Magic Frequencies
Excerpted from The Mixing Engineer's Handbook
by Bobby Owsinski
(想要真正了解这片文章,我建议大家还是去看<The Mixing Engineer's Handbook>这样你会有更深刻的了解.)
Editors' Note: The following excerpt from "The Mixing Engineer's Handbook" by engineer Bobby Owsinski discusses how EQ can affect different frequencies in an audio mix. A Tips and Tricks section at the the end features various professional engineers offering their perspective on EQ techniques.
篇者语：以下摘录的是来自工程师Bobby Owsinki”The Mixing Engineer’s Handbook”一文中讨论EQ在AUDIO MIX中如何影响不同频率的。而最后，会有几位专业工程师提供他们对EQ的看法，以及一些提示和窍门。
Tricks and Tips
General Tips
Use a narrow Q (bandwidth) when cutting; use wide Q’s when boosting
If you want something to stick out, roll off the bottom; if you want it to blend in, roll off the top
当EQ做衰减的时候，用窄Q值（带宽）；当提升的时候用宽Q值。如果你要突出（从整体中突出），那么你用低频滚降。如果你要融合（融合到整体中），那么你用高频滚降。
For Snare —
To find the “point” on the snare, boost the upper midrange starting at about +5 or 6dB at 2kHz or so. Open up the bandwidth (if that parameter is available) until you get the snare to jump out, then tighten the bandwidth until you get only the part of the snare sound that you want most. Then fine-tune the frequency until you need the least amount of boost in order to make it jump out of the mix.
在SNARE上找到一个点，在中频大约2KHZ范围内提高＋5到＋6dB。展开EQ带宽（如果你的参数允许你这样做）直到使你的SNARE在整体中凸现出来，然后慢慢收紧EQ的带宽，直到得出的声音是你所最想要SNARE的感觉。然后调整你的频率增益，然后使得SNARE依然在整体突出的情况下，把频率增益降低到最少。（嘴里其实就是三个步骤：1，在大概2000HZ的位置提升5到6dB；2，拉宽EQ带宽，知道SNARE在整体音乐中突出，然后再慢慢收缩你的你的带宽，知道SNARE接近到你所需要的。3，就是扫频和调整EQ增益了！这里大家必须了解，"The Mixing Engineer's Handbook"一书中的处理过程是从宏观出发，他们会把所有的轨道都放到软件里面，然后做第一步BALANCE，先确定好音量大小，然后做频率区分，然后做PAN,然后是空间感觉（包括DELAY/REVERB等等），然后是动态，最后才是个人创意。所以他们的顺序是：BALANCE->FREQUENCY RANGE->PANORAMA ->DIMENSION->DYNAMIC->INTEREST(个人创意)；但要记住，这里不是单一轨道顺序，而是书中对宏观整体MIXING处理的顺序，千万不要混淆了！）
For Bass —
The ratio between the low bass (80–120Hz) and the mid-bass (130Hz–200Hz) is important. Try using two fairly narrow peaking bands, one at 100Hz and another at 140Hz and boost one and cut the other. If the bass is too warm, sometimes reducing the upper band can make it more distinct without removing the deeper fundamentals that live in the 100Hz band. Also, try boosting some of the 1kHz area since this is where a lot of the sound of the Fender bass lives.
低频（80～120HZ）以及中低频（130HZ－200HZ）在BASS上是十分重要的。尝试在EQ上用窄的带宽，然后在100HZ上做提升，和140HZ走有做衰减。如果BASS太暖，某些时候降低比较高的频率带，能使BASS变得清晰，而不用去对BASS的基频100HZ做EQ向下调整。当然，尝试提高一些1000hz附近的区域，因为这里是对于FENDER BASS的声音有好处。（since this is where a lot of the sound of the Fender bass lives.
，我猜不会是对FENDER BASS有坏处吧～，口语不好，请原谅）。
For Fatter Guitars —
Boost midrange a lot (9dB or so) and sweep the frequencies until you hear the range where the guitar sounds thick but yet still bright enough to cut through. Now, back the boost down to about +4 or so until the guitar cuts through the mix without being too bright.
提高中频（大约9dB），然后扫频，直到你的吉他声音变厚，但依然要保持声音足够明亮，否则就要衰减一点。然后把这个增益降低到＋4dB，或者降低到你的吉他在混音中不至于太明亮。（这里需要各位自己把握了，最好大家多听其他的作曲，才是最好的办法）。
Don Smith: I use EQ different from some people. I don’t just use it to brighten or fatten something up; I use it to make an instrument feel better. Like on a guitar, making sure that all the strings on a guitar can be heard. Instead of just brightening up the high strings and adding mud to the low strings, I may look for a certain chord to hear more of the A string. If the D string is missing in a chord, I like to EQ and boost it way up to +8 or +10 and then just dial through the different frequencies until I hear what they’re doing to the guitar. So I’m trying to make things more balanced in the way they lay with other instruments.
Don Smith：我用EQ和一般人不同。我不是只对歌曲做变亮变胖的增益；我用EQ使乐器变得更好听。例如一个吉他，我要确定吉他上的每一条弦所发出的声音都能被听到。代替了只对高音弦做高频提高的明亮处理，和对低音弦做泥泞感（MUD:泥泞）的低频提高处理，我可能会寻找其中一个确定的和弦去听，而更少的去听一个弦发出的声音。如果D音弦在一个和弦中没有被听到，我喜欢用EQ去把他提高到＋8或者＋10，直到我在不同的频率中听到他们的声音（这里的＋8或者＋10我觉得应该不是对dB而言的，可能是对音乐中的度，＋8度或者＋10度，应该就是扫频率，而频率和音乐中音符的度数是有关系的。不过大家依然可以认为是dB，毕竟在提高了GAIN的同时,Q影响的范围也是会扩大的,也可以看看是提高了8～10dB还是8～10度，尝试后大家讨论讨论啊）。所以我努力尝试把这个方法在其他乐器上使用。
For Vocals—
Boost a little at 125Hz to 250Hz to accentuate the voice fundamental and make it more “chesty”-sounding. The 2kHz to 4kHz range accentuates the consonants and makes the vocal seem closer to the listener.
人声：在125Hz～250Hz之间做一点增益，以此突出人声的基频和使得人声拥有更多的胸腔声音（chesty是丰满的胸部，不能是胸部的声音吧！）。提高2000Hz～4000Hz的范围能提高人声的辅音（泛音吧），以及是人声听起来更接近聆听者。
Ed Seay: On a vocal sometimes I think, “Does this vocal need a diet plan? Does he need to lose some flab down there?” Or sometimes, “We need some weight on this guy so let’s add some 300 cycles and make him sound a little more important.”
Ed Seay：在人声上，我们要多思考，多尝试，订立一个计划，看看在不同的EQ设置上会有什么不同的变化。这样你的人声会变得更好。
David Sussman: If I’m recording vocals, I like to roll off quite a bit on the bottom end so the compressor doesn’t start kicking in and bringing up any low end rumble or noise. If I’m EQing a piano or something that’s already been recorded, I sometimes roll off a lot of the bottom so I leave a lot of room for the bass and the kick drum to occupy. A lot of times I don’t need anything under probably 100Hz. I’ll do some rolling off with the filters and then I may take a bell curve and zone in on a couple of other woofy areas on certain instruments.
如果我录制人声,我会滚降低频部分,让压缩的时候不会导致低频隆隆声音以及低频噪音的出现.如果对一个已经录制的钢琴做EQ处理,某些时候我会滚降钢琴的低频,留下一定的空间给BASS和KICK DRUM.我很经常的情况下,会去掉(不需要)大概100HZ以下的频率.我也会用滤波器对其他目管乐器做这样的处理.
Dave Pensado: I think of EQ as an effect much the same way you would add chorus or reverb to a particular instrument or vocal. Like, I might have a vocal where I think it’s really EQed nicely and then I’ll add a little more 3k just to get it to bite a little more. Then it just makes me feel like the singer was trying harder and it brings out a little bit of passion in his or her voice. So I tend to be most effective when I do the standard equalizing, then take it to the next level, thinking of it as an effect.
Source: ArtistPro
Dave Pensado:我想你有时候也会对乐器或者人声的合唱/混响加入EQ调整他们的细节.例如.其实你只要对人声做标准的EQ处理,那么你的人声就会被凸现出来.例如我觉得对某人声加EQ会使得声音变好的话,那么我就会在3000HZ做提高,让你觉得歌手好像在努力提高歌声的热情.
最后,本书中也有对频率做了区域区分,把整个人声所能听到的频率带分为6段:16Hz~60Hz(超低频),60Hz~250Hz(低频),250Hz~2000Hz(中低频),2000Hz~4000Hz(中高频),4000Hz~6000Hz(中高频),6000Hz~16000Hz(超高频).当然这里是作者对各位的建议,他这些个频率区分方法中,每一个区域的改变都是对频率有很大变化的.而网络中也曾经出现过这文章,我就不多说了.
这里只是作者和某些录音师的某些话语,不能完全照搬,一定要自己时间后才会有所感悟.
by Bobby Owsinski
(想要真正了解这片文章,我建议大家还是去看<The Mixing Engineer's Handbook>这样你会有更深刻的了解.)
Editors' Note: The following excerpt from "The Mixing Engineer's Handbook" by engineer Bobby Owsinski discusses how EQ can affect different frequencies in an audio mix. A Tips and Tricks section at the the end features various professional engineers offering their perspective on EQ techniques.
篇者语：以下摘录的是来自工程师Bobby Owsinki”The Mixing Engineer’s Handbook”一文中讨论EQ在AUDIO MIX中如何影响不同频率的。而最后，会有几位专业工程师提供他们对EQ的看法，以及一些提示和窍门。
Tricks and Tips
General Tips
Use a narrow Q (bandwidth) when cutting; use wide Q’s when boosting
If you want something to stick out, roll off the bottom; if you want it to blend in, roll off the top
当EQ做衰减的时候，用窄Q值（带宽）；当提升的时候用宽Q值。如果你要突出（从整体中突出），那么你用低频滚降。如果你要融合（融合到整体中），那么你用高频滚降。
For Snare —
To find the “point” on the snare, boost the upper midrange starting at about +5 or 6dB at 2kHz or so. Open up the bandwidth (if that parameter is available) until you get the snare to jump out, then tighten the bandwidth until you get only the part of the snare sound that you want most. Then fine-tune the frequency until you need the least amount of boost in order to make it jump out of the mix.
在SNARE上找到一个点，在中频大约2KHZ范围内提高＋5到＋6dB。展开EQ带宽（如果你的参数允许你这样做）直到使你的SNARE在整体中凸现出来，然后慢慢收紧EQ的带宽，直到得出的声音是你所最想要SNARE的感觉。然后调整你的频率增益，然后使得SNARE依然在整体突出的情况下，把频率增益降低到最少。（嘴里其实就是三个步骤：1，在大概2000HZ的位置提升5到6dB；2，拉宽EQ带宽，知道SNARE在整体音乐中突出，然后再慢慢收缩你的你的带宽，知道SNARE接近到你所需要的。3，就是扫频和调整EQ增益了！这里大家必须了解，"The Mixing Engineer's Handbook"一书中的处理过程是从宏观出发，他们会把所有的轨道都放到软件里面，然后做第一步BALANCE，先确定好音量大小，然后做频率区分，然后做PAN,然后是空间感觉（包括DELAY/REVERB等等），然后是动态，最后才是个人创意。所以他们的顺序是：BALANCE->FREQUENCY RANGE->PANORAMA ->DIMENSION->DYNAMIC->INTEREST(个人创意)；但要记住，这里不是单一轨道顺序，而是书中对宏观整体MIXING处理的顺序，千万不要混淆了！）
For Bass —
The ratio between the low bass (80–120Hz) and the mid-bass (130Hz–200Hz) is important. Try using two fairly narrow peaking bands, one at 100Hz and another at 140Hz and boost one and cut the other. If the bass is too warm, sometimes reducing the upper band can make it more distinct without removing the deeper fundamentals that live in the 100Hz band. Also, try boosting some of the 1kHz area since this is where a lot of the sound of the Fender bass lives.
低频（80～120HZ）以及中低频（130HZ－200HZ）在BASS上是十分重要的。尝试在EQ上用窄的带宽，然后在100HZ上做提升，和140HZ走有做衰减。如果BASS太暖，某些时候降低比较高的频率带，能使BASS变得清晰，而不用去对BASS的基频100HZ做EQ向下调整。当然，尝试提高一些1000hz附近的区域，因为这里是对于FENDER BASS的声音有好处。（since this is where a lot of the sound of the Fender bass lives.
，我猜不会是对FENDER BASS有坏处吧～，口语不好，请原谅）。
For Fatter Guitars —
Boost midrange a lot (9dB or so) and sweep the frequencies until you hear the range where the guitar sounds thick but yet still bright enough to cut through. Now, back the boost down to about +4 or so until the guitar cuts through the mix without being too bright.
提高中频（大约9dB），然后扫频，直到你的吉他声音变厚，但依然要保持声音足够明亮，否则就要衰减一点。然后把这个增益降低到＋4dB，或者降低到你的吉他在混音中不至于太明亮。（这里需要各位自己把握了，最好大家多听其他的作曲，才是最好的办法）。
Don Smith: I use EQ different from some people. I don’t just use it to brighten or fatten something up; I use it to make an instrument feel better. Like on a guitar, making sure that all the strings on a guitar can be heard. Instead of just brightening up the high strings and adding mud to the low strings, I may look for a certain chord to hear more of the A string. If the D string is missing in a chord, I like to EQ and boost it way up to +8 or +10 and then just dial through the different frequencies until I hear what they’re doing to the guitar. So I’m trying to make things more balanced in the way they lay with other instruments.
Don Smith：我用EQ和一般人不同。我不是只对歌曲做变亮变胖的增益；我用EQ使乐器变得更好听。例如一个吉他，我要确定吉他上的每一条弦所发出的声音都能被听到。代替了只对高音弦做高频提高的明亮处理，和对低音弦做泥泞感（MUD:泥泞）的低频提高处理，我可能会寻找其中一个确定的和弦去听，而更少的去听一个弦发出的声音。如果D音弦在一个和弦中没有被听到，我喜欢用EQ去把他提高到＋8或者＋10，直到我在不同的频率中听到他们的声音（这里的＋8或者＋10我觉得应该不是对dB而言的，可能是对音乐中的度，＋8度或者＋10度，应该就是扫频率，而频率和音乐中音符的度数是有关系的。不过大家依然可以认为是dB，毕竟在提高了GAIN的同时,Q影响的范围也是会扩大的,也可以看看是提高了8～10dB还是8～10度，尝试后大家讨论讨论啊）。所以我努力尝试把这个方法在其他乐器上使用。
For Vocals—
Boost a little at 125Hz to 250Hz to accentuate the voice fundamental and make it more “chesty”-sounding. The 2kHz to 4kHz range accentuates the consonants and makes the vocal seem closer to the listener.
人声：在125Hz～250Hz之间做一点增益，以此突出人声的基频和使得人声拥有更多的胸腔声音（chesty是丰满的胸部，不能是胸部的声音吧！）。提高2000Hz～4000Hz的范围能提高人声的辅音（泛音吧），以及是人声听起来更接近聆听者。
Ed Seay: On a vocal sometimes I think, “Does this vocal need a diet plan? Does he need to lose some flab down there?” Or sometimes, “We need some weight on this guy so let’s add some 300 cycles and make him sound a little more important.”
Ed Seay：在人声上，我们要多思考，多尝试，订立一个计划，看看在不同的EQ设置上会有什么不同的变化。这样你的人声会变得更好。
David Sussman: If I’m recording vocals, I like to roll off quite a bit on the bottom end so the compressor doesn’t start kicking in and bringing up any low end rumble or noise. If I’m EQing a piano or something that’s already been recorded, I sometimes roll off a lot of the bottom so I leave a lot of room for the bass and the kick drum to occupy. A lot of times I don’t need anything under probably 100Hz. I’ll do some rolling off with the filters and then I may take a bell curve and zone in on a couple of other woofy areas on certain instruments.
如果我录制人声,我会滚降低频部分,让压缩的时候不会导致低频隆隆声音以及低频噪音的出现.如果对一个已经录制的钢琴做EQ处理,某些时候我会滚降钢琴的低频,留下一定的空间给BASS和KICK DRUM.我很经常的情况下,会去掉(不需要)大概100HZ以下的频率.我也会用滤波器对其他目管乐器做这样的处理.
Dave Pensado: I think of EQ as an effect much the same way you would add chorus or reverb to a particular instrument or vocal. Like, I might have a vocal where I think it’s really EQed nicely and then I’ll add a little more 3k just to get it to bite a little more. Then it just makes me feel like the singer was trying harder and it brings out a little bit of passion in his or her voice. So I tend to be most effective when I do the standard equalizing, then take it to the next level, thinking of it as an effect.
Source: ArtistPro
Dave Pensado:我想你有时候也会对乐器或者人声的合唱/混响加入EQ调整他们的细节.例如.其实你只要对人声做标准的EQ处理,那么你的人声就会被凸现出来.例如我觉得对某人声加EQ会使得声音变好的话,那么我就会在3000HZ做提高,让你觉得歌手好像在努力提高歌声的热情.
最后,本书中也有对频率做了区域区分,把整个人声所能听到的频率带分为6段:16Hz~60Hz(超低频),60Hz~250Hz(低频),250Hz~2000Hz(中低频),2000Hz~4000Hz(中高频),4000Hz~6000Hz(中高频),6000Hz~16000Hz(超高频).当然这里是作者对各位的建议,他这些个频率区分方法中,每一个区域的改变都是对频率有很大变化的.而网络中也曾经出现过这文章,我就不多说了.
这里只是作者和某些录音师的某些话语,不能完全照搬,一定要自己时间后才会有所感悟.
, 有時間得再練習一下。