Ardour4 初学者教程 04 混音会话
混音区域
Mixing混音是将多个音轨转化为一个让所有仪器都能清晰听到的Stereo Mix立体声混音的过程,。
混音工具
用来实现一个好的混音的主要工具有Levels电平，Panning声相，Equalization均衡（EQ）和Compression压缩。除了这些核心工具，众多的插件效果也可以用来优化声音，例如Reverb混响和Delay延迟。
混音器工具栏简介
Mixer Strip混音器工具栏是垂直排列的，包含有相关信号流的各种控制元件。在Ardour里的每个音轨和总线都拥有属于它自己的混音器工具栏。混音器工具栏也是我们在混合我们的音轨的过程中将要使用到的主要工具。在这一章节里，我们将对混音器工具栏做一个总体概述，并且对每一个部分进行阐述。我们还将列出包含有混音器工具栏各个方面特定信息的参考章节。
自上而下的混音器工具栏
混音器工具栏既以从Editor Window编辑器窗口也可以从Mixer Window混音器窗口访问到（快捷键“Alt”+“M”可以在两者之间切换）。混音器工具栏在任何一个窗口（不论是编辑器或者是混音器）上的操作都会互相镜像到另一个窗口：在混音器窗口里的一个混音器工具栏上执行的任何操作，将会被反映在编辑器窗口里相应的混音器工具栏中，反之亦然。在界面概述章节中对编辑器窗口和混音器窗口有更充分的讲解。
在Editor Window编辑器窗口中，您可以看到当前被选中的音轨的混音器工具栏位于窗口的左边。如果您没有看到它，按下“Ctrl”+“E”即可显示编辑器混音器工具栏。
概述
在这里我们看到的是整个混音器工具栏，正如它在编辑器窗口或混音器窗口里出现的那样。
常规模式和狭窄模式
混音器工具栏可以在常规宽度和一个为了节约空间而更狭窄的宽度之间切换。混合器工具栏的最顶端部分，如下图所示，使用左边的按钮即可切换常规模式和狭窄模式。右边的按钮则是用于彻底隐藏混音器工具栏。
音轨名称和路由按钮
继续从上往下看，混音器工具栏的下一部分包含三个狭长的区域。这些区域的第一个显示的是音轨的名称（即下图所示的那个词“Audio 1”）。下一个区域，在下面这张图里命名为“1”的是一个按钮，允许访问输入路由。请参阅了解路由和录制音频章节可以了解关于输入路由的更多信息。最后一个狭长的区域控制的是phase reversing相位反转（在本教程我们不会深入讨论关于这个主题的细节）。
处理器框
这部分底部的大片黑色区域是Processor Box处理器框（注：上面的那张图）。在这里您可以添加插件等，诸如此类的操作。处理器框将总是包含着一个蓝色的Fader淡化器处理器。这表明在处理器链条里已经安置了主要的声道淡化器——这就是淡化器在工具栏的下半部分所显示的。请参阅使用插件和使用发送章节里对这部分区域的详细讨论。
混音器工具栏的下一部分包括有Panning声相，Record录制，Mute静音，以及Solo独奏，还有其它等等控制元件（注：下面的这张图）。
声相
Panning声相与左右扬声器之间声音的位置协同工作。有关更多信息请参阅声相一章。
独奏
当一条音轨或总线处于Solo独奏状态时，所有其它没有同样处在独奏状态的音轨或总线将会无法通过主控总线或监听来听见。我们也可以在音轨混音器里找到一个小型化的独奏按钮。注意，独奏一条总线不会令任何音轨无声，反之亦然。
当任何音轨或总线处在独奏状态时，在辅助控制工具栏里的Solo Indicator独奏指示器将闪亮红色。当这个独奏指示器闪烁时，点击它将会在会话中使每一个独奏都失效。
静音
任何音轨或总线处在Mute静音状态时，将无法通过主控总线或试听来听见。音轨混音器也包含有一个小型化的静音按钮，就位于录制预备按钮和独奏按钮之间。右键点击静音按钮将会为你弹出关于静音按钮行为的高级选项。
预备录制
录制按钮用于为录制预备音轨，请参阅录制音频章节。
淡化器，淡化 / 峰值计量仪
出现在混音器工具栏上的最突出的控制元件就是Fader淡化器，用于调整相应音轨或总线的整体增益。Peak Meter峰值计量仪显示的是已选中的音轨的峰值数值，就位于淡化器的右侧。每个由一个Bar Graph柱状图组成的峰值计量就仪是对应于一个单声道音轨，而两个柱状图就是对应于立体声音轨。计量仪上方的小的矩形里的数字显示的是到目前为止那个音轨所播放过的最高峰值数值。
通过点击混音器工具栏底部右手边的按钮（即上图中标有“Post”的那个按钮），您将能够选择Metering Point计量点，例如从声卡直接“in 入”，“pre前置”淡化信号，或者“post后置”淡化信号。
正如您在下图中可以看到的那样，在每个音轨里都有一个较小版本的混音器工具栏，叫做Track Mixer音轨混音器。它包含有一个水平Fader淡化器，一个垂直Peak Meter峰值计量仪，也同样有微型的Arm Record预备录制按钮，Mute静音按钮，和Solo独奏按钮。它们都与音轨上的混音器工具栏里的按钮是相互镜像工作的。
关于使用淡化器和峰值计量仪更详细的说明请参考混音电平章节。
路由
最后，我们到达混音器工具栏的底部。这里我们能看到Output Routing Button输出路由按钮，即在前面的屏幕截图里标记为“master主控”的那个按钮，在理解路由章节中讲解过。
混音电平
Levels电平是每个音轨相对于其它音轨的音量。
如果您无法听到一个高于其他乐器的低音片段，显而易见的选择就是提高这个低音片段的音量。电平可以通过使用位于混音器工具栏或者每个音轨里的淡化器来调节，就在音轨的名称下方。混音的第一步是试听所有已经录制好的每一个声音，然后调节所有音轨的电平以便您能听清楚一切，除了为适合歌唱的表现手法以外。例如，声乐音轨通常比韵律吉他大声一些，因为人声正是歌唱作品的焦点。
使用淡化器
淡化器是每一个音轨的音量的主要控制元件。音轨电平的精确数值水平显示在淡化器上方的小的矩形数字区域。您可以通过拖动滑块或者在带有数字的矩形里直接键入一个新的数字来改变电平。淡化器默认被设置为 −0.0 dB，这意味着音轨的电平并没有改变。在下面的截图中，名为“synth”的音轨的淡化器设置为 -0.0，并且峰值计量仪显示到目前为止的最高峰值为 -5.1。
避免截波
混音的另一个重要的工作是避免Clipping截波。当信号已经达到峰值高于 0.0 dB 时，混音器工具栏上的峰值变成红色。您可以在混音时使用这个工具来监控您的音轨的最高电平。
在下面的截图中，名为“synth”的音轨刚刚被截去了 + 5.9。您还可以看到在它自身波形上的小小红色边缘，表明了以录制的声音被截去数据的确切位置。
在峰值计量仪里的红色数字上点击，可以重置它。
- 提示：为了练习的方便，可以试着录制您的声音片段，然后让它出现截波。听一听回放是如何被扭曲的。
您应该确保任何您发送到您的声卡或者您将最终导出成为的一个声音文件（诸如 CD 母碟）永远不要超过0.0 dB 来避免出现实际的截波。
如果截波发生于一个沉重的打击乐的声音里，它几乎无法察觉到。您可以通过减少增益来隐藏它（例如，规范化区域到 0.0，或者一个更低的数字，例如 -1.0 )。然而，通常截波会导致已录制的声音能听到失真。在这种情况下，最好的解决方案是以较低的电平重新再录制一次。
声相偏移
Panning声相偏移有助于构建一个Stereo Field立体声音场，在扬声器之间的相对空间里面，放置您的声音和乐器。
一旦您在所有音轨上构建了一个良好的平衡的电平，您就可以开始考虑声相偏移。
声相偏移的界面
在Ardour里，Panning声相偏移的控制是位于混音器工具栏的中部。
一个单声道音轨将拥有一个Mono Panner单声道声相器。它看起来像是这样：
一个立体声音轨将拥有一个Stereo Panner立体声声相器，像这样：
单声道声相器
默认的单声道声相器分布着一个输入到二个输出。其行为是由一个单独的参数控制，即位置。默认情况下，声相器位于中央。您可以通过直接在单声道声相器上点击和拖动来改变这个位置。在声道器上右键单击可访问到它他选项。
立体声声相器
默认的立体声声相器分布着 2 输入到 2 输出。其行为是由两个参数控制，即宽度和位置。默认情况下，声相器位于整体宽度的中央。
不论单击并拖动Left左边或者Right右边的按钮，都可以改变宽度。例如，如果您拉近它们之间的距离，它看起来将会像是这样：
在一个狭窄的宽度下，您还可以拖动顶部把柄，用来改变相对的中心位置，像这样：
如果我们让Left左边和Right右边的按钮完全重叠（也就是说，宽度减少到零），把手会转变成一个单独的信号指示器，标记为“M”（即 mono 单声道）：
声相偏移技巧
关于声相偏移的理念和技术更广泛的讨论超出了本教程的范围，但这里有一些通用的经验法则：
- 吉他更倾向于被声相偏移到左边和右边。
- 声乐和低音更倾向于被放置在中央。您打算创建一个平衡，这样一边不会比另一边更大声。
- 耳机可能有助于决定乐器应该被如何声相偏移，以及混音感觉是否不均衡，因为其中一边太大声了。
在创建一个“spatial有空间感”或者立体声音场时，另外两个很有用的工具是Reverb回声和Delay延迟。这些效果可以一起用于发送到创建一个鼓声发送，将带有混合着更多的回音的向后趋势。也可以用于一个可能会稍微有一点延迟的声乐发送，但声音比较接近鼓声。要了解更多的信息请参阅使用插件和使用发送章节。
提示：在对音轨进行声相偏移时，应当总是注意您的电平！声相偏移一条音轨到一个声道会增加那个声道的电平。这可能会改变您在之前章节里设置的电平的平衡，并且在极端情况下可能导致截波。当这种情况发生时，降低那条音轨的整体电平，并再次检查它在混音里所处的位置。
使用插件
Plugins插件可以用来改善或改造各个音轨的声音。
它们可以直接应用于一个单独的音轨，或者使用一个Send发送端的一组音轨。稍后在本教程中，我们将讨论一些插件，尤其是针对的混音过程的，诸如Compressors压缩器、Limiters限制器、Parametric Equalizers参数均衡器、Reverbs混响器等。
处理器框
在Ardour的术语里，一个Processor处理器就是被插入一个混音器工具栏里的任何东西，并且会将信号以某种方式进行处理。Ardour提供了一些内置的处理器，诸如Fader淡化器或者Panners声相器。处理器也可以是插件，用于产生特效影响或者作为乐器，也可以是发送端或者能影响信号路由的插入件。处理器的排序是可以任意的，且不限制可以有多少个。
上面截图所示的主要空间就是处理器框。蓝色的框Fader淡化器实际上就是默认在处理框里的一个处理器。它代表了您用来控制音轨的音量的Fader淡化器。所有的处理器都显示为彩色矩形，在它们的旁边有一个小小的“LED灯”，在处理器被启用时即点亮。处理器的颜色取决于它在序列里的位置；pre-fader前置淡化处理器呈现红色，post-fader后置淡化处理器呈现绿色。
添加一个插件到一条音轨或一条总线
可以通过在音轨或总线的处理器框里右键点击来添加插件。会弹出一个菜单选项。从菜单中选择，新的处理器即可被插入。
插件管理器是浏览和选择插件的一个方便途径：
您可以从插件管理器中搜索插件，通过它们的名字，类型，或者通过从下拉菜单中可用的其它搜索参数来搜索。例如，我们将添加的reverb混响插件被称为“Freeverb”：
一旦插件被选中，点击“Add 添加”则插件将出现在底部的“Plugins to be connected 被连接的插件”列表里。然后单击“Insert Plugin(s) 插入插件”，则它们将会出现在处理器框里。
编辑插件参数
双击一个插件即可编辑它的参数。在这个例子中，我们双击“Freeverb“绿色框，然后弹出这个窗口：
这里您可以控制reverb混响参数，诸如oom Size,房间大小、Damping衰减、Wet湿润和Dry干燥信号的程度，以及Width宽度。这效果将会应用到音轨里所包含的所有声音。
略过插件
要略过一个插件，在插件设置窗口里按下“Bypass 略过”按钮即可，或者在处理器框里简单点击插件的“LED灯”也行。这样就把插件关闭了，允许信号通过它而不受影响。这是非常有用的，尤其是当您想要比较一条音轨有或没有插件听起来会是什么样子时。
被略过的插件带着已关闭的“LED灯”显示呈灰色。
鼠标右键单击插件将会弹出带有几个选项的菜单，包括有Delete删除。
前置淡化和后置淡化
您可以选择您是否想在Processor Box处理器框里位于淡化器矩形框的之前或之后添加您的插件。Pre-Fader Plugins前置淡化插件被插入在淡化器之前的信号路径里，这样淡化器控制从插件出来的信号的电平。Post-Fader Plugins后置淡化插件被插入在淡化器的后面：淡化器控制进入插件的信号的电平。对于一些插件，Pre-前置或Post-后置淡化器的放置并不重要。对另一些插件来说，这两者的区别是微妙的。而对于其它一些插件而言，插入它们到正确的位置是绝对必要的。
插件格式
For those interested in learning more about plugin formats, here’s a quick overview:
LADSPA Plugins are the “native” Plugin format for Ardour. They were initially developed for Linux, but since have been ported to OS X as well.
LV2 is a simple but extensible successor of LADSPA, which can be used to display sound characteristics in a graphical manner. LV2 Plugins can be used on OS X and Linux.
AU Plugins are the “native” Plugin format for OS X. They will only work in Ardour if you have made a donation when you downloaded the program. See the Installing OS X chapter for details. AU Plugins will not work on Linux at all.
VST Plugins is a Plugin format common to Microsoft Windows. Some VST Plugins can be used on Linux, however they may not function correctly, or even cause Ardour to crash. Using these Plugins requires manually Compiling the Ardour application, a task which is outside the scope of this manual.
More information about using plugins with Ardour can be found here: http://manual.ardour.org/working-with-plugins/
使用发送端
A Send is just an extra output for a Track or Bus with its own separate Fader that can be used to route the signal to other points in Ardour.
Also known as Auxiliary Sends, they tap the signal at a specific point in the signal flow (pre-fader, post-fader, before or after EQs and other plugins, etc.) and send a copy of that signal somewhere else, without affecting the normal signal flow downwards to the channel fader.
In Ardour, you can easily add Sends to Tracks and Busses through the Mixer Strip. Sends are Processors, just like Plugins.
When is a Send useful?
In earlier chapters, we built a drum kit pattern with four separate tracks: kick, snare, hihat, and clap. Let’s say now you’d like to add a reverb to the drums. You could of course add a separate plugin for each individual track, and tweak their settings separately, but this method unnecessarily increases the amount of work. Every time you want to change a reverb setting across the board for all drums, you’d have to open all four reverb plugins and change them in the same way.
This is where Sends come in handy: you can use them to add a particular effect to a set of Tracks without creating multiple instances of the same Plugin.
Here’s the overview of how we will do this:
Create a single Bus with the desired Plugin. Add a Send to each drum track to which you want to apply the effect. Route these Sends to the Bus.
Creating the Bus and adding a Plugin
Create a Bus (menu Track > Add Track or Bus), name it appropriately, and add a Plugin in the Pre-Fader Region (right-click just above the Fader blue rectangle in the Processor Box), as discussed in the chapter Using Plugins.
In this example, we have created a Mono Bus called “DRUMS”, and added the “Freeverb” Reverb LADSPA Plugin to the bus.
Bus inputs
The “-“ display in the Bus Input button indicates that nothing is routed to this bus yet. We will take care of this later.
Bus output
Before routing a send to this Bus, first make sure that the Bus outputs are Routed to the Master Bus, as shown below (button at bottom reads “master”).
Also, open the Plugin Window (double click on the Freeverb rectangle) and set the Plugin’s signal mix to 1.0 Wet Level and 0.0 Dry Level.
This ensures that the Bus carries all of the processed signal (the ‘Wet’ signal) from the Plugin, and none of the unprocessed signal (the ‘Dry’ signal) to the Master Bus. Remember, the unprocessed, ‘clean’ signals are still available from their original tracks, so there is no need to duplicate them in this Bus.
Creating and Routing Sends
Now we can create Sends in the other Tracks and route them to the Bus inputs.
Like Plugins, Sends are also created in the Processor Box. Go to each of your drum tracks, right-click in empty space of the Processor Box, and create a New Aux Send directed to the appropriate Bus (in our case, named DRUMS).
You should now see the Send displayed in the Processor Box:
The little “Send” slider you see just below the green rectangle is the Send Fader, which controls how much sound will be sent from this Track to the Bus.
Post-Fader vs Pre-Fader Sends
Notice that the image above shows a Post-Fader Send (it sits “after” the Fader rectangle). In Post-Fader Sends, the Send Level is controlled first by both the Track/Bus Fader and second by the Send Fader.
In a Pre-Fader Send, on the other hand, the Send Level is controlled only by the Send Fader, independently of the Track/Bus Fader. A Pre-Fader Send would look like this:
You can drag the Send rectangle up and down the Processor box to make it Pre- or Post-Fader as needed.
TIP: The choice of Pre- or Post-Fader depending on the type of effect Plugin used and the desired result. For this exercise, either one will work.
A Send behaves just like any other Plugin in the Processor Box. You can deactivate it temporarily by clicking on the small “LED”, and you can right click on the rectangle to access other options, including “Delete”.
Send Fader
To control level of each Send, simply click and drag the Send Fader to increase or decrease its volume.
The DRUMS Bus is now receiving the sum of all tracks, and applying the effect to it. A single Plugin applied to the Bus controls the effect for the mix of all drum sounds routed there. This way, you have independent control over the “dry” sound of the original tracks, and the “wet” sound of coming out of the Bus.
Because Sends are very useful for this kind of work with effect Plugins, they are also commonly called “Effect Sends”.
动态
One of the problems you may encounter in a Mix is that the loud parts are too loud, and/or the quiet parts are too quiet.
This kind of problem cannot be easily solved using Faders to adjust the Levels alone. You may set the Levels so high that they clip, or you may add unwanted background noise by simply turning Levels up. These are all problems with what is called the Dynamic Range, i.e., the difference between the loudest and quietest parts of your Session. There are several types of tools for adjusting the Dynamic Range available as Plugins within Ardour, including Limiting, Compression and Gating.
Limiting
A Limiter is a tool that prevents the volume of a Track from going over a certain Level, usually the Peak Level (0dB) or something close to it. Many Limiters have the option to boost the Levels of the incoming signal before they are Limited, and in this way you can “close the gap” between the loudest and quietest parts of your Mix. A Limiter can be used on the Master Bus to prevent the overall Mix from Clipping. Limiters are almost always used Post-Fader.
The “Fast Lookahead Limiter” can be found among the Plugins. To set how much the Fast Lookahead Limiter limits, simply adjust the “Limit (dB)” slider. The Fast Lookahead Limiter literally “looks ahead” in the signal by a few milliseconds, and when it sees that the signal is about to go over the limit you have set, it automatically turns the Levels down.
The “Input Gain (dB)” slider determines how much the Levels are increased before they reach the Limiter, and the “Attenuation (dB)” meter on the right-hand side shows how much the Levels are being reduced at any given moment. While the reduction in volume is nearly-instantaneous, the “Release time (s)” slider determines how long it takes the Limiter to return to 0 Decibels of Attenuation.
Note that the “harder” one drives the Limiter (by increasing the Input Gain and/or decreasing the maximum Peak Limit allowed), the more reduction the Limiter is forced to make, and the more likely it is that Artifacts of the processing will occur (such as Distortions or erratic changes in volume). On the Master Bus, it is generally best to avoid excessive Limiting.
Compression
A Compressor boosts the overall volume of a sound, but then “squeezes” it depending on how loud it is. This can make vocals sound more even or drums sound fuller and louder. The end effect is similar to how a Limiter can reduce the range between the quietest and the loudest sound, however the effect is more selective when using a Compressor.
The simplest Compressor has relatively few controls, such as the “Simple Compressor” Plugin shown below. Here, the “Threshold” sets the Level at which the Compressor will start to act, and the “Compression Ratio” controls how much the Compressor will “squeeze” the sound. The “Attack” and “Decay” parameters control how quickly the Compressor affects the sound.
A more complex Compressor, the “SC1 Compressor” Plugin, is show below.
It has three main buttons:
“Threshold level (dB)” sets the level at which the Compressor will compress or squeeze the sound.
“Ratio (1:n)” controls how much it will squeeze when it reaches the threshold.
“Makeup gain (dB)” boosts the whole signal after the Compression occurs.
To soften out a vocal, for example, you could set a “Threshold level” of −10dB or so and a “Ratio” of 2.5, and then bring the volume back up with the “Makeup gain”.
The other three controls—”Attack time (ms)”, “Release time (ms)” and “Knee radius (dB)“—allow you to control the shape of the Compression.
For soft vocal Compression, you would want a semi-fast “Attack time” so that the Compressor catches the beginning of each word, a slower “Release time” to let the voice ring out, and a soft “Knee radius” to create a gentle form of compression that isn’t too noticeable.
If you want to make drums sound big, you might try a slow “Attack time” so that you don’t Compress the pop of the drum, a fast “Release time” so that the Compressor can catch the next hit of the drum, and a large “Ratio” to make the Dynamics between the beginning and end of the drum hit similar.
Below is a screenshot of a similar Compressor from the Calf Plugins Package:
Gating
The simplest kind of Gate allows a signal to pass through when it is over a certain Level, and blocks the signal when it is lower than that.
Gates are often used as a kind of noise reduction. For example, the Gate on a microphone channel might only open while the singer is singing, preventing other background noises from coming through as well when she is not singing. Gated drums are also a very well-known studio production trick to make them sound “sharper”.
Here, the “Hard Gate” Plugin displays a single control parameter, the “Threshold” at which the Gate will open and let the signal through.
Other kinds of Gates, such as the Calf Gate Plugin, are more complex. They have independent control over how quickly the Gate opens (the “Attack”) and closes (the “Release”), as well as other parameters quite similar to those described for the SC Compressor above.
均衡
An Equalizer (or EQ) allows you to separately control the gain of different frequency ranges of a sound.
This can be useful not only to sculpt the timbre of an isolated sound (for example, to make it sound ‘sharper’ or ‘smoother’), but also to make sounds of various timbres to integrate better into the Mix.
Often, even after adjusting Levels and Panning, different tracks with similar frequency content (for example, a bass guitar and a kick drum) may be difficult to tell apart in the Mix. An Equalizer is a good tool to address this.
3-Band Equalizer
The simplest kind of Equalizer is the one familiar to us from analog mixers. It has three parameters, which adjust the Levels of three Bands, or frequency ranges: one for the Bass (low frequencies), one for the middle range frequencies and one for the Treble (high frequencies). The “DJ EQ” Plugin is just such an EQ.
Multi-Band (or Graphical) Equalizer
A more complex Multi-Band (or Graphical) Equalizer often has a lot more Bands. Each Band is centered on a frequency, and the Level of each Band can be independently adjusted. In some Multi-Band EQs, such as the “TAP Equalizer” Plugin shown below, the center frequency of each Band can be defined by the user. This allows you to either attenuate (or remove) an unwanted frequency, or to reinforce (boost) a desired one.
The overall “curve” of the Bands can also be used to determine the general tone of your Track or Mix. In the example above, the lower part of the mid-range frequencies have been “scooped out” a bit (note how Bands 1 and 8 are left untouched at 0 dB, while intermediary Bands 2 to 7 draw an attenuation curve, with Band 4 at -15 dB as the lowest point).
Parametric Equalizer
The Parametric Equalizer is the most versatile type of EQ used for Mixing because of its extensive control over all types of EQ parameters. In Ardour there is a Parametric Equalizer called the “Triple Band Parametric with Shelves”. There is also a similar one from the Calf Plugins package, as seen in the screenshot below:
There are three options for each Frequency Band (boxes “Parametric 1”, “2”, and “3”). Each of the three Bands has a “Level (dB)” adjustment to cut or boost frequencies, a “Frequency (Hz)” adjustment to select center frequency, and a “Q” adjustment which determines how wide the range of frequencies to be affected will be.
High Shelf, Low Shelf
This plugin also contains a High Shelf and Low Shelf. A Shelf cuts or boosts everything above (High Shelf) or below (Low Shelf) a specific frequency. For example, a Low Shelf can be used to remove unwanted rumbling sounds, and a High Shelf can be used to reduce hiss. The “Frequency” control of a Shelf determines the cut-off frequency. For example, a Low Shelf with cut off frequency 200 Hz means that the equalizer will attenuate everything below that frequency. The amount of attenuation is controlled by the Level knob.
An Example of Using an Equalizer
In order to achieve a better separation of two instruments in the Mix through the use of EQ, you first need to find out where the two instruments overlap.
Here’s one approach. In the Calf Equalizer 5 Band Plugin shown above (or the Triple Band Parametric with Shelves), select an appropriate Band for one of the instruments. In the case of a bass guitar, it would be a low frequency band (start at, say, 100 Hz). Boost the “gain” to 10dB, change the “Q” (also called “bandwidth”) so that is a narrower range, and then scroll the “frequency” up and down slowly. You’ll hear a pitch move up and down. Then scroll it down slowly until you hear the frequency range where the two instruments overlap. Now simply reduce the “gain” to -5dB, and you will hopefully hear the instruments a bit clearer. Next, apply the same process to the other instrument.
There are many approaches to EQ. Hopefully this will provide one example of how to begin EQ’ing Tracks in your Mix. But most importantly, when it comes to EQ, it is better to use too little than too much, unless you’re consciously using extreme EQ as a compositional parameter.
使用自动化
Automation is a way of dynamically changing audio processing parameters over time.
Up to now, we have used fixed values for various parameters of our Tracks (for example, a Track Fader set to -3.0 dB; or a Mono Panner set to 100% Left; etc.) These fixed values would apply for the entire Track throughout the whole Session.
But what if you would like these values to change over time in a pre-determined way? For example, you may want to have the Gain of a Track to gradually decrease over twenty seconds. Or you may want to make a sound move from Left to Right over two seconds.
This is accomplished with Automation. The Fader, Panning, and any of the parameters of the Plugins used in that Track can be automated. An automated parameter is displayed underneath the parent track in its own Automation Track. Automation data is visually represented as an Automation Line, made up of a number of Automation Points. Here’s how a track with Automation looks like:
In the image above, the Automation Track called “Fader” is associated to the parent Track called “Audio 1”. The Automation Line controls Fader (volume) changes over time.
Creating a Fader Automation Line
Let’s create a simple Fader Automation. Click the “A” button of a chosen track. A menu will appear, where you can select the parameter you would like to Automate. Choose “Fader”.
An Automation Track will then appear. Select the Draw Mode (shortcut “D”):
Now you can create Automation Points by clicking anywhere in the Automation Track. An Automation Line joins the Automation Points you add. The yellow number (-15.3 decibels in the image below) indicates the Gain level for the selected Automation Point.
Automation States
The Automation Curve will not play, however, until you set the Automation State to “Play”.
Manual: When set to “Manual”, the Track will ignore any Automation data. It will just play with whatever volume is the Fader is set to. In this mode, you are able to move the Track Fader by hand to set a new fixed level. That’s the default behavior of a Track when it’s first created.
Play: When set to “Play”, the Track will automatically change the Gain levels following the Automation Curve drawn in the Automation Track. You will no longer be able to move the Track Fader by hand. During playback, you will see the Track Fader moving up and down according to the curve.
Write mode will continuously record user changes to the Automated parameter as the Transport plays, creating an Automation Line. For instance, you may start playback and then make real-time changes in gain using the Fader of your Track. All the changes you make will be written (recorded) as an Automation Line, which then you can play back later by switching the Automation Mode back to Play
Touch mode is similar to Write mode. Unlike Write mode though, Touch mode won’t record over existing Automation data unless the parameter is being changed.
If these concepts are new to you, focus now on just the first two modes (Manual and Play), and practice creating automation by drawing Automation Curves by hand.
Creating a Plugin for Automation
You may add Automation to any Plugin which has already been added to a Track. In the example below, we have a “AM pitchshifter” Plugin added to a track.
In order to select a Plugin parameter for Automation, click the button on the Track marked “a”. The menu will appear. Under “Processor Automation” you will find a listing of the Plugins you have added for that Track.
Within each listed Plugin, you may choose which parameter you want to Automate from a list. In the example, we chose the parameter “Pitch shift” of the Plugin “AM pitchshifter”. An Automation Track for that parameter appears. Note that as you open several Automation Tracks, they will appear one after the other below the main parent Track.
Draw an automation curve for that parameter. Don’t forget to set the Automation State to “Play”.
In the image above, the pitch shift of the sound is now changing over time, controlled by the curve.
TIP: You can hide an Automation Track by clicking on the “X” at the upper left corner of the Automation Track. Note that a hidden Automation Track continues to function even when it is not visible.
Adding Better Visual Resolution to Automation
You can achieve a greater amount of vertical precision by increasing the height of the Automation Track. Move your cursor near the lower edge of the Automation Track. The pointer turns into a vertical double arrow. Drag it down to increase the height of the Automation Track. Notice that the parent Track and the Automation Track heights are independent, so while working in your Automation Curves you might set them up like this:
TIP: Remember you can also Zoom In and Out to increase resolution in the horizontal axis.
Working with Automation Points
There are several ways ways of adjusting Automation Points, depending on the editing mode you are in:
An Automation Point can be dragged in any direction with the mouse (works in Grab, Draw, and Edit modes).
To remove an Automation Point, hold down the “Shift” key while Right-Clicking on it (works in Grab, Draw, and Edit modes).
“Control” + click + drag moves the current point in any direction, and also all subsequent points horizontally only (works in Grab, Draw, and Edit modes).
Edit Mode only: any segment of the Automation Line between Automation Points may be dragged vertically, affecting both end points at once, without affecting their horizontal position. Simply click somewhere on the line between two points, and drag up and down.
How to delete multiple Automation Points at once (Grab Mode and Edit Mode only): select multiple Automation Points by dragging a box starting on the track background around the points. Then the selected points may be deleted by hitting “Delete” (not “Backspace”). If you are on a Mac and do not have a true “Delete” key, try “Function” + “Backspace”).
After an Automation Curve ends, its value will stay at that level for all subsequent regions, whether or not you have drawn a continuation of the curve.
In the example above, the last point of the curve is at -23 decibels. That same level will be kept for the remainder of the Track, even though the line is not drawn until the end.
Moving Automation
Moving a Region to a new location will automatically move the Automation data that might be aligned with it, as we can see in the following screen shots.
Before moving:
After moving:
You can change this behaviour if you like. In other words, if you want automation curves to stay where they are even when you move Regions around, go to Edit > Preferences > Editor and uncheck “Move relevant automation when audio regions are moved.”
Region-specific Gain Automation
There is a way to create a gain automation directly bound to a Region. When you select Draw Mode, you should see a flat line on the top half of each Region rectangle:
Click directly on that line to create Automation points. These will be drawn directly on the Region itself, unlike Fader Automation which is drawn or recorded in the Automation track. Region Gain Automation is separate from, and in addition to, Fader Automation.
As with the Automation Tracks, a Gain Automation Point can be dragged in any direction with the mouse. To remove a Gain Automation Point, hold down the “Shift” key while Right-Clicking on it.
Deactivating and Removing Gain Automation
Gain Automation can be reset or deactivated from the Region context menu, which is reached by Right-Clicking on the Region.
Here, the Gain Automation is referred to as the Envelope.
“Reset Envelope” removes the Gain Automation Points you have drawn in the Region.
“Envelope Active” toggles the Gain Automation Envelope on and off.
When should I use Region Gain Automation or Track Fader Automation?
As seen above, both are very similar. With practice you will notice situations in which one is more convenient than the other. Here are two examples:
If all you need to do is a little touch up (cut or boost gain) in a specific portion of a Region, and you are otherwise happy with the level for the Rest of the passage or entire track, use the Region-specific Automation.
If you have a more complex Track with crossfades over Regions, and/or need to shape a longer dynamic curve across several Regions on the same Track, use Fader Automation.
The screenshot above shows a simple gradual fade starting from the first Region in the track, and ending at the last Region. It’s very straightforward to do this with Fader Automation, but but it would be much harder to do it using region-specific automation.
