9.17 动态分割——REAPER用户手册中文版

琴韵晓波

楼主 琴韵晓波说：
9.17 Dynamic Splitting
9.17 动态分割
Dynamic splitting is a very powerful feature which has a number of applications. You have already seen (in Chapter 7) how it can be used to remove silence.
动态分割是一个非常强大的功能,它有很多应用。您已经(在第7章)看到了如何使用它来消除静音。
For example you might have recorded a pretty good bass line that you'd like to use for a song. Maybe it was recorded at 96 beats per minute. The timing might be a bit out at times but on the whole you're pretty pleased with it. The trouble is that you want to use 120 beats per minute for your new song.
例如,您可能已经录制了一首非常好的低音线,希望用于歌曲。可能是以每分钟96拍的速度录制的。节奏有时可能有点不准确,但总的来说,你对此相当满意。问题是你想用每分钟120拍的速度来创作你的新歌。
Here's another example. Maybe you've recorded a killer slide guitar track. You like it but think it would be pretty clever to give the tune one or two tempo changes.
这是另一个例子。也许你录了一条杀手级的滑奏吉他轨道。你喜欢它,但认为把旋律改动一两个节奏会更灵活。
Dynamic splitting is the answer to both these challenges. It works on the principle that you can instruct REAPER to split any media item (or selection of media items) according to criteria that you specify. Basically it works like this:
“动态分割”是应对这两个挑战的答案。它的工作原理是,您可以指示REAPER根据您指定的标准来分割任何媒体对象(或媒体对象选择)。基本上它是这样工作的:
1. You first select the media item (or items) to be split.
1.您首先选择要分割的媒体对象(或多个对象。
2. You right click over the item and choose Item processing, Dynamic split items…from the menu.　? This causes the Dynamic split items　　　dialog box to be opened.
2.右键单击对象,然后从菜单依次选择“对象处理”、“动态分割对象...”,打开动态分割对象对话框。
　3. You give it the information that it needs　　　to work out where to split your items. This will essentially either be to split the track at its transients or to use a noise gate to split whenever the audio volume falls below a specified amount. As you will shortly see, each has its separate uses.
3.你给它所需的信息,让它决定在哪里分割你的对象。这基本上是,要么在轨道的瞬变时分割轨道,要么在音量降到指定量以下时使用噪声门进行分割。正如您很快就会看到的,每种方法都有其不同的用途。
4. REAPER then "shadow splits" your selected item(s). That is to say, it indicates with a row of colored bars exactly all of the points at which the item will be split if the parameter settings are left as they are.
4.然后,REAPER会将你选择的对象“阴影分割”。也就是说,如果参数设置保持不变,它将用一行彩色条精确指示对象将被分割的所有点。
　5. You make such adjustments as you wish to the parameter settings until satisfied that they are right.
5.您可以根据需要对参数设置进行调整,直到您觉得它们是正确的为止。
　6. You tell REAPER to split the items.
6.你告诉REAPER分割对象。
7. Once split, each slice of the original item will be set to the current timebase. You can set any of the splits to any other timebase you choose. You can use the items together or individually, according to your needs.
7.分割后,原始对象的每个片段都将设置为当前时基。您可以将任何分割段设置为您选择的任何其他时基。您可以根据需要一起使用,也可以单独使用。
Suddenly you've got a whole library of samples!
突然之间,你就有了一个完整的采样库!
Dynamic splitting is non-destructive. This means that your original audio files (WAV, MP3, AIF or whatever) remain intact. Nevertheless, if you are going to use this method to build a sample library, it's often a good idea to work on a copy of the original track. This just makes it easier to go back to the original if you wish to use it to make a fresh set of samples. Let's now take a look at an example or two.
动态分割是非破坏性的。这意味着您的原始音频文件(WAV、MP3、AIF或其他格式)保持不变。不过,如果您要使用此方法构建采样库,那么在原始轨道的副本上工作通常是个好主意。如果你想用它来制作一组新的采样,这只会让你更容易回到原来的样子。现在让我们来看一两个例子。

琴韵晓波

沙发 琴韵晓波说：
9.17.1 Splitting a Media Item into Samples
9.17.1 将媒体对象分割成采样
In the examples below, a recording of a snare is selected. We have then chosen Item processing then Dynamic split items from the context menu. Studying these examples will help you to understand how the settings work. In every case, the At transients option should be enabled. These examples should be sufficient to get you started. After that, it's up to you to experiment according to your particular needs.
在下面的示例中,选择了军鼓的录音。然后,我们从上下文菜单中选择了“对象处理”,然后选择了“动态分割对象”。研究这些示例将帮助您理解这些设置是如何工作的。在任何情况下,“在瞬变”选项都应被启用。这些例子应该足以让您开始学习。在此之后,您可以根据自己的特殊需要进行实验。

Examples
示例
Only a minimal number of options are used here.
此处仅使用最少数量的选项。
If you specify a very low minimum slice length REAPER will seek out transients with a high degree of sensitivity. This will result in our media item being split into a very large number of items.
如果指定一个非常小的“最小切片长度”,REAPER将寻找具有高度灵敏度的瞬态。这将导致我们的媒体对象被分成非常多的对象。
This might be suitable, for example, if we are intending to introduce tempo changes to the song. The larger the number of samples and the shorter their length, the more sensitive and immediate will be the track's response to any such changes.
这可能是合适的,例如,如果我们打算在歌曲中引入速度更改。采样的数量越多,长度越短,轨道对任何此类变化的反应就越敏感和即时。
Consider the two examples shown. Let's see what happens when we bring some of the options into play.
请考虑所示的两个示例。让我们看看当我们将一些选项发挥作用时会发生什么。
In the case shown above right we have set a largish minimum slice length with the result that our media items are quite longer. Other options have been left at their default settings. This might be appropriate if we are creating samples to be used with a software synthesizer.
在上面右边所示的情况下,我们设置了较大的“最小切片长度”,结果是我们的媒体对象相当长。其他选项保留默认设置。如果我们正在创建要与软件合成器一起使用的采样,这可能是合适的。
However, we might want to do some more fine tuning. In this next example (lower right), we have increased the minimum slice length and used the Reduced splits option to further reduce the number of splits. In this particular case, these settings might be about right for creating our sample library from this track.
但是,我们可能需要进行更多的微调。在下一个示例(右下角)中,我们增加了“最小切片长度”,并使用“减少分割”选项进一步减少了分割数量。在这种情况下,这些设置可能正好适合从这条轨道创建我们的采样库。
Before splitting it might in some instances be worth considering whether you wish to enable the noise gate settings to allow you to also remove silence. Whether you would do this would depend largely on the instrument in question and the nature of the tune and arrangement. If the instrument is played continuously and produces an audio signal similar to that shown above, then there may be little point in using the noise gate.
在分割之前,在某些情况下,可能值得考虑您是否希望启用噪声门设置,以允许您也消除静音。你是否会这样做在很大程度上取决于所讨论的乐器以及旋律和编曲的性质。如果乐器连续演奏,并产生类似于上面所示的音频信号,那么使用噪声门可能没有什么意义。
In either case, clicking on the Split button will cause the item to be split according to your settings. Below we can see how part of our original media item might look after splitting.
在任何一种情况下,单击分割按钮都会根据您的设置分割对象。下面我们可以看到分割后原始媒体对象的一部分可能会是什么样子。
This next example (right) shows splitting at transients with a noise gate employed to remove unwanted background sounds or even the sound of the instrument decay.
下一个示例(右)显示了在瞬变时使用噪声门进行分割,以消除不需要的背景声音,甚至乐器衰减的声音。
In this example if we were to set the gate threshold too low, too many unwanted sounds would still get thru. If we set it too high, we risk removing some of the quieter recorded material. You are likely to need to experiment to get the settings just right.
在本例中,如果我们将门限设置得太低,仍然会有太多不需要的声音通过。如果我们把它设置得太高,我们可能会移除一些较安静的录音素材。您可能需要尝试才能获得恰到好处的设置。
Action to perform:
要执行的操作:
These examples have all used the default option Split selected items.
这些示例都使用了默认选项“分割选中的对象”。
Other options are:
其他选项包括:
Split selected and grouped items - items in any group of which this media item is a member will also be split.
分割选中和编组的对象——此媒体对象所属的任何编组中的对象也将被分割。
Add stretch markers to selected items
为选中的对象添加拉伸标记
Add stretch markers to selected and grouped items - stretch markers will be covered in Chapter 10.
为选中和编组的对象添加拉伸标记-第10章介绍拉伸标记。
Add transient guide markers to selected items - also covered in Chapter 10.
为选中的对象添加瞬态参考线标记-也在第10章中介绍。
Other options:
其他选项:
Set new item to timebase beats
将新对象的时基设为节拍
Set snap offset to peak value within first specified ms
“将吸附偏移量设为第一范围内的峰值:”将吸附偏移量设为第一个指定毫秒内的峰值
Remove silent areas
移除静默区域
Leading pad, Trailing pad and Fade pad (see below).
前导过渡区、尾随过渡区和淡变过渡区(见下文)。
Create chromatic MIDI item from slices (see below).
从切片创建半音阶MIDI对象(见下文)。
There is also a Presets button which can be used to save and recall your settings as presets.
还有一个预置按钮,可用于将您的设置保存为预置并调用。

琴韵晓波

板凳 琴韵晓波说：
9.17.2 Changing the Tempo/Time Signature
9.17.2 更改速度/拍号
Once an item has been dynamically split, you can create time signature markers for changes in tempo and/or time signature to which your music will respond when played back. To create these:
动态分割对象后,您可以为速度或拍号的更改创建拍号标记,播放时音乐将对此做出响应。要创建这些内容,请执行以下操作:
1. Right click over the timeline and choose Insert tempo/time signature marker■…from the context menu (or press Shift C).
1.右键单击时间轴,然后从上下文菜单中选择“插入速度/拍号标记...”,(或按Shift+C键)。
2. Select Set Tempo and/or Set time signature. Specify your required changes in Beats per Minute or time signature. If you wish, you can select the option for a gradual tempo transition between markers. For time signature markers you can also allow a partial measure before the marker.
2.选择“设置速度”和“设置拍号”。在“每分钟节拍数”或“拍号”中指定所需的更改。如果愿意,可以选择“逐步将速度过度到下一个标记”选项。对于拍号标记,您还可以使用“允许此标记前的不完全小节”。
　3. You can also optionally set a metronome pattern.
3.您还可以选择设置节拍器模式。
　4. Click on OK.
4.单击确定。
You can double-click on any time signature or tempo change marker to edit its settings and you can drag it along the timeline to change its position.
您可以双击任何拍号或速度更改标记来编辑其设置,也可以沿时间轴拖动它来更改其位置。
These settings, along with more information about time signature markers and their behavior (including editing and moving markers) can be found in Changing the project timebase and Using Time Signature/Tempo Change Markers.
这些设置以及有关拍号标记及其操作(包括编辑和移动标记)的更多信息可在更改工程时基和使用拍号/速度更改标记中找到。
Note that your Preferences. Appearance settings includes an option whether or not to display gridlines for time signature changes.
注意你的首选项。外观设置包括“是否为拍号更改显示网格线”的选项。

琴韵晓波

地板 琴韵晓波说：
9.17.3 Creating a Chromatic MIDI Item
9.17.3 创建半音阶MIDI对象
When dynamic splitting you can select the option to Create chromatic MIDI item from slices.
动态分割时,您可以选择“从切片创建半音阶MIDI对象”的选项。
This causes a MIDI item to be created that creates one MIDI event for each slice, moving up the chromatic scale. One common application of this is for sample triggering.
这会导致创建一个MIDI对象,该对象为每个切片创建一个MIDI事件,从而按半音阶向上移动。这一点的一个常见应用是用于采样触发。
Suppose that you have a groove that you have assembled from various items from different sources. You can now create chromatic midi from the items and then load those items into a sample player, each mapped to the next note in sequence. The midi will then play the groove. Moving the midi notes around changes the groove. It is also quite easy to swap out exactly what it is that is being triggered.
假设您有一个智能律动,它是从不同来源的不同对象组装而成的。现在,您可以从这些对象创建半音阶MIDI,然后将这些对象加载到采样播放器中,每个对象都按顺序映射到下一个音符。然后,MIDI将演奏这个智能律动。移动MIDI音符会改变智能律动。要准确地换掉正在被触发的是什么也是相当容易的。
Another example is hit replacement. You can dynamic split a drum part, creating chromatic midi from it. You then have one velocity-sensitive midi note for each hit. It's then a straight forward job to delete a bad hit and use the midi note to trigger a drum sample. Alternately, you can use the whole midi track to trigger a drum sample to double a recorded part (thereby fattening it).
另一个例子是点击替换。您可以动态分割鼓部件,从它创建半音阶MIDI。然后,每一次点击都有一个力度敏感的MIDI音符。然后,删除一首糟糕的歌曲,并使用MIDI音符来触发鼓采样,这就是一项简单的工作。或者,您可以使用整个MIDI轨道来触发鼓采样,使录制的部分加倍(从而使其变厚实)。
The chromatic MIDI item can, of course, be edited like any other MIDI item with the MIDI Editor, and used to play any synthesizer or sample player. A comprehensive section on using the MIDI Editor can be found later in this User Guide, at Chapter 13.
当然,半音阶MIDI对象可以像任何其他MIDI对象一样使用MIDI编辑器进行编辑,并用于播放任何合成器或采样播放器。有关使用MIDI编辑器的综合章节可以在本用户指南的第13章后面找到。
Leading Pad, Trailing Pad and Fade Pad settings
前导过渡区、尾随过渡区和淡变过渡区设置
The examples used in this section have not made use of any of these three settings.
本节中使用的示例没有使用这三种设置中的任何一种。
Leading pad is the amount in milliseconds (ms) by which the split point is pushed left of the transient or gate open point when you click on Split. This works both with transient splits and gate open splits. Dynamic split works out where to split and then pads it left by your ms value.
“前导过渡区”是当您单击分割时,分割点被推到瞬变或门限打开点左侧的量,以毫秒(Ms)为单位。这既适用于瞬态分割,也适用于门限打开点分割。动态分割计算出要分割的位置,然后根据ms值将其填充。
Trailing pad pushes the actual split point to the right by the number of ms specified., and by that same value to the right of the gate close point in gated splits. The actual splits in this case will be to the left and right of the dark area boundaries if you use both When gate opens and When gate closes.
“尾随过渡区”将实际分割点向右推进指定的毫秒数,并将该值向所选分割中的门限关闭点的右侧推进相同的值。如果在门限打开点和关闭点时都使用,则在这种情况下,实际分割将位于黑暗区域边界的左侧和右侧。
The Fade pad option, if enabled, will fade in and out over the length of those pads.
“淡变过渡区”选项,如果启用,将在这些过渡区长度上淡入淡出。

琴韵晓波

5楼 琴韵晓波说：
9.17.4 Saving and Using Samples
9.17.4 保存和使用采样
After splitting, you can save any of the individual slices as samples. To save an individual sample, simply right click over it and choose Glue items from the context menu. The sample wave file can then be imported for use with any VSTi sampling plug-in, such as ReaSamplOmatic5000.
分割后,可以将任何单个切片另存为采样。要保存单个采样,只需在其上单击鼠标右键,并从上下文菜单中选择“粘合对象”。然后可以导入采样波形文件,以便与任何VSTi采样器插件(如ReaSsamOmatic5000)配合使用。
Remember also that if you save the original file with the split items, you can return to it as often as you need to whenever you wish to use it to create more samples.
另请记住,如果将原始文件与分割对象一起保存,则可以在希望使用它创建更多采样时随时返回到该文件。

琴韵晓波

6楼 琴韵晓波说：
点此转到本章目录    点此转到总目录——【本文译者：王晓波，出处：视障者音乐制作交流基地】    点此转到REAPER+SWS+OSARA中文语言包下载页面