- 第 1 页 -
太多了啊够给力的留一套行不
这两天在整理插件，愁死我了。
我不上老地方，注册的ID很快就失效了；其他有一两个发资源的地方，也只是偶尔想起来去逛一下。
我只是天天上音频。
然后我下载文件夹里就挤满了一堆都没解压的各色插件。
有多少人跟我一样像个收集狂似的看到狗公腰林兄发个东西就忍不住要下下来下了就放那儿没工夫没精力一一玩过的？
其实我要做东西的时候不敢乱用插件，
连K4神马的我都要把Kontake 4.dll改成Kontake.dll再用，
不然以后一个工程万一想重做，
打开却弹出一堆插件找不到的提示，
难道还要去找可能早就找不到了的旧插件吗？
真的，我开始怀念起以前资源匮乏的时代了，00年代初期，
那时候连GIGA都太奢侈，有个几十M的SF2就很牛逼了，
插件只有TC Native bundle、Ultrafunk和老Waves。
那时候重装系统的主要时间费在系统本身的安装上，
那时候做东西很专心。
于是我开始想，咱们大家能不能群策群力，一起来评定一两套插件，
各种基本的效果器：EQ, Compressor/Limiter, Multi-Compressor; reverb, delay, chorus, flanger.
几款基本的采样音源：鼓，贝斯，钢琴，独奏提琴，交响管弦；至于吉他……貌似很难。
另外再来两三款合成音源，就齐活了。
然后我们就可以不用再天天跟进各种新出的插件，隔三岔五不断升级的插件。
大家要交流工程文件也比较方便。
是不是这么说的？
我不上老地方，注册的ID很快就失效了；其他有一两个发资源的地方，也只是偶尔想起来去逛一下。
我只是天天上音频。
然后我下载文件夹里就挤满了一堆都没解压的各色插件。
有多少人跟我一样像个收集狂似的看到狗公腰林兄发个东西就忍不住要下下来下了就放那儿没工夫没精力一一玩过的？
其实我要做东西的时候不敢乱用插件，
连K4神马的我都要把Kontake 4.dll改成Kontake.dll再用，
不然以后一个工程万一想重做，
打开却弹出一堆插件找不到的提示，
难道还要去找可能早就找不到了的旧插件吗？
真的，我开始怀念起以前资源匮乏的时代了，00年代初期，
那时候连GIGA都太奢侈，有个几十M的SF2就很牛逼了，
插件只有TC Native bundle、Ultrafunk和老Waves。
那时候重装系统的主要时间费在系统本身的安装上，
那时候做东西很专心。
于是我开始想，咱们大家能不能群策群力，一起来评定一两套插件，
各种基本的效果器：EQ, Compressor/Limiter, Multi-Compressor; reverb, delay, chorus, flanger.
几款基本的采样音源：鼓，贝斯，钢琴，独奏提琴，交响管弦；至于吉他……貌似很难。
另外再来两三款合成音源，就齐活了。
然后我们就可以不用再天天跟进各种新出的插件，隔三岔五不断升级的插件。
大家要交流工程文件也比较方便。
是不是这么说的？
观众反应
有些人這樣就夠了 !
A basic mastering chain looks like this:
EQ--> Compressor --> Limiter
You have to listen to what the song needs. I have heard that answer for years and I really disliked it, but it's true. Compare to commercial songs and decide.
There are countless discussions about whether you should put the eq or the compressor in front and I think this is the most useful answer: corrective compression (to make the spectral balance better) should be used before the compressor. If you use eq to color the sound (for example, make it more vintage; add warmth or flavor), you can use it after the compressor.
So now you can extend your chain to this, if necessary:
Corrective EQ --> Compressor --> Colour EQ --> Limiter
I'm still learning about mastering (and I hope I'll never stop learning) and I realize that I need much less compression than I thought of in the first place. I work mainly with electronic music and in lots of cases I don't use compression at all. Or there are other ways to be creative with compression, like saturation or using a clipper. I use parallel compression more and more these days. It doesn't destroy the dynamics like regular compression.
Sometimes it's necessary to make your songs broader. You need a stereo imager to achieve this. I put it after the compressor or the coloring eq.
If you want your song really loud, you can put a clipper before the limiter. I don't advice to make your songs really loud because it destoys the dynamics but we all know that feeling that we want our song as loud as commercial songs.
So now we can extend our mastering chain to this:
Corrective EQ --> Compressor --> Coloring EQ --> Stereo Imager --> Clipper --> Limiter
Some people say you can put the clipper behind the limiter, after all, lots of AD/DA converters add clipping as last part in the chain, but when I do this, I just hear more distortion and somehow it doesn't work for me. Maybe it does for you. Try it, you should trust your ears more than any tutorial.
Remember that you don't always need all plugins, these are just recommendations. Listen to what your songs need.
Some plugins I like a lot:
Corrective EQ:
DDMF eq's
DMGaudio EQuality
Voxengo Harmonieq
Compressor:
PSP mastercomp
PSP Oldtimer
Cytomic The Glue (great for parallel compression)
Variety of sound's density (freeware)
Voxengo Polysquasher
Coloring EQ:
DMGaudio EQuality
Voxengo Harmonieq
Stereo Imager:
DDMF Stereooerets
Hbasm stereoizer
Clipper:
Gvst Gclip
Stillwell Event horizon+
Limiter:
Jeroen Breebaart Barricade Pro
Voxengo Elephant
PSP Audioware Xenon
Oops, I almost forgot my special sauce; Do you know that feeling when your mix sounds thin, in comparison to commercial mixes? In lots of cases it can be solved by using a very short reverb. A reverb which is shorter than 30 ms, is called ambience. Add this as first plugin in the mastering chain. I really recommend variety of Sound's 'Epicverb' for this. You can highpass the reverb to take the boominess of the low end out of the reverb. And the best thing is, if the mix doesn't sound thin, this reverb will be unnoticable, not destroying your mix.
So now we end up with a pretty large mastering chain:
Ambience Reverb --> Corrective EQ --> Compressor --> Coloring EQ --> Stereo Imager --> Clipper --> Limiter
If you --somewhere in this process-- want to add saturation, I would recommend (in no particular order):
Variety of sound Tessla SE or PRO
Variety of sound ferricTDS
Audioteknikk.net Green Eugene
You can add the saturation in the beginning of the chain:
Saturation --> Ambience Reverb --> Corrective EQ --> Compressor --> Coloring EQ --> Stereo Imager --> Clipper --> Limiter
This is a mega mastering chain but I repeat, not very song needs every plugin.
Use limits to set yourself free
We all know that since the last decade (or 2 decades) we have access to many more musical (digital) tools. And those tools are much cheaper than hardware. Having access to so many plugins can work contra-productive because we always want to test the newest 'flavour of the month'.
To cut the experimenting and to really get results, I limit my arsenal of mastering plugins to maximum 5 of each type (5 compressors, 5 equalizers,...) or even less.
Even the shortest mastering chain gives us the opportunity --by combining plugins-- to get many different outcomes. If you have 5 compressors, 5 equalizers and 3 limiters to choose from, you can have 75 possible mastering chains (5x5x3=75). It's pretty common to use 2 compressors in a row to prevent pumping, while mastering. If you have 5 comps, you can get 25 combinations (5x5) of serial compression alone. Trust me, if none of these combinations will give you a satisfying result, what will? It means that you have to work on your skills, because a new plugin won't save your master either.
How many hardware did the engineers of the greatest records in the pre-digital area had access to? Do you think the Beatles or the Rolling Stones had access to 100 eq's and 250 compressors? I guess not, and their records still sound awesome. They had a bunch of engineers who kept tweaking the tools until the sound was right. They just couldn't take a zillion dollar equalizer and say: 'Damn let's take another one because this one doesn't fit the sound.' Their amount of hardware was limited in comparison to our choice of software but they worked their asses of to get a fine sound. It was done by hard work, not by taking a random tool without knowing what that tool can do.
What am I trying to tell? Choose some good tools and stick to them. learn the controls and characteristic sound of each plugin. Do you find a new great compressor with a killer sound? Good, use it, but ditch another compressor, otherwise you'll end up with to many plugins... again.
I guess that's all I have to say
Maybe you found something useful in this text.
A basic mastering chain looks like this:
EQ--> Compressor --> Limiter
You have to listen to what the song needs. I have heard that answer for years and I really disliked it, but it's true. Compare to commercial songs and decide.
There are countless discussions about whether you should put the eq or the compressor in front and I think this is the most useful answer: corrective compression (to make the spectral balance better) should be used before the compressor. If you use eq to color the sound (for example, make it more vintage; add warmth or flavor), you can use it after the compressor.
So now you can extend your chain to this, if necessary:
Corrective EQ --> Compressor --> Colour EQ --> Limiter
I'm still learning about mastering (and I hope I'll never stop learning) and I realize that I need much less compression than I thought of in the first place. I work mainly with electronic music and in lots of cases I don't use compression at all. Or there are other ways to be creative with compression, like saturation or using a clipper. I use parallel compression more and more these days. It doesn't destroy the dynamics like regular compression.
Sometimes it's necessary to make your songs broader. You need a stereo imager to achieve this. I put it after the compressor or the coloring eq.
If you want your song really loud, you can put a clipper before the limiter. I don't advice to make your songs really loud because it destoys the dynamics but we all know that feeling that we want our song as loud as commercial songs.
So now we can extend our mastering chain to this:
Corrective EQ --> Compressor --> Coloring EQ --> Stereo Imager --> Clipper --> Limiter
Some people say you can put the clipper behind the limiter, after all, lots of AD/DA converters add clipping as last part in the chain, but when I do this, I just hear more distortion and somehow it doesn't work for me. Maybe it does for you. Try it, you should trust your ears more than any tutorial.
Remember that you don't always need all plugins, these are just recommendations. Listen to what your songs need.
Some plugins I like a lot:
Corrective EQ:
DDMF eq's
DMGaudio EQuality
Voxengo Harmonieq
Compressor:
PSP mastercomp
PSP Oldtimer
Cytomic The Glue (great for parallel compression)
Variety of sound's density (freeware)
Voxengo Polysquasher
Coloring EQ:
DMGaudio EQuality
Voxengo Harmonieq
Stereo Imager:
DDMF Stereooerets
Hbasm stereoizer
Clipper:
Gvst Gclip
Stillwell Event horizon+
Limiter:
Jeroen Breebaart Barricade Pro
Voxengo Elephant
PSP Audioware Xenon
Oops, I almost forgot my special sauce; Do you know that feeling when your mix sounds thin, in comparison to commercial mixes? In lots of cases it can be solved by using a very short reverb. A reverb which is shorter than 30 ms, is called ambience. Add this as first plugin in the mastering chain. I really recommend variety of Sound's 'Epicverb' for this. You can highpass the reverb to take the boominess of the low end out of the reverb. And the best thing is, if the mix doesn't sound thin, this reverb will be unnoticable, not destroying your mix.
So now we end up with a pretty large mastering chain:
Ambience Reverb --> Corrective EQ --> Compressor --> Coloring EQ --> Stereo Imager --> Clipper --> Limiter
If you --somewhere in this process-- want to add saturation, I would recommend (in no particular order):
Variety of sound Tessla SE or PRO
Variety of sound ferricTDS
Audioteknikk.net Green Eugene
You can add the saturation in the beginning of the chain:
Saturation --> Ambience Reverb --> Corrective EQ --> Compressor --> Coloring EQ --> Stereo Imager --> Clipper --> Limiter
This is a mega mastering chain but I repeat, not very song needs every plugin.
Use limits to set yourself free
We all know that since the last decade (or 2 decades) we have access to many more musical (digital) tools. And those tools are much cheaper than hardware. Having access to so many plugins can work contra-productive because we always want to test the newest 'flavour of the month'.
To cut the experimenting and to really get results, I limit my arsenal of mastering plugins to maximum 5 of each type (5 compressors, 5 equalizers,...) or even less.
Even the shortest mastering chain gives us the opportunity --by combining plugins-- to get many different outcomes. If you have 5 compressors, 5 equalizers and 3 limiters to choose from, you can have 75 possible mastering chains (5x5x3=75). It's pretty common to use 2 compressors in a row to prevent pumping, while mastering. If you have 5 comps, you can get 25 combinations (5x5) of serial compression alone. Trust me, if none of these combinations will give you a satisfying result, what will? It means that you have to work on your skills, because a new plugin won't save your master either.
How many hardware did the engineers of the greatest records in the pre-digital area had access to? Do you think the Beatles or the Rolling Stones had access to 100 eq's and 250 compressors? I guess not, and their records still sound awesome. They had a bunch of engineers who kept tweaking the tools until the sound was right. They just couldn't take a zillion dollar equalizer and say: 'Damn let's take another one because this one doesn't fit the sound.' Their amount of hardware was limited in comparison to our choice of software but they worked their asses of to get a fine sound. It was done by hard work, not by taking a random tool without knowing what that tool can do.
What am I trying to tell? Choose some good tools and stick to them. learn the controls and characteristic sound of each plugin. Do you find a new great compressor with a killer sound? Good, use it, but ditch another compressor, otherwise you'll end up with to many plugins... again.
I guess that's all I have to say
Maybe you found something useful in this text.
俺生成一段波形，用以下插件做定频衰减：
Parametric EQ (TC Native bundle)
Equalizer (Ultrafunk/Sonitus:fx)
LP64_EQ (Sonar)
Q10-Paragraphic EQ (Waves)
CurveEQ (Voxengo)
HarmoniEQ (Voxengo)
由于各个插件的参数不同，尤其是Q值区别很大，只能保持图示曲线大体一致，
然后发现结果也基本一致。（懒得一个个抓图了，就截了下HarmoniEQ。）
不过EQ曲线设置点都是用的peaking模式，
而HarmoniEQ除了大家差不多都有的高低带通之外，
还有个Notch模式，可以把目标频段几乎完整抠掉。
而且HarmoniEQ延续了CurveEQ的频谱显示（不过只有output，没有input），
也就是延续了所见即所得的能力，提供的参数和操作功能也很全面，
所以结论是：
Voxengo HarmoniEQ 确实很给力。
上面林兄转文中提到的另几个EQ俺手上没有，没法比较了。
[ 本帖最后由 绿腰 于 10-10-14 18:45 编辑 ]
Parametric EQ (TC Native bundle)
Equalizer (Ultrafunk/Sonitus:fx)
LP64_EQ (Sonar)
Q10-Paragraphic EQ (Waves)
CurveEQ (Voxengo)
HarmoniEQ (Voxengo)
由于各个插件的参数不同，尤其是Q值区别很大，只能保持图示曲线大体一致，
然后发现结果也基本一致。（懒得一个个抓图了，就截了下HarmoniEQ。）
不过EQ曲线设置点都是用的peaking模式，
而HarmoniEQ除了大家差不多都有的高低带通之外，
还有个Notch模式，可以把目标频段几乎完整抠掉。
而且HarmoniEQ延续了CurveEQ的频谱显示（不过只有output，没有input），
也就是延续了所见即所得的能力，提供的参数和操作功能也很全面，
所以结论是：
Voxengo HarmoniEQ 确实很给力。
上面林兄转文中提到的另几个EQ俺手上没有，没法比较了。
[ 本帖最后由 绿腰 于 10-10-14 18:45 编辑 ]
观众反应
