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终极工作流程

我们都经历过这种情况:浏览数百个低音,但没有一个真正合适。有的瞬态很好,有的冲击力十足,还有的尾音完美。但一旦你将它们叠加在一起,结果却是一个模糊无力的混乱:叠加低音往往很难成功。

Chop Suey 是解决方案:它不是简单的叠加,而是对元素进行排列。这种方法消除了相位问题,同时使组合后的低音保持清晰的瞬态、饱满的冲击力和特有的尾音。

所见即所得

使用压缩器、饱和器或瞬态设计器来塑造低音可能是一项繁琐的任务。这些工具会影响整个低音,使得单独编辑瞬态而不影响主体几乎不可能。可用的范围非常有限,选项也大大减少。使用 Chop Suey,你始终可以看到自己在做什么。由于低音的前几毫秒对感知至关重要,你可以在视觉上拉伸这个区域,从而进行精细编辑。

Ultimate Workflow

We’ve all been there: you browse through hundreds of kicks, but nothing really works. One has a nice transient, another one a cool punch in the face and the third has the perfect boomy tail. But once you layer them the result is a weak muddy mess: layering kicks is rarely successful.

Chop Suey is the solution: instead of layering, the elements are sequenced. This method eliminates phasing issues while allowing the combined kick to maintain the crisp transient, the punch of the body and the characteristic tail.

What You See Is What You Get

Shaping kicks with a compressor, saturator or transient designer can be a tedious task. These tools affect the whole kick, making it impossible to simply edit the transient without impacting the body. The workable ranges are tiny and your options are massively limited. With Chop Suey you can always see what you are doing. As the first few milliseconds of a kick are so crucial for the perception you can visually stretch this area to allow for fine editing.

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