- 第 2 页 -
用了2个多小时的时间 大概的翻译了一下 可能有错的地方 错了的大家一定提出指正，也希望能够对大家起到帮助作用。
A basic mastering chain looks like this:一个基本的混音链看起来像这样：
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.
你要听什么歌的需要。我听到了多年的答案，我真的不喜欢它，但它是真实的。比较商业的歌曲和决定。
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.
有无数的讨论关于你是否应该把eq或者在压缩放在前面，我认为这是最有用的答案：纠正频谱（使频谱变平衡更好）应
该把压缩放在前面，如果你使用eq去使声音变的有色彩，（例如让他更加老式，温暖或风味），你可以在压缩以后使用
eq。
So now you can extend your chain to this, if necessary:
现在你可以扩展关于这个思路，如果有必要：
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.
我还在学习混音（并且我希望我将每天都继续学习）并认识到我需要的压缩比我想象中的要少的多。我的作品多数是电
子音乐我并没有在所有的地方都加了压缩。有很多的方法去用压缩做创意，像饱满度或者作为clipper。我这些日子越
来越多的去用压缩。他不会破坏动态像regular压缩
。
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.
有时候你必须让你的歌声场更大，你就需要一个立体声效果器来实现它，我把他放在压缩或者eq后面。
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.
如果你想让你的歌更加响，你可以放一个clipper在压线前面，不建议让你的歌非常响，因为他会破坏动态，但是我们
都知道作为商业歌曲一定要“响”。
So now we can extend our mastering chain to this:
所以我们可以扩展思路像这样：
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.
一些人说你可以把clipper放在限制器后面，毕竟，多数的AD/DA转换clipper都是放在最后的，但是当我们这样做，我
只听到更多的失真，我觉得这样不适合我。也许这样会适合你。试试吧，你应该更加相信自己的耳朵而不是教程。请记
住，你并不总是需要所有的插件，这些只是建议，根据你的歌曲需要。
Some plugins I like a lot:
我喜欢的一些插件
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.用一个短于30ms的混响，
糟糕，我几乎忘了我的特别任务，你知道吗？当你混出来的歌曲感觉薄时，想较于商业来说。多数情况下可以用很短的
混响来解决，应该叫氛围。在你的总输出把他放在第一个位置，知道听到各种声音的“epicverb”为止。你可以高通混
响去得到嗡嗡的混响效果。而最好的是，如果混出来歌曲听起来不薄，这个混响将不会引人注目，也不会破坏你的混音
。
So now we end up with a pretty large mastering chain:
现在我们有了一条非常大的混音效果链
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):
如果你 --在这个过程中的某处--想增加饱和度，我会建议（在任何特定的顺序）：
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:
你可以增加爆满度在这个链条的开始
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.
这是一个大型的混音效果链但是我要重申。不是所有的歌都需要插件。
Use limits to set yourself free
使用限制使你自己自由
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'.
我们都知道，自过去10年（或20年），我们能够获得更多的音乐（数字）工具。而这些工具比硬件更便宜，拥有这么多
的插件会影响工作效率因为我们一直会去测试新的插件。
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.
为了减少实验，真正取得成果。我限制掌握每个插件最多5种类型（5压缩，5eq……）或者更少。
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.
即使是掌握最少的效果链也是我们有机会--结合插件--去得到很多不同的结果。如果你有5个压缩，5个eq和3个限制器
需要选择，你可以有75个效果链(5x5x3=75)。也有连着用2个压缩在一条里以防止破，当你混音时。如果你有5个压缩，
你可以得到25种组合单独序列压缩。相信我，如果没有任何一种序列能够给你满意的结果，怎么办？这以为这你必须要
提高你的技能，因为一个新的插件并不能拯救一个歌的混缩。
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.
有多少机会能够获得多少在pre-digital领域顶级工程师设计的硬件呢？你觉得披头士或者滚石乐队有100个eq或者250
个压缩？我猜不会，并且他们的唱片听起来很棒。他们有一个工程师为他们调整直到声音听起来是对的。他们不会拿着
一个价值亿万美元的均衡器说：该死的，让我们换另一个eq来吧，因为这个声音不对。和我们的软件数量比起来他们的硬件数量是有限的，但是他们的工作为他们获得了一个很好的声音。他是通过辛勤的工作得到的，不是无知的去随即的采取工具而都不知道自己在做什么。
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.
为什么我要告诉大家？选择一些好的工具并且去精通他们。学习控制和每个特有的声音插件。你找到一款非常让你满意的压缩了么？好的，使用它，但是另外的压缩，否则你将最终与很多插件打交道……再次。
I guess that's all I have to say
我想这就是我要说的。
Maybe you found something useful in this text
也许你会发现有用的东西在这个文本。
A basic mastering chain looks like this:一个基本的混音链看起来像这样：
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.
你要听什么歌的需要。我听到了多年的答案，我真的不喜欢它，但它是真实的。比较商业的歌曲和决定。
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.
有无数的讨论关于你是否应该把eq或者在压缩放在前面，我认为这是最有用的答案：纠正频谱（使频谱变平衡更好）应
该把压缩放在前面，如果你使用eq去使声音变的有色彩，（例如让他更加老式，温暖或风味），你可以在压缩以后使用
eq。
So now you can extend your chain to this, if necessary:
现在你可以扩展关于这个思路，如果有必要：
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.
我还在学习混音（并且我希望我将每天都继续学习）并认识到我需要的压缩比我想象中的要少的多。我的作品多数是电
子音乐我并没有在所有的地方都加了压缩。有很多的方法去用压缩做创意，像饱满度或者作为clipper。我这些日子越
来越多的去用压缩。他不会破坏动态像regular压缩
。
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.
有时候你必须让你的歌声场更大，你就需要一个立体声效果器来实现它，我把他放在压缩或者eq后面。
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.
如果你想让你的歌更加响，你可以放一个clipper在压线前面，不建议让你的歌非常响，因为他会破坏动态，但是我们
都知道作为商业歌曲一定要“响”。
So now we can extend our mastering chain to this:
所以我们可以扩展思路像这样：
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.
一些人说你可以把clipper放在限制器后面，毕竟，多数的AD/DA转换clipper都是放在最后的，但是当我们这样做，我
只听到更多的失真，我觉得这样不适合我。也许这样会适合你。试试吧，你应该更加相信自己的耳朵而不是教程。请记
住，你并不总是需要所有的插件，这些只是建议，根据你的歌曲需要。
Some plugins I like a lot:
我喜欢的一些插件
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.用一个短于30ms的混响，
糟糕，我几乎忘了我的特别任务，你知道吗？当你混出来的歌曲感觉薄时，想较于商业来说。多数情况下可以用很短的
混响来解决，应该叫氛围。在你的总输出把他放在第一个位置，知道听到各种声音的“epicverb”为止。你可以高通混
响去得到嗡嗡的混响效果。而最好的是，如果混出来歌曲听起来不薄，这个混响将不会引人注目，也不会破坏你的混音
。
So now we end up with a pretty large mastering chain:
现在我们有了一条非常大的混音效果链
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):
如果你 --在这个过程中的某处--想增加饱和度，我会建议（在任何特定的顺序）：
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:
你可以增加爆满度在这个链条的开始
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.
这是一个大型的混音效果链但是我要重申。不是所有的歌都需要插件。
Use limits to set yourself free
使用限制使你自己自由
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'.
我们都知道，自过去10年（或20年），我们能够获得更多的音乐（数字）工具。而这些工具比硬件更便宜，拥有这么多
的插件会影响工作效率因为我们一直会去测试新的插件。
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.
为了减少实验，真正取得成果。我限制掌握每个插件最多5种类型（5压缩，5eq……）或者更少。
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.
即使是掌握最少的效果链也是我们有机会--结合插件--去得到很多不同的结果。如果你有5个压缩，5个eq和3个限制器
需要选择，你可以有75个效果链(5x5x3=75)。也有连着用2个压缩在一条里以防止破，当你混音时。如果你有5个压缩，
你可以得到25种组合单独序列压缩。相信我，如果没有任何一种序列能够给你满意的结果，怎么办？这以为这你必须要
提高你的技能，因为一个新的插件并不能拯救一个歌的混缩。
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.
有多少机会能够获得多少在pre-digital领域顶级工程师设计的硬件呢？你觉得披头士或者滚石乐队有100个eq或者250
个压缩？我猜不会，并且他们的唱片听起来很棒。他们有一个工程师为他们调整直到声音听起来是对的。他们不会拿着
一个价值亿万美元的均衡器说：该死的，让我们换另一个eq来吧，因为这个声音不对。和我们的软件数量比起来他们的硬件数量是有限的，但是他们的工作为他们获得了一个很好的声音。他是通过辛勤的工作得到的，不是无知的去随即的采取工具而都不知道自己在做什么。
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.
为什么我要告诉大家？选择一些好的工具并且去精通他们。学习控制和每个特有的声音插件。你找到一款非常让你满意的压缩了么？好的，使用它，但是另外的压缩，否则你将最终与很多插件打交道……再次。
I guess that's all I have to say
我想这就是我要说的。
Maybe you found something useful in this text
也许你会发现有用的东西在这个文本。
我觉得部分插件比如均衡压缩神马的还是可以有相对客观的比较的。
这些天把下到的插件都装上了，然后把所有插件挨个打开截图……最后，VSTi有80多个（不包括没有独立VSTi只能用Kontakt或Giga载入的），
VST有200多个（M/S/SC之类只算一个，另外因为Sonar说你娃插件太多老子显示不完，所以把Waves系列暂时移走未算）。
只差那么一点点，我就崩溃了。
琢磨着测试压缩器，结果发现现在的插件厂商已经不屑于制作原始的峰值压缩（peak compressing），
纷纷整出各种牛逼烘烘的预防/补偿式压缩（好吧，这是我杜撰的叫法），
或许是还未形成一致性技术方案的缘故，参数常常含糊难懂。
最后我只好沮丧地认为：除非我搞懂他们，否则只能感觉，没法比较。
顺便说，FG-X让我的Sonar8.5崩溃过两次，稳定性存疑，不过效果确实不错。
我个人不太喜欢不知道究竟在干嘛的操控，试图找FG-X的使用手册，但没找到。
[ 本帖最后由 绿腰 于 10-11-16 19:14 编辑 ]
这些天把下到的插件都装上了，然后把所有插件挨个打开截图……最后，VSTi有80多个（不包括没有独立VSTi只能用Kontakt或Giga载入的），
VST有200多个（M/S/SC之类只算一个，另外因为Sonar说你娃插件太多老子显示不完，所以把Waves系列暂时移走未算）。
只差那么一点点，我就崩溃了。
琢磨着测试压缩器，结果发现现在的插件厂商已经不屑于制作原始的峰值压缩（peak compressing），
纷纷整出各种牛逼烘烘的预防/补偿式压缩（好吧，这是我杜撰的叫法），
或许是还未形成一致性技术方案的缘故，参数常常含糊难懂。
最后我只好沮丧地认为：除非我搞懂他们，否则只能感觉，没法比较。
顺便说，FG-X让我的Sonar8.5崩溃过两次，稳定性存疑，不过效果确实不错。
我个人不太喜欢不知道究竟在干嘛的操控，试图找FG-X的使用手册，但没找到。
[ 本帖最后由 绿腰 于 10-11-16 19:14 编辑 ]
腰哥出来新插件的同时，我也会去拿，因为我在找顺手的效果器。
比如压缩，我也是一个一个测试那个最适合我用以及最习惯用，板岩和waves的压缩是我最喜欢用的，特别喜欢板岩压出来之后的动态，而waves纯粹是因为快以及方便使用。
其他的完全抛弃，直到下一个顺手的效果器诞生。
我的目标是，尽量，在效果器的海洋中淘到最顺手的几个。然后不停地组合这些已经用烂的效果器。
这想法是通过腰哥转发的文章获得灵感。
最后 EQ依旧是我的小心病，因为除了那个巨无霸PSP HR以外找不到一个占用资源少并且顺手的。用来用去，还是Q10。
继续在无尽地效果器海洋里“淘宝”、
比如压缩，我也是一个一个测试那个最适合我用以及最习惯用，板岩和waves的压缩是我最喜欢用的，特别喜欢板岩压出来之后的动态，而waves纯粹是因为快以及方便使用。
其他的完全抛弃，直到下一个顺手的效果器诞生。
我的目标是，尽量，在效果器的海洋中淘到最顺手的几个。然后不停地组合这些已经用烂的效果器。
这想法是通过腰哥转发的文章获得灵感。
最后 EQ依旧是我的小心病，因为除了那个巨无霸PSP HR以外找不到一个占用资源少并且顺手的。用来用去，还是Q10。
继续在无尽地效果器海洋里“淘宝”、
这个帖子我很感兴趣啊。
我有个很好的朋友，是插件爱好者，他收集了几乎我能想到和幻想到的一切插件，但是他玩只用waves系列，干活只用TDM和PT的什么东西（PT我没玩过不懂）。
我其实很奇怪，从最初到现在，一直在纠结着我。那就是，插件这个东西，按道理来说，能用熟悉一款就很了不起了，什么叫熟悉呢，就是说对他能干什么不能干什么在心里有清晰的判断，并且能从量化的角度做调整，而不是完全盲目的扫参数。ok，峰回路转，插件这种数码化的东西，可真不是越老越好，总是因为技术的提升而逐渐变得更好。于是就只有试用，但是不是每次都能有愉快的经历。就算是狗哥强力推荐的插件，我发现也并非能让我很满意。
目前对于Nomad Factory、FAB Fitler、Lexicon PCM、Waves V Comp、DrMS、Slate Digital FG-X比较有好感，也只用这几个。
P.S.对绿腰男很感兴趣，求交往……
我有个很好的朋友，是插件爱好者，他收集了几乎我能想到和幻想到的一切插件，但是他玩只用waves系列，干活只用TDM和PT的什么东西（PT我没玩过不懂）。
我其实很奇怪，从最初到现在，一直在纠结着我。那就是，插件这个东西，按道理来说，能用熟悉一款就很了不起了，什么叫熟悉呢，就是说对他能干什么不能干什么在心里有清晰的判断，并且能从量化的角度做调整，而不是完全盲目的扫参数。ok，峰回路转，插件这种数码化的东西，可真不是越老越好，总是因为技术的提升而逐渐变得更好。于是就只有试用，但是不是每次都能有愉快的经历。就算是狗哥强力推荐的插件，我发现也并非能让我很满意。
目前对于Nomad Factory、FAB Fitler、Lexicon PCM、Waves V Comp、DrMS、Slate Digital FG-X比较有好感，也只用这几个。
P.S.对绿腰男很感兴趣，求交往……