Similar to reamping, worldizing refers to playing back existing recordings through a speaker or speakers in real world acoustic situations 与Reamp类似 Wordising(世界化)指的是在真实世界的声学环境中 通过一个或多个扬声器回放现有的录音
Playback is miked and recorded to produce new recordings that take on the acoustic characteristics of the space itself 回放被录制下来 以产生具有空间本身声学特性的新录音
Walter Murch and Orson Welles are credited for founding this technique 沃尔特·默奇和奥逊·威尔斯因创立这项技术而获赞誉
They employed it as a means to make their fim sound more realistic and lifelike 他们把它作为一种手段 使他们的电影听起来更加生动逼真
They realize that some of the most attractive aspects of wordising are due to the way that sonic anomolies happen when sound travel through the atmosphere 他们发现Wordising的灵感是来自于 声音穿过大气时发生声学异常的现象
Quoting a passage from an interview with Walter Murch: 引用沃尔特·默奇访谈的一段话：
Wordlizing creates the sonic equivalent of depth of field in photography Wordising在声学中就相当于摄影中的景深概念
We can still have the music in the background 我们还是在背景里播放音乐
but because it's so diffused, you can't find the edges to focus on 但是因为它是如此的弥散 让你找不到确定的界限
Diffusion, reverberation, space, movement 弥散 混响 空间 运动
The concepts are simple but the results can be remarkably complex 这些概念很简单 但结果却非常复杂
Although there are some very impressive digital and analog reverb on the market 尽管市面上有一些非常令人印象深刻的数字和模拟混响
I still find that there's something particular about recording physical space 我仍然发现 录制物理空间的混响是很特别的
This is probably on account of all the factors that play into recreating the real world and all the atmospheric conditions that affected 这可能是因为重现现实世界会受到诸多因素以及大气条件的影响
There are seemingly an endless amount of possibilities with wordising Wordising似乎有无尽的可能性
For starters, I'll focus on a few that we experimented with 首先 我将重点介绍一些我们试验过的方法
We recorded using several stereo miking techniques 我们录制时使用了几种立体声录音技术
..and placed two small near field monitors on a table in an empty mid sized highly reverberate concrete room in the bunker 在掩体里一个中等大小的、空旷的、高回响度的混凝土房间里 把两个小近场监听音箱放在桌子上
This first example is rather straightforward 第一个例子相当简单
We simply took pre-recorded material and re-recorded it to capture the natural acoustics of the room 我们只需播放预先制作的素材 然后重新录制以捕捉房间的自然声学特征
This is your original loop, I'll call it the dry portion 这是原来的Loop 我称之为干部
The worldized re-recorded version, I'll call the wet portion, goes something like this Wordising后的、重新录制的版本 我称之为湿部 是这样的——
When blended together, you get a lush wide combination of sound 当混合在一起 你得到一个郁郁葱葱的、广阔的组合声音
By adjusting the mixer volume for the re-recorded version 通过调整重录版本的音量
you can control the amount of reverb just like using a dry/wet mix knob 你可以像使用干/湿比旋钮一样控制混响量
Taking this a step further, I'll add an EQ8 and modulate the high pass filter cutoff to add even more variation 更进一步 我将添加一个EQ8 然后调制高通滤波器的截止频率以添加更多的变化
To save a bit on time, I've already done some basic EQing to remove some of the unwanted resonant frequencies 为了节省一点时间 我已经做了一些基本的EQ 去掉一些不需要的谐振频率
There's something beautiful about the sound of shaping the frequency of reverb over time 随着时间调整混响频率的声音有种美妙之处
It adds another sense of movement and dimension that volume can't provide alone 它增加了音量(调制)提供不了的另一种运动感和维度感
To shape the combined sound of the dry and wet versions, 为了塑造干湿版本的组合声音
..instantiate a Utility device on the dry version, and set it to either the left or right channel to make it mono ..在干版本上挂一个Utility插件 并选择左通道或右通道 使其成为单声道
This will help give a greater sense of spacing and stereo separation between the two signals 这将有助于增强两个信号之间的距离感和立体声分离感
I created another variation of the same loop, but this time, 我创建了同一个Loop的另一个变体 但是这次
I stretch the timing of the clip by changing the Warp settings and the segment's BPM as I recorded 我通过在录音时实时改变Warp设置和片段的BPM来伸缩这个Clip的时长
In yet another version, I've pitched down the wet layer by twenty four semitones 在另一个版本中 我把湿轨降调了二十四个半音
..which makes playback sound deep and ominous 这让声音变得深沉而不祥
I'll continue to explore wordising in this next tutorial 我将在下一个教程中继续探索Wordising