另外，CARMEN同学，效果器的使用就好像MAKEUP（化妆）；
天生丽质的，不化妆也非常漂亮，但是如果配合高超的化妆技术，适当的修饰会让你更艳光四射。
但如果天生就没有一副完美的脸蛋，那么高超的化妆技术就能让你的脸蛋无限的接近完美。
加效果器也一样，如果一支优秀的乐队在一次优秀的录音中完成了DEMO，就算你不加效果器，他也是优秀的；并不是说任何
情况下都必须用到效果器。
国外的教程的确会在轨道上加上不少于一个压缩器或者LIMITER，我不知道你看的是不是charles dye的教程，但无论如何你就当这是charles dye的化妆方法，你可以参考可以学习，但不必过度相信，就好像每期VOGUE杂志上的化妆方向都有不同的变化，你挑选适合你自己的；
至于每一个轨道应该加多少个，我觉得你应该熟悉驾驭这些效果器，不然的话就算只用一个也能破坏你的轨道。
天生丽质的，不化妆也非常漂亮，但是如果配合高超的化妆技术，适当的修饰会让你更艳光四射。
但如果天生就没有一副完美的脸蛋，那么高超的化妆技术就能让你的脸蛋无限的接近完美。
加效果器也一样，如果一支优秀的乐队在一次优秀的录音中完成了DEMO，就算你不加效果器，他也是优秀的；并不是说任何
情况下都必须用到效果器。
国外的教程的确会在轨道上加上不少于一个压缩器或者LIMITER，我不知道你看的是不是charles dye的教程，但无论如何你就当这是charles dye的化妆方法，你可以参考可以学习，但不必过度相信，就好像每期VOGUE杂志上的化妆方向都有不同的变化，你挑选适合你自己的；
至于每一个轨道应该加多少个，我觉得你应该熟悉驾驭这些效果器，不然的话就算只用一个也能破坏你的轨道。
观众反应
這裡有 Bruce Swedien 的一篇有關 transient 的文章, 大家不妨參考, 他是其中一位不喜歡用comp 的大師..
When my mixes go to the mastering room, they don't need much. They are ready!!! Of course that sounds a bit egotistical, but I always strive for that...
If you can, ask Bernie Grundman...
I'm sorry, but it sounds to me like you are listening to what your pals tell you to do! All that compression and limiting is ABSOLUTELY UNNECESSARY!!! It only minimizes the drama of the music!!! At least that's what I think....
If you don't allow those transients to live, you are destroying the most dramatic element in "Pop" music!!! Here's what I am talking about....
I am frequently asked to define transient response, as it applies to music recording. Here are some of my toughts on this very important subject.
First let’s try to define the basic issue.
A- Transient response in electronic recording equipment, is the ability of a device or electronic component, to handle and faithfully reproduce sudden waveforms called transients. A transient is a short duration, high level sonic energy peak, such as a hand-clap ot snare drum hit. Any sound source in the percussion family requires excellent transient response in the recording equipment to sound real.
B- To me, a sound transient is the steep wave-front of the sound. In other words, the transient of the sound is the first impact of the sound before the sound falls and begins to decay, or die.
Good transient response is especially important when recording acoustic instruments. This is one case where it’s extremely important for one to have equipment that is able to capture as much of the initial transient as possible, and all it’s accompanying delicate details.
In the music that I am normally involved in, I have always felt that good transient response is one of the very most important components of the recorded image. I would even go so far as to say that transient response has at it’s core a direct relationship to the emotional impact of a recording. Particularily in the main genre’s of music that I record.... namely R & B and ‘Pop’ recordings.
Faithful recording and reproduction of sound source transients make the strong rhythmic elements of music much more dramatic. These are the elements that are so important to R & B and ‘Pop’ recordings, such as the ‘Kick’ drun, the ‘Snare’ drum, hand-claps, percussion...etc.
I think that well recorded transients give R & B and ‘Pop’ recordings a feeling of tremendous energy.
To me, compression and limiting diminish the drama of sound source transients in recorded music. Along that same line of thinking, I should also point out that I am not a big fan of over-compression and over-limiting anywhere during the recording process.
To me, when R & B and ‘Pop’ recordings are over-compressed and over-limited they lack the extemely fundamental qualities of both primitive energy and smooth high-frequencies.
The reason that over-compressed and over-limited recordings lose high end energy, is that much of the sound energy in a recording is concentrated in the lower frequencies. These low-end signals will negatively influence a wide-band compressor’s operation, causing higher frequencies to be attenuated during peaks in level, making the music sound dull and lifeless.
Personally, I love transients and what they do to dramatize music. let them live! If a recording is over-compressed, it will always be over-compressed. In other words, it will sound dull and lifeless forever!
[ 本帖最后由 himhui 于 08-6-4 22:34 编辑 ]
When my mixes go to the mastering room, they don't need much. They are ready!!! Of course that sounds a bit egotistical, but I always strive for that...
If you can, ask Bernie Grundman...
I'm sorry, but it sounds to me like you are listening to what your pals tell you to do! All that compression and limiting is ABSOLUTELY UNNECESSARY!!! It only minimizes the drama of the music!!! At least that's what I think....
If you don't allow those transients to live, you are destroying the most dramatic element in "Pop" music!!! Here's what I am talking about....
I am frequently asked to define transient response, as it applies to music recording. Here are some of my toughts on this very important subject.
First let’s try to define the basic issue.
A- Transient response in electronic recording equipment, is the ability of a device or electronic component, to handle and faithfully reproduce sudden waveforms called transients. A transient is a short duration, high level sonic energy peak, such as a hand-clap ot snare drum hit. Any sound source in the percussion family requires excellent transient response in the recording equipment to sound real.
B- To me, a sound transient is the steep wave-front of the sound. In other words, the transient of the sound is the first impact of the sound before the sound falls and begins to decay, or die.
Good transient response is especially important when recording acoustic instruments. This is one case where it’s extremely important for one to have equipment that is able to capture as much of the initial transient as possible, and all it’s accompanying delicate details.
In the music that I am normally involved in, I have always felt that good transient response is one of the very most important components of the recorded image. I would even go so far as to say that transient response has at it’s core a direct relationship to the emotional impact of a recording. Particularily in the main genre’s of music that I record.... namely R & B and ‘Pop’ recordings.
Faithful recording and reproduction of sound source transients make the strong rhythmic elements of music much more dramatic. These are the elements that are so important to R & B and ‘Pop’ recordings, such as the ‘Kick’ drun, the ‘Snare’ drum, hand-claps, percussion...etc.
I think that well recorded transients give R & B and ‘Pop’ recordings a feeling of tremendous energy.
To me, compression and limiting diminish the drama of sound source transients in recorded music. Along that same line of thinking, I should also point out that I am not a big fan of over-compression and over-limiting anywhere during the recording process.
To me, when R & B and ‘Pop’ recordings are over-compressed and over-limited they lack the extemely fundamental qualities of both primitive energy and smooth high-frequencies.
The reason that over-compressed and over-limited recordings lose high end energy, is that much of the sound energy in a recording is concentrated in the lower frequencies. These low-end signals will negatively influence a wide-band compressor’s operation, causing higher frequencies to be attenuated during peaks in level, making the music sound dull and lifeless.
Personally, I love transients and what they do to dramatize music. let them live! If a recording is over-compressed, it will always be over-compressed. In other words, it will sound dull and lifeless forever!
[ 本帖最后由 himhui 于 08-6-4 22:34 编辑 ]