02.一些常识和注意事项.pdfVIP

Mixing Audio 21 2 Some axioms and other gems 一些常识和注意事项 Due to the correlated nature of a huge area like mixing and the diversity of potential readers, it was impossible to structure this book as a cover-to-cover reading. For those with little background, some concepts presented in the rest of this part might become clearer after reading the following part – Tools. The depth of coverage means that some topics might appeal to some more than to others. For certain readers, specific topics might become more relevant once basic understandings and techniques have been acquired. I still believe that whether working on a console in a professional studio or at home on a DAW, both the novice and the veteran would find many fascinating ideas within the following chapters. This chapter covers a few principles that would repeat time and again throughout this book; I have therefore chosen to discuss them at this early stage. 由于混音涵盖的知识领域极其广泛，而本书的读者在知识层次上又不可避免地 存在差异，因此本书不可能按照环环相扣的结构来写作。对那些缺乏专业背景的读 者来说，在读完本书的第二部分后，本章中的某些概念会更加清晰。这一部分涉及 的内容有浅有深，某些主题可能对某些特定的读者更有吸引力。因此对这部分读者 而言，一旦他们弄清了基本的概念与技术，就可以重点选读他们更感兴趣的章节。 我认为，如果能够坐在专业录音棚的调音台前，或者坐在家里的数字音频工作站前 阅读后面的章节，边读边操作，那么不管是混音新手还是老手，都会乐在其中的。 本章所涉及的一些原理在本书后面的内容中还要反复谈到，我在这里只是先把 它们提出来讲—下。 Mixing Audio 22 2.1 Louder perceived better 2.1 响度越大听上去越好 Back in 1933, two researchers at Bell Labs, Harvey Fletcher and W.A. Munson, conducted one of the most significant experiments in psychoacoustics. Their experiment was based on a serious of tests taken by a group of listeners. Each test involved playing a test frequency followed by a reference tone of 1 kHz. The listener simply had to choose which of the two was louder. Successive tests involved either a different test frequency, or different levels. Essentially, wh