#201 - Leotrix & eliderp: Sound Design, Resampling, and Workflow Hacks

真正的雷鬼音乐。

On on real dub.

让节奏再次伟大。

Making rhythm great again.

是的。

Yeah.

或者让Dubstep重新回归Dub，你知道的？

Or or or make dubstep dub again, you know?

因为就像，是的。

Because like Yeah.

我敢肯定，在某些Rustifier上，比如牙买加人会在吉他上演奏和弦。

The the the I'm sure like on some Rustifier, like, you know, the Jamaicans were playing chords on guitar.

懂吗？

Know?

他们超爱和弦，伙计。

They love the chords, dude.

是的。

Yeah.

对。

Yeah.

即使只是一个基础的、你知道的，小七和弦，也能真正提升整个氛围，比如，

Even if it's a basic, you know, minor seventh, like, can really just lift the whole, like,

我特别喜欢你音乐中的一点就是，它在声音设计中带有那种旋律性的元素。

That's song one thing I love about your music is that, like, it has that, like, melodic element to the sound design.

它不仅仅是一堆低音杂音和‘嗡嗡’声，

It's not just, like, a bunch of bass fuzz noises and like, womps

还有‘啪啪’声。

and slaps.

我喜欢‘嗡嗡’声，也喜欢那种相位噪音，我觉得你可以用这些声音做出非常清晰、具体的表达。

I love womps and I love, like, phase noises, and I think that's that's so you can get really articulate and, like, specific with those kinds of sounds.

但我认为这也是一种平衡。

But I I also think it's such a balance.

就像有一些这样的东西，我觉得你仍然可以做到这一切，同时保持旋律性，是的。

Like, there's stuff like that where I feel like you can still do all of that and then be melodic, and I Yeah.

我非常喜欢这种风格。

And I love that kind of stuff.

比如，如果它能更有标志性就好了，尤其是用我的声音叠加合成器来创作，这无疑感觉更加个人化。

Like, if it feels like it can be more signature too, especially making something out of my voice stacked with synths, and it feels way more personal for sure.

完全正确。

Totally.

是的。

Yeah.

人们喜欢能跟着唱的音乐，即使没有明显的主旋律钩子，只要有一些歌词、人声之类的东西，人们就希望跟着旋律哼唱。

And people love music that they can sing along to whether it's like, and even if there isn't like a main melody hook, like just even if it's words, like if it's like a vocal, like something like, people want to sing to a melody.

我之前在播客上和Toy Box聊过这个话题，他说最令人难忘的曲子往往是那些会卡在你脑子里的，通常都是围绕着一个

I actually talked to Toy Box about that on the podcast a while ago, and he was saying that, like, the most memorable tracks are ones that, like, get stuck in your head, and it's usually based around a

旋律，是的。

melody Yeah.

或者是一种节奏。

Or a rhythm.

而且，如果你能同时把这两者都做得很好，那它很可能就会在人们脑海中挥之不去，让他们想一遍又一遍地听。

And it's like, if you can have both that do it really well, then it probably gets stuck in people's heads, and they're gonna wanna listen to it over and over.

而且，因为这就是诗歌，是真正意义上的创作部分。

And too, because that's poetry and that's the real, like, writing side of it.

因为显然，我们在这里做的就是创作。

Like, because obviously, what we do here is writing.

我觉得这一点常常被忽视了，即数字音频工作站的工作其实也是一种创作。

Like, I think that's often, like, slept on is that DAW work is often, like, we're writing still.

我们就像……

We're, like

是的。

Yeah.

以诗人的身份写作，以歌词创作者的身份写作，像诗歌那样……

Writing as a poet a poet and and being a writer in the lyricist sense and such poetry, like, it's

而且，这又回到了一个观点：即使歌曲中有歌词，这些词要么是节奏，要么是旋律。

Well, and that goes back to the point of, like, even if you are having words in the song, the words are either a rhythm or a melody.

是的。

Yeah.

所以，这也同样适用。

So it's like, you know, it kinda goes to that as well.

当然。

Sure.

但是，Eli，你呢？

But, Eli, what about you?

你之前发过一个很酷的视频，拆解了你的‘fat racks’，我觉得很多人都很喜欢你的fat racks之类的东西。

You had a video that was pretty cool on the you broke down, like, your fat racks, which, like, I feel like people love your fat racks and stuff.

那么，你在声音设计方面有什么特别喜欢或常用的技巧吗？

So, like, what are, like, any go to tips for, like, sound design that you kind of enjoy or like?

对。

Yeah.

我的意思是，我不确定。

I mean, I don't know.

我的方法一直以来就是随便放点什么，然后边做边调整声音。

My my kind of methodology has always been just like kind of put whatever, you know, and kind of just like sculpt the sound as I go on.

因为，我不确定。

Because like, I don't know.

我觉得你可以从任何源头开始，然后加一连串效果器，彻底改变它。

I feel like you can start from any source really and just add like, you know, a chain of effects that will completely change that.

完全同意。

Totally.

但我觉得，对于fat racks来说，大部分其实只是我通常最常使用的几种效果的组合，比如多频段压缩器、饱和处理之类的。

But I feel like with the fat racks, like, most of it is kind of just like really like a combination of effects I would normally use like the most like often would be just like like multi like like a like a multi band compressor, some saturation, and stuff like that.

我想，我的流程至少在这方面就是，基于一些效果来构建，这些效果能适用于任何声音。

And I guess, like, my process is is just for that at least kinda just, like, kinda building off of, like, effects that are, like, kinda just, like, making a chain that would work for any sound.

我会让很多不同的声音通过这个链条，看看当我把旋钮拧到最大时会是什么效果，或者它在低音上、经过处理的低音上听起来会怎样。

I kinda play a lot of, like, different sounds through it and see, like, you know, when I push the knob all the way up, how that might sound, or like, you know, how it might sound on a bass versus like a processed bass or something.

是的

Yeah.

所以我想，这其实就是调整所有这些具体的设置。

And so I guess it's just it's kind of just dialing in like all these specific settings.

我正在看你浏览器里的因素。

I'm just looking in your browser factor sense.

我还没见过那个

I haven't seen that

在

in a

很久以前了。

long time.

我曾经在播客里采访过那个制作它的人。

I had the guy on the podcast that made that actually.

真的吗？

Really?

那太

That's

酷了。

sick.

是的。

Yeah.

不，我用这台电脑已经很久了。

No, I've used this this this computer for like a long time.

它在2018年左右是我的主要制作电脑，大概到2022年吧。

It was my main production computer like in 2018 You're like 2022 probably.

那款电脑是2020年左右推出的。

That came out in like 2020.

所以肯定要跑一遍AmXD。

So definitely gonna have like a AmXD run through.

是的。

Yeah.

关于最大设备数。

About max devices.

我们应该

We should

来一次Max Fire的会话。

do a max fire fire session.

是的。

Yeah.

但是，是的。

But, yeah.

不。

No.

嗯，我想，就是说，如果我逐个查看这些效果，它们可能会比我预期的快得多地打开。

Like, I guess, like, yeah, just kind of a because if I go through these effects, they may open really quick, like, way faster than I expected.

顺便说一句，我超爱M Saturator。

Freaking love m saturator, by the way.

老兄，这效果太棒了。

Dude, it's so good.

就是很干净。

It's just clean.

就像，嗯，确实是这样。

Like and that's like yeah.

我其实用过所有这些插件，发现这个插件的削波模式特别干净，你知道的。

I like I I've kinda used all these plugins and I realized this one is just like it has a clean just like, you know, clipping mode.

可以开启

Can turn

任何由Mel处理的音频都表现极佳。

on Anything Mel does great.

是的。

Yeah.

致敬Melodyne。

Shout out, Melodyne.

给 Big M 点个赞。

Shout out to Big M.

Big M。

Big M.

但没错。

But yeah.

不。

No.

我的流程其实很简单，这个机架本身就很简洁。

Like, my process is like, this this rack in itself is pretty simple.

就是，你知道的，OTT 和 饱和器。

It's just like, you know, OTT and, like, you know, saturator.

主要的效果都在这里，当你真的把旋钮拧上去，饱和器的驱动量和混合比例都会跟着提升。

These are the main effects doing all the work is just when you really you turn this knob up, like, the saturator drive goes up and, like, the mix for this goes up.

但你知道的，也没那么夸张。

But, you know, it's, like, not too crazy.

我觉得这其实挺简单的。

It's like I feel like it's it's pretty, like, simple.

其实就是三个OTT的效果。

It's it's just like three OTTs kinda thing.

但我觉得这种组合对大多数声音都很有效，比如人声之类的，有时候多一点高频和一点压缩真的会很有帮助。

But I feel like this kind of combination works on most sounds, like, even, like, vocals and stuff, you know, and sometimes, like, sense, like, just having this extra bit of, like, you know, high end and, like, kinda compression can really, like, you know, just be good.

是的。

Yeah.

但我觉得这个设置中有点不一样的地方是这个聚焦功能。

But I think the the thing about this that's kinda, like, a bit different is this like, the focus thing.

我用的是Unveil，它通常只是一个去混响的工具。

I'm using unveil, which is normally like a it's, like, normally, like, like, just like, like a reverb reducer kind of thing.

但我现在就把它用在这个鼓循环上。

But I'll just put this on this drum loop actually.

我不太熟悉这个。

I'm not familiar with this.

这个插件太棒了。

This plug in's dope.

是的。

Yeah.

不。

No.

太疯狂了。

It's crazy.

就在这里。

It's here.

我其实会打开一个空白的。

I'll, like, open a blank one actually.

因为这个算不算频谱类的？

Because would this count as, like, septral?

我不确定。

I don't know.

我根本不知道。

I don't even know.

就像，我我我，突触算法总是这么疯狂。

Like, I I I the synaptic algorithms are always so crazy.

太酷了。

So cool.

但，是的，它只是一个混响衰减器。

But, yeah, it's just a reverb reducer.

嗯，这声音真的很大。

Well, that's really loud.

是的。

Yeah.

比如，如果你把这调到最低，它会有点儿，嗯，反而会推高更多这种背景噪音。

Like, if you turn this all the way negative, it's like you kinda like, it's it kinda it kinda pushes up, like, more of this, like, background noise.

我能听听没有它时的声音吗？

Can I hear what it sounds like without it?

是的

Yeah.

直接绕过它。

Just, bypass it.

好的。

Okay.

现在加上效果。

Now with it.

是的

Yeah.

这可能不是最好的例子。

This might not be the best example of it.

是的

Yeah.

它可能但

It might But

哦，是的。

Oh, yeah.

能听到它像一扇门。

Can hear it's like a gate.

这是一扇门，而且它还会产生一些谐波、频谱谐波效果。

It's a gate, and it's like but it does some, like, some harmonic stuff spectral harmonic stuff too.

哦，那个，是的。

Oh, that yeah.

这种存在感给它带来了一些提升。

That presence gives it some kind of boost.

不过它确实让声音变得更紧实了。

It like it like really tightens up the sound though.

你能听出来它几乎像是在奋力穿透什么吗？

Can you hear it's almost like like fighting through more or something?

是的。

Yeah.

像这些瞬态信号会变得强烈得多，所以我发现这对贝斯特别有效，尤其是那些有很多动态变化、有时还带有OTT瑕疵的声音，是的。

Like the transients kinda hit way harder and like so I found that like this on basses, especially sounds that have a lot of like movement and like maybe like sometimes OTT artifacts and stuff like Yeah.

在OTT之后使用这个效果器，能真正地塑造并 sharpen 声音，增加更多的清晰度。

Putting this after the OTT can like really like shape, like sharpen the sound and kind of like open up more clarity.

它不会像其他频谱类混响插件那样产生那种模糊的音效。

And it doesn't add like those kind of like like that kind of smearing sound that like other reverb production like plugins do that are also spectral.

是的。

Yeah.

这个效果器出人意料地非常紧致。

This one's like surprisingly like super tight.

是的。

Yeah.

我把OTT的时间参数调了很多，想通过调高它来让尾部听起来更紧致。

I messed the time a lot on the OTT to try to like get it to tighten up on the back end just like turning it up.

是的。

Yeah.

是的。

Yeah.

不。

No.

我 definitely 有这种感觉。

I feel that for sure.

噪声底噪会明显增加，这可能正是你想要的效果，对吧。

The noise floor a lot, and that can be, like, what you wanna do with it Mhmm.

这取决于前后处理的设置，以及你如何处理这些噪声。

Depending what, like, is before or after that, like and and how you treat that noise.

但是，嗯。

But, like Yeah.

但通常来说，太过于追求控制音量，我总是会尝试不同的交叉点，以免所有OTT都使用相同的交叉点，因为我觉得这样会导致某些频段过于突出。

But often it's, like, too, like, how how much is, like, too much trying to get I always just try the different crossover points too so that it's, like, not just, like, constantly, like, all these OTTs going at the same sort of crossover point because I feel like that's how you end up with, like, these really peaky sort of bits.

是的。

Yeah.

你们有吗

Do you guys have

一个最喜欢的瞬态设计吗？抱歉。

a favorite, like, trance design or I'm sorry.

瞬态设计器？

Transient designer?

绝对是Killer Hearts瞬态塑造器。

Definitely Killer Hearts transient shaper.

是的。

Yeah.

我不会骗你。

One's not gonna lie.

这个工具看起来最快也最干净。

That one just seems to be, like, the quickest and cleanest.

是的。

Yeah.

这很不错。

That's pretty good.

它

It's

是的。

yeah.

对我来说，它是瞬态处理的瑞士军刀。

The Swiss army knife of transient shaping for me.

是的。

Yeah.

当然。

For sure.

我朋友前几天跟我提起一个我之前玩过的插件，特别厉害。

My friend was, like, telling me about an one the other day that I was playing with that was pretty crazy.

我正想回忆一下，我不介意那个瞬态处理器。

I'm trying to remember I don't mind m transient.

这个M瞬态效果不错。

The m transient one's good.

我曾经遇到过有人误以为它是个AI算法之类的东西。

I've had people mistakenly think that it's an AI algorithm or something.

真的吗？

Seriously?

是的。

Yeah.

他们说：老兄，你这家伙，为什么这么厉害？

They were like, dude, that dude oh, why are you that?

我说是AI。

I say AI.

他们说：不是吧，老兄。

It's like, no, man.

我的M瞬态是

My m transient is

太好了。

so good.

是有效的。

Is valid.

我的瞬态效果非常好。

I'm transient is really good.

频谱。

Spectral.

它更

It's more

比我想象的更像，让我想想，

than I it's think it's more like let me see,

它肯定像是一个FFT的东西。

like It's gotta be like an FFT thing.

我觉得所有Melodyne的东西本质上都是FFT技术。

I think all the Melodyne stuff is just low key, like, oh, FFT stuff.

但是

But

我私下里其实很喜欢在军鼓上用，然后再加上一个限幅器。

I I low key, like, I low key really like it just on, like, kicks, like, just, like, to, like, with, like, a clipper afterwards.

对。

Like Yeah.

比如用Waveshaper之类的工具。

Like, in Waveshaper or something.

哎呀。

Oops.

哦，这个是，像是

Oh, this is, like, the

是的。

yeah.

Waveshaper太牛了。

Waveshaper is goated.

是的。

Yeah.

就像。

Like,

我觉得复制者安德烈给我展示过这个，他说经常用。

I think copycat Andre showed that to me and was like, uses that a lot.

知道。

Know.

是的。

Yeah.

我以前用过牛津膨胀器？

I used to use Oxford Oxford Inflator?

膨胀器。

Inflator.

我喜欢

I love

我把这个用在我的

I put that on my

硕士阶段时，有趣的是，有人告诉我，那主要是一个折叠波形，能让瞬态产生那种突显效果。

master's so the the funny thing about that is I think someone must I told me is mostly a signfolded wave shape that makes that makes the transient sort of pop.

所以你可以用内置的，或者用波形之类的来实现。

So you can do it in stock or with wave shape or something

就像那样。

like that.

有意思。

Interesting.

但显然不是。

But it's obviously no.

我觉得这不一样。

I don't think it's the same.

我的意思是，我记得以前用过Inflator，那时候用在军鼓上简直疯狂。

I mean, I remember using inflator back in the day, and that was crazy on snares.

而且它也非常干净。

And it was so clean too.

就像你可以狠狠地处理它，但它听起来依然非常优美。

It's like you can really do like slam it, and it still sounds really, like, beautiful.

是的。

Yeah.

这绝对是我想在现代混音中尝试的东西。

It's definitely something that I wanna try on on modern mixes.

比如，试一试它。

Like, try try it out.

对。

Yeah.

对。

Yeah.

我会在母带处理链的开头加上它，然后大概调高30%。

I'll put that on my master at the beginning of the chain and just, like, turn it up, like, 30%.

听起来总是更好。

It always sounds better.

是的。

Yeah.

感觉大多数时候都是这样。

Feel like most most of the time.

是的。

Yeah.

是的。

Yeah.

是的。

Yeah.

我知道。

I know.

我喜欢这样，它确实能带来一种不错的冲击感，因为你可以把这种攻击感推得远比千赫兹的那个更远，我觉得，而且你可以

I like like this it it just adds a nice, like, pop because you can really push this attack, like, way further, I think, than the kilohertz one, and you kinda it you can

有点让它成形了。

kinda make it.

我还没进入编辑模式呢。

I haven't even the edit mode.

这些都是什么？

What is all this?

就像我不知道。

It's like I don't know.

只是更细腻一些。

It's just more, like, fine.

这里有各种各样的，嗯。

There's, like, different different, like, yeah.

说实话，我真不太清楚这些之间的区别，太多了。

I don't really know the difference between these honestly, like, too much.

你这是在逗我吧。

Like You're putting me on.

我从来没试过这些设置。

I had I have never tried even these settings.

但它有时会给底鼓增添一种很不错的点击声。

But it just adds like a nice, like like a nice click sometimes, like, to a kick.

它有时会让那个瞬态变得特别饱满。

It makes it, like, really, like, fat sometimes that that, like, that transient.

你可以精确调整，让它只影响前十五毫秒左右。

You can really dial it in, so it's just maybe, like, the the first fifteen milliseconds only.

不错。

Nice.

不错。

Nice.

特别紧致。

Like, really super tight.

哦，是的。

Oh, yeah.

它相当干净。

It's pretty clean.

给它带来不错的冲击感。

Gives it a nice knock.

是的。

Yeah.

是的。

Yeah.

你还要给它加一些饱和度。

And you're gonna add saturation to it too.

比如，单独给瞬态部分加饱和度，然后尽情地处理。

Like, just, like, add separate saturation to the actual transient and, like, really go crazy.

你可以把它推得非常极端，基本上。

Like, you can really push it, like, insanely, basically.

是的。

Yeah.

但不，这太棒了。

But, no, it's it's great.

疯狂。

Crazy.

哇。

Wow.

酷啊，老兄。

Dope, dude.

哦，是的。

Oh, yeah.

那么，像这样，你们在过去或者在教别人时，有没有遇到过什么典型的声音设计错误？

So, like, what are what's, like, one sound design mistake that you guys either made back in the day or that you see from other people you're teaching?

definitely，像OTT这种效果在我的领域里特别出名，因为我知道，我以前用它用得太滥了。

Definitely, like, the OTT stuff is, like, notorious in my field because, like, you know, like, I've just overused it to a bunch of stuff.

你知道，我很多早期的混音作品里，都是在母带处理上大量使用它，而不是在整个混音过程中合理运用。

Like, you know, a lot of my older mix downs, it was like, I'd work with a lot of it on the master rather than, like, throughout the mix.

然后这会让我事后痛苦地意识到，哦，当我写开头和铺垫部分时，全都只是

And then what that would, like, painfully leave me with, like, afterwards is like, oh, I'd go to write the intro and the buildup, and it's all just just

特别响亮。

like super loud.

是的。

Yeah.

所以我的很多老作品都是巨大的香肠波形。

So a lot of my old tunes are just these giant sausage waveforms.

就像是砖墙波形。

It's like brick wall waveforms.

完全没有动态范围。

It's like there's no dynamics.

所以我觉得可能我连最大响度都没达到，因为那时候感觉就是，是的。

So I think that's like something that maybe I didn't even reach peak loudness too because it was kinda like Yeah.

被压缩得厉害。

It squashed.

它让声音变得有点响。

It made it loud ish.

但确实如此。

But Yeah.

这甚至可以和现在的混音相比较。

That could even compare to mixdowns now.

我认为，很多人现在依赖的甚至不是像以前那样的OTT效果，而是更多的限幅器。

And I think, you know, a lot of people are just leaning on not even even as much OTT as back then, but more the clippers.

但现在，只是在推限幅器。

But, you know, now it's just pushing clippers.

我觉得，在Dubstep 2中，有很多东西其实很棒。

And I I think, like, in dubstep two, there's a lot of stuff that it's it's great.

它很响。

It's loud.

它已经冲到0分贝了，你知道的，很带感。

It's hitting zero, you know, loves.

但这是以什么为代价的呢？

But at what at what cost?

你知道的。

You know?

很多音乐都出现了大量失真。

A lot of it's got a lot of distortion going on.

当然。

Sure.

你可以在高潮部分让失真成为一种特色，但我认为如果你不通过自动化至少让其带有一些动态变化的话。

You can have that be a feature in a drop, but I think if you're not automating it to at least have a bit of dynamic value.

所以，我现在还在慢慢学习的一点是：很多歌曲在进入时，我依然喜欢在母带处理上加很多效果，但我觉得必须有一些部分来平衡那些本该显得更安静的段落。

So that's the biggest thing I'm still kinda learning now is because because a lot of tunes that go in and there's still, like, a lot of stuff I love to cake on the master, but that I feel like there's gotta be something to compensate for, like, parts that should feel quieter.

当然。

Sure.

对。

Yeah.

是的。

Yeah.

对。

Yeah.

这确实是个问题。

That is a thing.

这也跟动态有关。

It's like dynamics too.

但甚至在设计鼓声或音色时也要考虑这一点。

But even designing your your drums or sounds around that too.

比如，不仅仅是音量，还有衰减、混响多少，以及你如何安排空间等等，这些都可能成为因素。

Like, because it could be stuff of decay, not just the volume, but the decay, how much reverb or more reverb, like, you know, how you space it and stuff too could be a thing of

你的母带处理链是每首曲子都不同，还是基本保持一致？

Do your do your mastering chains, like, change per track, or do you have a pretty consistent, like

我的每首曲子都会完全重新调整。

Mine completely change every track.

是的。

Yeah.

每首曲子基本上都是从零开始的。

Every track is always pretty much from scratch.

我通常会默认加载一些插件，比如T-Rex经典限幅器。

I just, like, default a couple plug in stuff like like a T Rex classic clipper.

是的。

Yeah.

你有打开一个吗？

Do you

现在正在用一个吗？

have one pulled up right now?

是的。

Yeah.

我的意思是，这大部分只是，我通常会放一个中侧均衡器，但它是关闭的，不过我会打开它，以便随时可以使用。

I mean, this is this is mostly, like, I just have like a mid side EQ that's like turned off, but like I'll turn it on so I can just go there.

没有低音单声道，这又是一个类似中侧的安全措施，用的是Utility插件。

Don't have bass mono, like, again, that's kind of another mid side kind of just safety fault, the utility.

然后呢，比如加一点增益。

And then like, you know, have that like a gain.

有时候我会用，是的。

Sometimes I have yeah.

主要是为了开头之类的部分。

Just for the intros and stuff like

哦。

Oh.

把它调低就行。

Just turn it down.

控制台，老兄。

Console, dude.

我很久没看到过这个了。

I haven't seen that in a really

而且也是最好的Mac设备之一。

long like one of the most good Mac devices too.

它们并不便宜，

They're they're not it's not cheap,

是吗？

is it?

我觉得AS控制台大概是四五十美元，对吧？

I think AS console is, like, 40 or $50, isn't it?

没错。

True.

是的。

Yeah.

Macs for Live设备是，

The Macs for Live device is,

更贵一些。

like, more expensive.

值得。

Worth.

是的。

Yeah.

他发了这个给我。

He he sent me this.

是的。

Yeah.

他发了这个给我，我当时想，天啊，谢谢你。

He sent me this, and I was like, man, thank you.

听起来非常模拟。

It sounds very analog.

听起来太棒了。

It sounds amazing.

是的。

Yeah.

前置放大器。

Preamps.

它们听起来确实那样，是的。

They do sound The yeah.

前置放大器的非线性之类的特性。

The pre the nonlinear whatever stuff.

甚至我喜欢这种拓宽模式的东西，但没错。

The width even I love the, like, widening mode stuff on this and but yeah.

不。

No.

前置放大器加上一点点饱和度，通常才是我偏爱的。

The preamp and just this little little bit of saturation, like, is usually what I lean to.

所以你只是在用它？

So you're just using it?

我其实根本没怎么用这些功能。

I'm not really using much of this at all, really.

我只是说

Just the I mean

前置放大器模式。

The preamp modes.

所以它

So It

它只是影响高频部分，但我得用一个Prime B来抵消一下，因为当我用B或A时，声音会变得特别尖锐。

just does something to the high end, but I I have to kinda, like, counteract it with a prime b because it kind of it gets really peaky when I do, like, b or a.

但C就比较柔和。

But then c is, like, kinda chill.

是的。

Yeah.

C确实非常柔和。

C is super chill for sure.

但B挺不错的，因为它能让最平淡的声音听起来都像高保真音质。

But b is kinda nice because it makes it sound like it'll make even the most dull of sound sound very high fidelity.

嗯。

Mhmm.

它会在高频段产生一个奇怪的峰值，但我可以用Pro和B稍微压制一下，是的。

Like, it just does this weird peak in the high end, but I I can kinda tame it out with pro and b Yeah.

大多数时候。

Most of the time.

多频段侧链或多频段压缩。

Multiband side chain or multiband compression.

是的。

Yeah.

这总是很有用。

That's always nice.

是的。

Yeah.

Pro和B一直就像是那种不会过度激进、也不会处理噪声底限的多频段压缩。

It's like the like, well, it's like pro and b has always been, like, the multiband compression that doesn't, like, go super crazy or deal with noise floor.

我发誓，它只是非常温和。

Swear it's just super gentle.

你甚至没有使用过采样？

And you're not even using the oversampling?

没有。

No.

我应该用的，但就是不用过采样。

I should, but no no oversampling.

我不确定。

I don't know.

是的。

Yeah.

我的意思是，我其实可以用。

I I I mean, I could.

你可以用，但也不是必须用。

You could Or you don't have to.

是的。

Yeah.

选择权在你。

Choice is yours.

你就会，是的。

You'll just Yeah.

把它藏起来。

Hide that.

这是美国。

This is America.

时间。

Time.

但下次。

But next time.

这是美国，伙计。

This is America, dude.

这是个自由的国家。

It's a free country.

你可以做任何你想做的事。

You can do whatever you want.

所以是过度组装？

So overassembly?

不，老兄。

Nah, man.

美国。

America.

你想做什么都行。

Anything you want.

不。

No.

那是澳大利亚的过度采样。

That's Australian oversampling.

哦，也许作为澳大利亚人，我应该进行过采样。

Oh, maybe as an Australian, I should be oversampling.

也许那就是

Maybe that's

老兄，Melodyne有

Dude, Melodyne has

对，就是这样。

a There you go.

这是我混音中可以改进的地方。

That's something that my mixdowns could improve on.

这是更多的过采样。

It's some more oversampling.

这是更多的过采样。

It's more oversampling.

下次混音时，我们得进行过采样。

That's next mixdowns when we get them oversample

我们今天都学到了东西。

We all learned today.

是的。

Yeah.

那额外的数学运算和编码。

That extra mathematics and encoded.

下次我听到你的作品时，我会想：我不确定你这次有没有使用过采样。

Next time I hear your release, I'm gonna be like, I I don't know if you oversample in this one.

你得用Melodyne的压缩器，因为它们有128倍的过采样。

You can you gotta use the Melodyne compressors and because they have, like, a 128 times oversampling.

它就像是

It's like

你的电脑会直接崩溃。

like your computer would just poop.

是的。

Yeah.

你只需要在那个时刻把它冻结就行了。

You just gotta freeze it at that point.

是的。

Yeah.

你得接受这个冻结状态。

You gotta accept the freeze.

如果你能冻结主输出，那就太好了。

If you could freeze the master, that'd be great.

是的。

Yeah.

也许将来把这个功能加上会不错。

Maybe that as a feature in the future would be nice.

也许吧。

Maybe.

是的。

Yeah.

我的意思是，现在你居然不能冻结某些被路由的轨道，这简直太疯狂了。

I mean, right now, it's kind of crazy that you can't, like, freeze, like, certain routed tracks.

是的。

Yeah.

或者冻结组等待。

Or freeze group wait.

冻结组。

Freeze groups.

你可以冻结组。

You can freeze groups.

对吧？

Right?

或者他们，我发誓他们本来打算做这个的。

Or they would I they I swear they were going to do that.

是的。

Yeah.

冻结组。

Freeze groups.

我听说他们打算这么做，但我不确定他们是否真的做了。

I heard that they were, and then I don't know if they actually did.

我觉得他们没做。

Don't think they did.

我可能错了，但我觉得你不能冻结组。

I might be wrong, but I don't think you can freeze groups.

我希望有人在Ableton听到这个，他们会非常想要这个功能。

Well, I hope someone at Ableton hears this would love that feature.

我听说你可以像音频混音一样将它们扁平化。

I heard you can, like, flatten them, like, as an audio bouncing.

这是可能的，我觉得这种功能迟早会出现。

That it's possible, and I feel like that's probably coming eventually.

那真是太好了。

That'd be so nice.

是的。

Yeah.

因为有时候，当我把所有这些轨道都冻结了，但我还有总线处理之类的东西。

Because, like, there's sometimes, like, when I have all these tracks frozen, but I have, like, bus processing or something.

是的。

Yeah.

而且你不想不得不——我的意思是，你现在可以导出分组。

And you don't wanna have to I mean, you can bounce groups.

是的。

Yeah.

你现在可以导出分组了。

You can bounce groups now.

这很棒。

So that's cool.

但有时候总线交叉和所有这些工作。

But like sometimes the bus crossing and all the work.

是的。

Yeah.

对。

Yeah.

是的。

Yeah.

但别完全冻结它们。

But not quite freeze them.

嗯。

Mhmm.

但会有混音，差不多吧。

But there'll be bounces with, like, pretty close.

我做过一个混合好的YouTube教程，还有一些母带处理的内容。

I did like a mixed down YouTube tutorial and, like, some mastering stuff.

有个家伙在讲，Ableton里的多频段压缩器会导致一些奇怪的相位上移。

And some dude was, like, talking about how the multiband compression device in Ableton, like, causes some weird phase Upwards phase.

一些奇怪的相位偏移，他说别把它用在母带处理上。

Some weird phase shifting and how he's like, don't put it on your master.

是的。

Yeah.

是的。

Yeah.

是的。

Yeah.

是的。

Yeah.

而且这确实是真的。

And and it is true.

这是一种不平衡的向上相位。

It it it it's an unbalanced upwards phase.

我们可以现在用示波器看一下。

Like, we could look at this now on a face scope.

是的。

Yes.

然而，然而，这正是我如此信赖的原因，我不确定我是否真的在这份母带上这么做了。

However, however and this is why I swear by like, I don't know if I really did it on this master.

我实际上并没有添加任何，嗯，我没加任何东西。

I didn't actually put any well, I didn't put any Yeah.

没有那个Ableton的。

There's no The Ableton one.

是的。

Yeah.

但即使在我使用它的地方，我也倾向于把交叉频率调得低一点。

But even where I have it on things, I, like, tend to bring the crossover a bit lower.

我的意思是，我在这个项目上根本没怎么用过。

I mean, I didn't even really do it much on this project.

但有时候，如果我多次使用它，我想也许在这里，如果这是一个例子的话。

But, like, sometimes if I use it multiple times, I guess maybe on here, if this is an example.

不。

No.

我基本上就用OTT。

I kind of just use OTT.

我猜，通常在最后会有一个设置在40左右的，这样能让低频稍微共振得更明显一些，是的。

I bet, you know usually, at the end, there would be one that's, like, at 40 so that they're, like it kind of, like, resonates the sub a bit more Yeah.

或者类似的东西。

Or something.

但我也不确定。

But I don't know.

这有点看情况，也取决于是什么调。

It's a bit of a it's it depends also what keys it is.

我觉得因为它是，比如，一个较高的基频，所以80赫兹应该没问题，是的。

I think because it's in, like, a, it's like a higher base, so 80 hertz is probably alright Yeah.

交叉频率设成这样，而且并不会明显地，我觉得完全不明显。

Crossover to have it And it's not noticeably, like, completely I would say.

但没错。

But Yeah.

我觉得我还用过 Ambassador 这个插件，可能用在母带处理上。

I think also the m I think I was using ambassador somewhere on the master.

没有。

No.

用在这个组上。

On this group.

没有。

No.

那两个插件是什么？

Is what is what are those two plugins

这个。

This one.

你在母带链上用的最后两个插件？

Two final plugins on your mastering chain?

大使。

Ambassador.

我不太好。

I'm not okay.

我从来没用过那个。

I've never used that.

哦，这个没在我的主输出上。

Oh, this isn't on my master.

这个用在这个音轨上。

This is on this sound.

所以我只是让它通过一点微妙的合唱效果。

The so I've just got it going through a little subtle chorus.

不错。

Nice.

我的意思是，它没做什么太大改变，但那个大使只是……等等。

I mean, it's not doing much, but that ambassador just kinda Wait.

大使是什么？

What is ambassador?

它提升了次低频。

It raises the sub frequency.

它基本上会检测到，然后我猜是重新合成，我不确定这是否是最近的功能。

It basically detects it, and then I guess either resynthesized I'm not sure if it's a recent Yeah.

我觉得它会合成类似次谐波的东西。

I think it like synthesizes like sub harmonics.

它实际上是一种重新合成或类似滤波器的机制，用于匹配次低频，你可以调整曲线的锐度，这几乎像是添加了极点，就像一个合唱效果，这就是它的原理。

It it's a recynthesis or like filter essentially that matches the sub frequencies, and you can change the sharpness of the curve, which almost adds like poles, like if it's just kinda like a phaser, it's like the way it works.

所以有时候减少这些脉冲反而更好，这样我能得到更干净、共振更少的声音，但有时候我又希望有这种共振。

So sometimes like less of these pulses is like better so I can get, like, a cleaner, like, less resonant, but sometimes I kinda want the resonance.

嗯。

Mhmm.

但在这里，我把所有设置都保持默认。

But here, I just left all the settings as is.

所以它通常就是一个不错的

So it's generally just like a good

低频增强。

Sub boost.

只是

Just

低频增强。

Sub boost.

是的。

Yeah.

嗯。

Mhmm.

不过，如果我想让低频增强听起来更自然一些，我有时会用BX低频滤波器。

The other one I use, though, sometimes if I want more of a even more, like, natural sounding, just kind of sub kind of boost is the BX sub filter.

我觉得这应该是对Poll Tech均衡器的模拟。

And I think I think this is an emulation of poll tech EQs.

是的。

Yeah.

是的。

Yeah.

嗯，不是。

Well, no.

我觉得它是

That I think it's

或者类似的东西。

a Or something similar.

我，是的。

I I Yeah.

是的。

Yeah.

是的。

Yeah.