。。。。
有二个一般方法常用操作数字式音像一旦它被带领了进入计算机环境- 线性和非线性。 线性方法一般是一个更加简单的概念实施当设计一个数字式音像环境。原始的soundfile 数据典型地被标记, 裁减, 被复制, 被黏贴, 被处理, 和否则装配从开始对末端, 连续时尚, 很可能入一新soundfile 代表完成的生产。线性编辑的过程是很象堆积砖一个在其他顶部, 一次一个。当砖被堆积, 去除一块砖在底部附近使整个结构倒塌。各编辑的操作通常进行在实际soundfile 数据, 要求许多相当数量数据操作, 猛烈地减慢处理时间。并且, 许多编辑的操作可能实际上被认为破坏性当他们永久地修改原始的音像数据。为了提供解开能力, 很多原始的数据的拷贝要求被存放在各破坏性的操作之前。例如, 切开六秒从一周详soundfile 威力的前线要求挽救一兆字节价值数据对解开文件, 和然后复制残余的九个兆字节今后。解开裁减然后会要求重复印第一兆字节从解开文件和添附残余的九个兆字节对末端。扩展这个概念对编辑一20 周详soundfile 和体会您也许搬走和复制200 个兆字节数据每次您去除几秒钟从文件。这翻译成很多额外仓库面积和许多珍贵的时刻需要进行简单的编辑的操作在典型的生产。 非线性方法是一个更加复杂的概念实施, 但提议现象好处、难以置信的力量, 和一个线性系统can't 开始比较的省时能力。在这个环境里, 小对象, 典型地叫做夹子或地区, 代表并且链接对原始的soundfile 数据被操作代替原始的数据。这个概念二直接好处是1) 那里不再是需要行动和复制很多原始的soundfile 数据进行简单的编辑的操作, 并且2) 编辑的操作可能被认为非破坏性因为他们不修改原始的soundfile 数据。多数非线性环境被建立在一个真正多磁道的工作区附近的概念。地区可能任意地被安置在任一个轨道的组合和装配创造完成的生产。一个强有力的非线性编辑的环境象SAWStudio 允许地区non-destructively 被复制, 被移动, overlaid, 被处理和否则被操作在实时, 允许立即auditioning 生产如同it's 被修造, 和消灭对解开作用的需要为多数操作。例如, 切开一套小量的装备做法从前线一大soundfile 不要求绝对复制或行动数据, 和可能任何时候被解开或被修改没有需要对于解开文件。小地区被创造代表部份的soundfile 在渴望的裁减点前面。其它地区被创造代表部份的soundfile 在裁减以后。二地区肩并肩简单地被安置在轨道, 并且裁减是完全的。放音可能立即发生和原始的soundfile 遗骸的原封! 修改裁减, 一个或两个地区界限可能简单地被重新解释和再次, 原始的soundfile 遗骸的原封! 好处非线性编辑是许多的, 和将继续震惊您更您工作以这个概念。如此举行对您的帽子和紧固您的seatbelt 如同我们开始我们的旅途入SAWStudio 非线性多磁道的编辑的环境的强有力的世界。
上面的翻译，我觉得比英文原版还难懂.....
是这个意思~~~~
原帖由 himhui 于 07-4-23 15:47 发表
不知有誰可翻譯一下....
Linear and Non-Linear Editing
There are two general methods commonly used to manipulate digital audio once it has been ...
如果是要回答我的问题，把他翻出来就是我义不容辞的责任了。下面是我的译文：
线性编辑和非线性编辑
数字音频一旦被引入计算机环境，通常就有两种方法来处理它——线性方法和非线性方法。
当在设计一个数字音频环境时，线性方法通常是更易实现的方法。在线性方法中，原始声音文件的数据以典型的方式被标记、剪切、复制、黏贴和处理，否则，这个文件的数据就会被从头到尾按顺序组合在一起并大多数情况下会进入一个新的声音文件，这个新的声音文件就代表处理后的成品文件。线性编辑的过程更多地象是把砖块一次一个地往上堆积。当在堆积砖的时候，把接近底部的砖块去掉就会使整个结构崩溃。每一步编辑操作动作通常都是在实实在在的声音文件数据上进行的，需要处理大量的数据，这就大幅度地减慢了处理时间。许许多多的编辑操作事实上也被认为是破坏性的，因为它们总是会改变原始的音频数据。为了能提供还原(取消)功能，就要求在每一步破坏性操作之前把大量原始数据的复制件存储起来。例如，要剪切掉一个1分钟声音文件的前六秒钟的数据，可能就需要把相当于1MB的数据存入还原（Undo）文件,然后再把剩余的9MB数据往前复制。当要还原(Undo)剪切操作时，就要把前面的1 MB数据从Undo文件中重新复制过来，然后把剩余的9 MB数据加到文件的末尾。把这个概念扩大到要编辑一个20分钟的声音文件时，你就会明白每次你从文件中去除几秒钟的数据时就要移动和复制多达200 MB的数据。这样一来，在一个标准文件中进行一个简单的编辑操作就要调用大量额外的存储空间和占用大量宝贵的时间。
非线性方法则是一种实施起来更复杂的方法，但却给我们带来了显著的好处和惊人的处理能力，以及线性方法无法与之相比的节省时间的能力。在这个环境下，被操作的是被典型地称作切片或区域的小目标，而不是原始数据，这些小目标代表并联系着原始声音文件数据。这种方法的两个立竿见影的优点是：1）不再需要移动和复制大量原始声音文件数据来进行简单的编辑操作； 2）大多数编辑操作被认为是非破坏性的，因为它们不改变原始声音文件数据。大多数非线性环境是以虚拟多轨工作空间的概念为基础而建立的。区域（region）可以被随机地放置在任何的轨道组合上，并且它们也可以组合起来产生一个最终的成品文件。一个强有力的非线性编辑环境，诸如SAWStudio,允许区域能被复制、移动、重叠和处理，并以其它方式进行实时非破坏性处理，允许在生成成品文件时进行即时试听，并且对大多数操作来说，不再需要还原（Undo）功能.例如，要把一个大声音文件中前端的一小部分剪切掉的操作过程中，绝对不再需要复制和移动数据，任何时候都可以还原或改变数据而不需要还原（Undo）文件。将会产生一个小的区域（域）来代表欲进行剪切的点位前的那部分内容，而产生的另外一个区域（域）则代表剪切后的那一部分声音文件。这两个区域（域）很易于被边靠边地放在一个音轨上，这样剪切就完成了，可以随时播放，然而原始的声音文件却仍然完好无损。要改变这个剪切操作，可以轻易地重新定义一个或两个区域（域）的边界，并可以重复地定义，而原始声音文件仍然完好无损。
非线性编辑的优点是很多的，你用这种方法工作得越多就会继续使你感到惊喜。戴好你的帽子，系紧你的安全带，我们去SAWStudio强有力的多轨非线性编辑环境里旅行。
[ 本帖最后由 haishengna 于 07-4-26 12:07 编辑 ]