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提升宽度的秘密  ( 22 )
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本帖最后由 mimiD 于 18-9-1 15:09 编辑

| By Thomas Brett |
Introduction:
EQ and Compression may be the more popular topics of mixing discussion, but the truth is, something as comparatively “basic” as the general placement of each instrument within the stereo field can actually have just as much of an impact on the overall quality of a mix!
This being the case, in this week’s URM Blog I’ll be guiding you through 5 of my best tips & tricks for widening tracks and creating better separation between instruments for maximum mix clarity:

导言:
EQ和压缩可能是混音讨论的更流行的主题,但事实是,与立体声场中每个乐器的总体布局相比,相对“基本”的东西实际上对混音的整体质量具有同样大的影响!
在这种情况下,在本周的URM博客中,我将引导您通过5条我最好的技巧和技巧来拓宽音轨,并在乐器之间创建更好的分离,从而达到最大的混音清晰度:

1 – The Key To Width: Difference 宽度的关键:差异

In order to achieve a wide mix, you first need to understand some of the basic differences between Mono and Stereo.
为了实现宽度的混音,首先需要了解单声道和立体声之间的一些基本区别。

In the context of mixing:
  • Mono, is when you have the same signal coming out of both speakers, resulting in a “Phantom Center” appearing in the middle. Changing the L/R balance of said signal in favor of one side or the other results in the signal being Panned in that direction.
  • Stereo, is when you have a unique signal coming out of each speaker, creating a discernable difference between the directionality of left and right content when combined.
  • The primary conclusion we can make based on these descriptions? –The more difference there is between the left/right channels, the wider the mix will sound!

在混音的背景下:
单声道,当你有相同的信号来自两个扬声器,导致一个“幻影中心”出现在中间。改变所述信号的L/R平衡有利于一侧或另一侧导致信号沿该方向平移。
立体声,是当你有一个独特的信号从每个扬声器出来,创造一个可辨认的差别的方向性左和右内容的组合。
基于这些描述,我们可以得出什么初步结论?左/右通道之间的差异越大,混音的声音宽度感觉就越大!

2 – Psycho-Acoustic Stereo Enhancement Plugins: 心理声学立体声增强插件:

VIDEO: In the following NailTheMix excerpt, Joey Sturgis explains and demonstrates the stereo enhancement process he used while mastering the song “Restart” by Chunk! No, Captain Chunk!

视频:在下面的NailTheMix节选中,Joey Sturgis解释并演示了他在掌握Chunk的歌曲“重启”时使用的立体声增强过程!不,Captain Chunk!
https://www.你吐吧.com/watch?v=qGi1PnVyIQo


What can we learn from this video?
As Joey masterfully demonstrates in the clip above, the goal with this type of processing isn’t to drastically change things and potentially run the risk of major phasing issues, but rather to super-subtly push a mix slightly further outside of the speakers without screwing everything up!

我们可以从这个视频中学到什么?
正如Joey在上面的剪辑中精湛地演示的那样,这种处理方式的目标不是彻底改变事物,并潜在地冒着出现重大分阶段问题的风险,而是超微妙地将一个混音音稍微推到扬声器之外,而不会搞砸一切!
JST Sidewidener, Brainworx Shredspread & Waves S1 Imager


This type of processing can be extremely harmful when overused, so don’t go adding it to everything in hopes of a wide mix, cause all you’ll end up with is a blurry, undefined mess…
当过度使用时,这种类型的处理可能极其有害,因此不要希望将它添加到所有内容中,以获得宽度的混音,因为最终将导致模糊的、未定义的混乱……

3 – “Faux” Mono-To-Stereo: The Haas Effect “假”单声道立体声:哈斯效应

In rock and metal, it’s extremely common to double-track guitars and pan them hard-left and right to get them out the way of the center. But what if the song you’re given to mix only has a single guitar track…?
The biggest problem with having a single guitar as the main instrument in a song is the fact that there are certain unavoidable compromises involved when it comes to panning: If you want the instrument out of the way of the vocals, you have to pan it somewhat to the side, however favoring one side over the other can then result in the mix feeling skewed in one direction…
It’s like there’s no winning!
An interesting (albeit imperfect) solution to the problem is to utilise the psychoacoustic

在摇滚和金属乐中,双轨吉他非常常见,用左右摇摆的方式将它们从中心移开。但如果你给的歌曲只有一个吉他音轨……
单把吉他作为歌曲中的主要乐器最大的问题是,在摇摄时不可避免地要作出一些妥协:如果你想让乐器远离声乐,你必须把它摇摄到一边,不管它偏向哪一边。在另一个可以导致混音感觉歪曲在一个方向…
好像没有胜利!
对这个问题的一个有趣的(尽管不完美的)解决办法是利用心理声学。

phenomenon known as the Haas Effect:
  • Simply put, the Haas effect is the time delay between when a sound hits each of our ears, in return, allowing them to tell which direction the sound is coming from.
  • In the context of mixing: If you have a mono sound source going to both the left and right speaker (aka. the phantom center), but delay one of the sides by up to 35ms, the combined L+R result will be a wider, “faux stereo” version of the same sound.

VIDEO: In the following clip, MixNotes’ Jonathan Roye demonstrates the Haas Effect trick on a mono acoustic guitar track to great effect:


被称为“哈斯效应”的现象:
简单地说,哈斯效应是声音打到我们每个人耳朵之间的时间延迟,作为回报,允许他们知道声音来自哪个方向。
在混音的背景下:如果你有一个单声道的声音来源,都是左和右扬声器(AKA)。该幻影中心),但延迟一侧多达35毫秒,合并的L+R结果将是更宽度的“人造立体声”版本相同的声音。
视频:在下面的剪辑中,MixNotes的乔纳森·罗伊演示了哈斯效应技巧在单声吉他轨道上的巨大效果:

DISCLAIMER! – The downside to this technique however, is that it isn’t very mono-compatible, and will usually result in a phasey mess when the two signals are summed & played back through a mono system. This being the case, I’d only recommend using it when you’re mixing exclusively for stereo, or as a last resort when recording a double just isn’t an option. (For whatever reason…)
免责声明!–然而,这种技术的缺点是,它不是单相兼容的,并且当两个信号相加并通过单相系统回放时,通常会导致相位混乱。在这种情况下,我建议只在混音音响时才使用它,或者当录制双人唱片不是一种选择时,作为最后的手段。(不管什么原因……)

4 – Creating Variation During Recording 在录制过程中产生变化

The absolute best way of achieving a wide mix is to arrange and record your song with stereo width in mind to begin with.
Some basic examples of this approach in the context of guitars would be:
实现宽度混音的绝对最好的方式是安排和记录你的歌曲与立体声宽度开始。
在吉他的背景下,这种方法的一些基本例子是:

Using slightly different gear for each guitar part: Although double tracking and hard-panning a riff is already great for getting it out of the center and giving your mix some width, there are a few things you can do to take this process a step further.
  • Try using different (yet complementary) guitar, amp, cab, microphone – and even guitarist combinations for each of your doubles/quads in order to add a lot more variation between takes and truly separate left from right.
为每个吉他部件使用稍微不同的齿轮:尽管双跟踪和硬平移即兴演奏已经非常适合从中心取出并给你的混合物一些宽度,但是有一些事情你可以做来使这个过程更进一步。
尝试使用不同的(但互补的)吉他,放大器,出租车,麦克风-甚至吉他手的组合,为您的每个双打/四重奏,以便增加更多的变化,采取和真正分开的左,右。

  • Metal production veterans such as Andy Sneap and Colin Richardson have been known to use the classic “Mesa Dual Rectifier and Peavey 5150” combo on many of their biggest albums for this exact purpose!
  • 像安迪·斯内普和科林·理查德森这样的金属生产老手们已经知道,为了达到这个目的,他们在许多最大的专辑中使用了经典的“Mesa双整流器和Peavey 5150”组合!

Relying on tight performances rather than editing: Let’s face it… as an audio engineer, it’s inevitable that you’re gonna have to tighten up a poor guitar performance or two every now and then.
The problem comes when you’re automatically editing every single performance just for the sake of it, and actually unknowingly having a significant negative impact on the stereo width of your guitars!
依靠紧凑的表演而不是编辑:让我们面对现实吧……作为一名音响工程师,你不可避免地会时不时地收紧一两段糟糕的吉他演奏。
当你仅仅为了它而自动编辑每一个演奏时,问题就来了,而且实际上不知不觉地对你的吉他的立体声宽度产生了显著的负面影响!

  • The width of a double tracked guitar part primarily comes from the slight differences in timing and timbre caused by the natural variations in a guitarist’s playing.
  • If you go in and align every single transient & waveform in your doubles to be perfectly in-time and in-phase with each other, you’re basically making the two takes more similar, and in return, causing them to become more MONO when combined.
  • A far better alternative to editing guitars to “perfection” is to simply work hard on recording the double-tracked parts as tightly as humanly possible and to leave the subtle variations untouched for some nice L/R fluctuation.
  • Of course, there’s nothing wrong with correcting a few blatant errors where necessary, just don’t make it a habit to iron out absolutely all of the humanity…
-双轨吉他部分的宽度主要来自于吉他手演奏中的自然变化引起的定时和音色的细微差异。
-如果你进入并调整双打的每个瞬态和波形,使它们彼此完全同步,那么你基本上就是使两者更加相似,作为回报,使它们在结合时变得更加单调。
-除了“完美”之外,编辑吉他的一个更好的选择就是努力录制尽可能紧密的双轨部分,并且让细微的变化保持不变,以免出现一些良好的L/R波动。
-当然,在必要时纠正一些明显的错误是没有错的,只是不要养成绝对烙灭全人类的习惯……

5 – Stereo FX (Reverb, Delay, MicroPitchShift)
立体效果(混响,延时,micropitchshift)

Unless you want your mono lead instruments (such as vocals and solo-guitars) to sound tiny and unimpressive in context of the mix, you’re probably gonna want to give them some size and width with some of the following stereo FX sends:
Room Reverb: Reverb doesn’t always have to be a washy or obvious effect! Try sending your mono sound source to a short, stereo room-reverb and blending it in under the dry signal gently to where it’s felt rather than heard.
除非你想让你的单引线乐器(如声乐和独奏吉他)在混音的背景下听起来小而不令人印象深刻,你可能想给他们一些尺寸和宽度,下面的一些立体声FX发送:

房间混响:混响并不总是必须是干净的或明显的效果!试着把你的单声源发送到一个短的立体声房间混响器里,然后把它放在干燥的信号下,轻轻地移到感觉到的地方,而不是听到的地方。

  • Convolution/Impulse-response based reverb FX are often better than linear/digital algorithms for this purpose. This is because sampled “real” spaces aren’t often acoustically symmetrical or “perfect”, meaning there are some welcome differences between the left and right returns which create width.
  • 基于卷积/脉冲响应的混响FX通常比线性/数字算法更好。这是因为采样的“真实”空间通常不是声学对称的或“完美的”,这意味着在创建宽度的左右返回之间存在一些令人欢迎的差异。

Faux-Stereo Delay: Lots of engineers prefer to use mono delays on their vocals, as having too many syncopated delay subdivisions ping-pong’ing between the speakers at all times can eventually become a little distracting for the listener…
  • These “mono” delays don’t have to be completely mono however!
  • My favourite delay plugin, Soundtoys’ “Echoboy” for example, isn’t just a great emulator of classic analog delay units, but also has an excellent built-in haas-effect-esque stereo widening algorithm, allowing you to push the mono effect return further out towards the sides of the speakers and get it out of the way of your dry signal.

假立体声延迟:许多工程师喜欢在人声上使用单声道延迟,因为讲话者之间有太多的切分延迟细分乒乓球最终会变得有点分散听众的注意力……
-然而,这些“单声道”延迟不一定是完全单声道的!
-我最喜欢的延迟插件,例如,Soundtoys's的“Echo.”,不仅是经典模拟延迟单元的一个伟大的仿真器,而且还有一个优秀的内置哈斯效果风格的立体声加宽算法,允许您将单声道效果进一步推向扬声器的侧面。把它从你的干信号中去掉。

Micro-Pitch-Shift: Another extremely popular method of adding some instant width & dimension to a mono sound source is by using a stereo “pitch shifting” plugin such as Soundtoys’ “MicroShift” or Waves’ “Doubler”.
  • This effect was popularised in the mid 80’s with several presets found in the Eventide “H3000” analog FX processor (which they also now do in a plugin form), and is still heavily used by pro engineers to this day!
微音高位移:另一种非常流行的方法增加一些即时宽度和尺寸的单声源是使用立体声“音高位移”插件,如Soundtoys's的“微位移”或Waves's的“倍频”。
-这种效果在80年代中期流行,在Eventide“H3000”模拟FX处理器(它们现在也以插件形式存在)中发现了几个预置,并且直到今天仍然被专业工程师大量使用!

VIDEO: Don’t just take my word for it… Check out this awesome Eventide H3000 plugin introduction clip, in which mixing legend Andrew Scheps (Green Day, Adele, Red Hot Chili Peppers) talks about the effect and how he likes to use it in his mixes:

视频:不要只是相信我的话……看看这个很棒的Eventide H3000插件介绍剪辑,其中混音传奇人物安德鲁·史普斯(绿日,阿黛尔,红辣椒)谈到了效果和他喜欢在混音中使用的效果:
https://www.你吐吧.com/watch?v=mTPQwhoaSZQ
Width – The Conclusion: 宽度-结论

Think of the space between your speakers as a blank canvas;
You can either haphazardly fill it up, resulting in a single, blurry, murky colour that masks all of the intricate detail hidden beneath, OR… work in strategically placed, contrasting strokes that compliment each other, forming a dazzling technicolour masterpiece in which each tone has a place to clearly shine through and be seen.
Stereo width can have a huge effect on the quality of your mixes, so you better do everything in your power to learn how to manipulate it effectively!
把你的演讲者的空间想象成一张空白画布;
你可以随意地填满它,得到一个单一的,模糊的,阴暗的颜色,它掩盖了隐藏在底下的所有复杂细节,或者…在策略性的位置上工作,对比那些互相称赞的笔画,形成一个令人眼花缭乱的技术色彩杰作,其中每个音调都有自己的位置。清楚地透过和被看见。
立体声的宽度会对混音的质量产生巨大的影响,所以你最好尽你所能来学习如何有效地操纵它!

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