audacity使用_如何在Audacity中使用延迟，回声和混响

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Sound engineers take really sterile tracks and make them sound natural through audio effects. The most common tools to do this are delay/echo and reverb, and with some know-how you can tweak your own tracks for the better.

声音工程师会选择真正无菌的音轨，并通过音频效果使其听起来自然。 最常见的工具是延迟/回声和混响，并且借助一些专业知识，您可以调整自己的音轨以获得更好的效果。

All of these effects work to help make audio sound better, deeper, and more natural. They’re also used as aesthetic effects, too, and understanding how they work will help you use them to their utmost potential. You can find them all under the Effects menu of Audacity.

所有这些效果都有助于使音频听起来更好，更深，更自然。 它们也同样被用作美学效果，了解它们的工作原理将帮助您最大程度地利用它们。 您可以在Audacity的“效果”菜单下找到它们。

三重效应 (One Threefold Effect)

Delay, echo, and reverb are all different aspects of the same process: repetition of a sound over time. An echo is pretty easy to grasp. It’s a repeated iteration of a sound that occurs with a diminished volume and after a brief period of time. Shouting into a canyon or wide space will give you an echo. The sound waves are emanating from your mouth, traveling some distance, bouncing off of a solid surface, and returning back to your ears after a period of time. An echo is a delay. In audio editing terms, though, an echo is considered to be a specific type of delay, one that decays but reproduces the sound otherwise accurately. Delay is a customizable thing, and can alter the sound during each iteration.

延迟，回声和混响是同一过程的所有不同方面：声音随时间重复。 回声很容易掌握。 这是声音的重复迭代，音量减小并且在短时间后出现。 冲进峡谷或广阔的空间会给您回音。 声波从您的嘴发出，传播一段距离，从坚固的表面弹起，并在一段时间后返回您的耳朵。 回声是延迟。 但是，从音频编辑的角度来看，回声被认为是一种特定类型的延迟，它会衰减但会准确地再现声音。 延迟是可自定义的，并且可以在每次迭代期间更改声音。

Then, we have reverberation. This occurs when echoes build up in an enclosed space and cause a volume swell, which then decays as the sound slowly escapes. A good example of this is when you clap or shout in medium sized room with all of the doors closed. There’s a spike that occurs as the sound builds up, so your initial noise isn’t the loudest that it’ll get. Then, after the buildup, the sound will release slowly. You can think of it like an overlapping echo, where instead of full repetitions with a delay in between, an iteration starts very soon after the sound begins and while it’s still going on.

然后，我们有混响。 当回声在封闭的空间中累积并引起音量膨胀时会发生这种情况，然后声音逐渐散逸时衰减。 一个很好的例子是，当您在所有门都关着的中等大小的房间里鼓掌或大喊时。 声音累积时会出现尖峰，因此您的初始噪音并不是它会听到的最大声。 然后，在积累之后，声音将缓慢释放。 您可以将其视为重叠的回声，而不是完全重复且之间不存在延迟，而是在声音开始后不久且仍在继续的情况下开始迭代。

延迟 (Delay)

There are three types of delay patterns in Audacity: regular, bouncing ball, and reverse bouncing ball. The regular delay will have a fixed time period in between each individual interation.  A bouncing ball delay will start at the delay time and will occur increasingly quickly, the time dropping between each iteration. A reverse bouncing ball delay will start with quick iterations and a low delay time, then gradually slow down until it reaches the max. This last one is often used in reverse effects, a topic we’ll cover in another article.

在Audacity中，延迟模式有三种类型：常规，弹跳球和反向弹跳球。 定期延迟将在每个单独的间隔之间有固定的时间段。 弹跳球的延迟将从延迟时间开始，并且会越来越快地发生，每次迭代之间的时间间隔都会缩短。 反向弹跳球的延迟将以快速迭代和较短的延迟时间开始，然后逐渐减慢直到达到最大值。 最后一个通常用于反向效果，我们将在另一篇文章中介绍该主题。

The decay amount is the value (in dB) by which each iteration will decrease its volume. Using negative values will increase subsequent iterations’ volume. Pop songs often start with this “building” volume delay in the intro, with a crescendo rising and the artist suddenly breaking the music with a word or phrase.

衰减量是每次迭代将减小其音量的值(以dB为单位)。 使用负值将增加后续迭代的数量。 流行歌曲通常会在介绍中出现这种“增加”音量的情况，然后逐渐增加，艺术家突然用单词或短语来破坏音乐。

The delay time (in seconds) is the maximum time between each iteration.

延迟时间(以秒为单位)是每次迭代之间的最长时间。

The pitch change is measured in semitones, and this will cause the pitch to shift up (or down, if the value is negative) in each subsequent echo. This is another effect found often in pop.

音高变化以半音为单位，这将导致音高在随后的每个回声中上移(或减小，如果该值为负)。 这是流行音乐中经常发现的另一种效果。

The last value you can change is the number of echoes to produce. Keep in mind that if you don’t have enough silence at the end of your track, these will be cut short. It’s best to add silence at the end of your track before adding a lot of echoes, and trimming off the extra after you apply the effect.

您可以更改的最后一个值是要产生的回声数。 请记住，如果在曲目结束时没有足够的沉默，这些声音会被缩短。 最好在曲目的末尾添加静音，然后再添加大量回声，并在应用效果后修剪掉多余的部分。

Unless you want to add a simple and quick echo, use delay. This effect can really help bring out overtones in musical tracks and helps add a limited sense of depth to your audio.

除非您想添加简单快速的回显，否则请使用延迟。 这种效果确实可以帮助在音乐声中带出泛音，并有助于增加音频的深度感。

回声 (Echo)

The echo is a shortcut effect to an very long regular delay. You can change the delay time and the decay factor and you’ll instantly get a very long echo past your track. Be sure to add silence at the end of your track to accommodate  the echo. You can set the decay factor to 1 (no decay), and you’ll get a loop; the audio will repeat with the delay time, but there will be no drop in volume each time and can go on infinitely.

回声是很长的常规延迟的捷径效果。 您可以更改延迟时间和衰减因子，并且会立即在轨道上获得很长的回声。 确保在曲目的末尾添加静音以适应回声。 您可以将衰减因子设置为1(无衰减)，然后得到一个循环。 音频会随着延迟时间重复播放，但是每次音量都不会降低，并且可以无限进行下去。

混响 (Reverb)

Reverb’s a little more complicated because it has more to do with acoustics. Reverb won’t add echoes; it’ll start building sound up, allow it to peak, and then release it over a period of time. Reverb can help shape your sound and bring out some overtones, and it really helps make clips sound more natural. This is because you’re essentially re-recording the sound in a virtualized space. A bigger roomsize will make the “tail” of the reverb last longer and make the swell louder.

混响稍微复杂一点，因为它与声学有关。 混响不会添加回声； 它会开始增强声音，使其达到峰值，然后在一段时间内释放出来。 混响可以帮助塑造声音并带来一些泛音，并且确实可以使剪辑听起来更自然。 这是因为您实际上是在虚拟空间中重新录制声音。 较大的房间尺寸将使混响的“尾部”持续更长的时间，并使鼓起的声音更大。

Reverb time affects the duration of the reverb from swell to release. If you make this value really small, you essentially cut out the tail.

混响时间会影响混响从膨胀到释放的持续时间。 如果您将该值做得很小，那么您实际上就是在剪掉尾巴。

Damping is like the decay amount in the delay effect. It governs by how much the overlapping iterations will be cut. This primarily affects the earlier iterations and the tail, though it can decrease the swell if the value is too high. The lower the value, the more intense the reverb will be.

阻尼就像延迟效果中的衰减量。 它决定了重叠迭代将被削减多少。 这主要影响较早的迭代和尾部，但如果值太高则可以减小膨胀。 值越低，混响越强烈。

The input bandwidth changes the ranges of frequencies affected by reverb. Smaller values will make it sound dull and muffled while higher values will affect more frequencies and make it sound more bright or intense.

输入带宽改变了混响影响的频率范围。 较小的值将使声音听起来沉闷无声，而较高的值将影响更多频率并使其听起来更明亮或更强烈。

The dry signal level determines by volume how much of the original sound remains in the reverb. The default value is really low. If you want an instant and hard reverb, raise the value. If you’re mixing the original track with another that has added reverb, keep this value low otherwise you’ll get clipping, which ruins the fidelity of the audio. If this is all the way down and you still get clipping, lower the amplitude of the tracks before you apply the reverb.

干燥的信号电平决定了混响中剩余了多少原始声音。 默认值非常低。 如果您想要即时而困难的混响，请提高此值。 如果要将原始音轨与添加了混响的音轨混音，请将该值设置得较低，否则会出现削波，这会破坏音频的保真度。 如果将其完全降低，但仍会出现削波，请在应用混响之前降低音轨的振幅。

The early reflection level changes how the early iterations shape the overall reverb. Lowering this volume will cause fewer early “echoes” and change the integrity of the sound. This is difficult to describe so you’ll have to listen and try for yourself here.

早期反射级别会更改早期迭代形成整体混响的方式。 降低此音量将导致较少的早期“回声”并改变声音的完整性。 这很难描述，因此您必须在这里聆听并尝试一下。

The tail level determines by volume the intensity of the reverb by changing the tail section.

尾巴电平通过改变尾巴部分来确定混响的强度。

Normally, the early reflection level is 15 dB or so higher than the tail level. If you change it so the early reflection level is lower than the tail level, you create the illusion of distance between the source and the listener. Also, note that reverb depends a lot on stereo audio, so use speakers when tweaking this effect instead of headphones. You can also split stereo tracks and apply different settings for the left and right channels. This creates more distinct channels.

通常，早期反射声级比尾声级高15 dB左右。 如果更改它，以使早期反射级别低于尾声级别，则会造成源与侦听器之间的距离错觉。 另外，请注意，混响很大程度上取决于立体声音频，因此在调整此效果时，请使用扬声器而不是耳机。 您还可以拆分立体声轨道，并为左右声道应用不同的设置。 这将创建更多不同的渠道。

Reverb is great for replication the sound of wide open and large enclosed spaces. You can make tracks sound like they were performed in a deep sewer, a gigantic cathedral, or a simple concert hall, and you’ll affect the tone so it sounds more natural than just adding a really short delay or echo.

混响非常适合复制宽阔的开放空间和封闭空间。 您可以使曲目听起来像是在下水道，巨大的大教堂或简单的音乐厅中演奏的，并且您会影响音调，因此听起来比仅添加真正的短延迟或回声更自然。

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Simulating space without having to actually record in it makes it easy to add intricacy and naturalness to your tracks. It works great non-music audio, too. You can use it on podcast audio, for example, with the same effect. Have some experience with these effects? Feel free to share some of your favorite settings and their uses in the comments!

模拟空间而无需实际记录，可以轻松地增加轨道的复杂性和自然性。 它也可以播放出色的非音乐音频。 例如，您可以在播客音频上使用它，效果相同。 对这些效果有一些经验吗？ 随时在评论中分享一些您喜欢的设置及其用法！

翻译自: https://www.howtogeek.com/62328/the-htg-guide-to-audacity-delay-echo-and-reverb/

audacity使用