Samplecraze Headroom and Dynamic Range [TUTORiAL]

奇妙 2020年11月13日| 56兆字节

了解有关为最大的净空和动态范围构造混音的方法，以及如何避免通道求和时遇到的常见陷阱。

动态余量和动态范围视频教程介绍了动态余量和动态范围以及如何在DAW中对其进行测量。

音频录制和混音中两个最重要的区域是动态范围和净空。您的整个组合应受这两个关键因素的约束。耳/脑组合在音乐中需要足够的动态范围以保持兴趣。

净空
净空是音频轨的峰值电平（当仪表显示其最大值时）与输出仪表上的0电平（上限）之间的差。让我给您一个简单的比喻，我经常用它来向我的学生解释净空。您身高6英尺，然后进入10英尺高的房间。您有4英尺的净空。我知道这很简单，但是对我有用。

动态范围
在数字音频中，我们关注两个值：最低或最低值的本底噪声，以及上限为0。本底和上限之间的差异称为动态范围。用外行的话来说，这就是音频信号中最安静和最响亮的部分之间的差异。

位深
现在，让我们看一下DAW中可用的动态范围：

使用6 dB / bit的旧计算方法，我们可以确定16位系统的动态范围为96 dB，而24位系统可以适应范围为144 dB。这些不是绝对数字，您将始终发现范围实际上受到损害，并且数字小于引用的数字。在典型的24位系统中，120 dB的范围更准确，但这不是福音，它取决于许多因素。就我们而言，我们只关心扩展的净空和更大的动态范围。

总结
将两个不同层（通道）中存在的相同频率组合在一起时，您总是会在这些频率上获得增益提升。
如果您采用两个频率和振幅相同的正弦波，并将它们相加，您将获得6 dB的增益增加（下面的示例）。

顶部的波形为‑9 dB，当复制并累加到一个新的单声道文件中时，我们得到的值为‑3 dB。这是重要的信息，可带入您的大脑：您可以想像一下，如果您有大量通道的混音，它们都对输出进行求和和削波，因为共享频率总是在输出处求和。

在“余量和动态范围”视频中，我解释了什么是动态范围，余量和求和以及如何测量它们。

本视频中使用的插件：

Steinberg Cubase

本视频中涉及的主题是：

什么是净空
什么是动态范围
如何控制动态范围
测量动态范围
分配空间
优化净空的技术
增益前结构
了解仪表和读数
了解求和

FANTASTiC | 13 November 2020 | 56 MB

Learn about structuring your mixes for maximum headroom and dynamic range and how to avoid the usual pitfalls faced with channel summing.

Headroom and Dynamic Range video tutorial explains what headroom and dynamic range are and how to measure them within your DAW.

The two most important areas in audio recording and mixing are Dynamic Range and Headroom. Your entire mix should be governed by these two critical factors. The ear/brain combination needs ample dynamic range in music to maintain interest.

Headroom
Headroom is the difference between an audio tracks peak level (when the meter is displaying its highest value) and 0 level (ceiling) on the output meter. Let me give you a simple analogy I always use to explain headroom to my students. You are 6 feet tall and you enter a room that is 10 feet high. You have 4 feet of headroom. I know it’s simplistic but it works for me.

Dynamic Range
In digital audio, we are concerned with two values: the noise floor which is the lowest or quietest value, and the ceiling which is 0. This difference between the noise floor and ceiling is what we refer to as dynamic range. In layman’s terms think of this as being the difference between the quietest and loudest part of an audio signal.

Bit depth
Let us now look at the afforded dynamic range available in your DAW:

Using the old ballpark calculation of 6 dB/bit we can ascertain that a 16-bit system will have a dynamic range of 96 dB whereas a 24-bit system can accommodate a range of 144 dB. These are not absolute figures and you will invariably find that the range is actually compromised and the figures are less than quoted. In a typical 24 bit system, a 120 dB range is more accurate, but this is not gospel and is dependent on a number of factors. As far as we are concerned we only care about the extended headroom and wider dynamic range.

Summing
When identical frequencies that exist in two different layers (channels) are combined, you invariably get a gain boost at those frequencies.
If you take two sine waves of the same frequency and amplitude, and sum them you will get a gain increase of 6 dB (example below).

The waveform on the top is at ‑9 dB, and when duplicated and summed into a new single mono file we get a value of ‑3 dB. This is important information to take on board and nail into your brain: you can imagine what happens when you have a mix with a huge number of channels all summing and clipping the output simply because shared frequencies are always summed at the output.

In the Headroom and Dynamic Range video, I explain what dynamic range, headroom, and summing are and how to measure them.

The plugin used in this video:

Steinberg Cubase

Topics covered in this video are: