EastWest二十年发展历史 毕业论文外文翻译.docx

eastwest二十年发展历史 usa tom flint在eastwest公司成立20周年之际，让我们跟随eastwest创始人doug rogers一起回顾一下采样巨人的发展历史，和采样世界的未来。doug rogers用一己之力使eastwest获得了极大的成功，仅仅是在20年前他创建eastwest之时，doug卖掉了位于新西兰的所有录音设备，他隐约感觉到包括采样在内的新技术马上就会改变大型录音棚。而在20年后，他买下了洛杉矶最大的录音棚以便专心制作采样音色库，这真是一个有趣的轮回。doug用“一个意外”来形容自己在20年前的80年代进入采样库制作领域，doug回忆说在那时自己已经可以熟练的把磁带机里的采样给剪出来贴到录好的工程里，比如某个乐队用一套很烂的鼓录的工程，他就会用磁带机里的采样给替换掉。在他为sony制作一个工程的时候，丢失了一卷装有采样的磁带，怎么也找不到了，而当时市场上又没有现成的采样磁带在销售，真是难坏了他，这就好比你的电脑没有软件可用，巧妇难为无米之炊。他想到也许会有很多人也会遇到这样的情况，于是自己做了一套鼓的采样。但是如何销售呢？他想到了在吉他商店工作的一个朋友，托他把自己做的采样放到盒子里摆在吉他旁边，试试看会不会有人买。结果没想到很快就卖光了，他的这个朋友也马上意识到这是一个很棒的新点子。在小小的成功之后，doug决定去寻找一些愿意让他将鼓音色做成采样的知名录音师，很多制作人听到doug的点子后都皱起了眉头，而只有bob clearmountain决定尝试一下，doug问bob：“你不认为你的鼓的声音是很神圣的吗？”bob说，“如果他们雇我只是因为我做的鼓的声音，那作为一个录音师的我简直就太失败了！”采集自bob clearmountain提供的鼓声音的drums cd1采样盘获得了非凡的成功，doug马上成为了采样革命风口浪尖上的人物，doug和他的合作伙伴nick phoenix现在制作的采样盘质量极高，有着很高端的价格而且花了大量时间去制作。doug回忆起当初他们获得大奖的symphonic orchestra音色，几乎花费了他们100万美元！这包括租借音乐厅的钱，人员住宿吃饭调度的钱，把设备从一个录音棚搬到另外一个录音棚的钱，市场宣传推广和设计制作的钱等等，这套音色盘由30位制作人和程序员花费了一年时间去制作，每人都需要做16个力度分层和上百种的演奏技巧的采样，从录音到编辑。在音乐厅里录音的难处在于这些音乐厅的空闲时间和演奏乐手的时间都是很有限的，你必须在很紧张的时间里完成录音，这就要求你一次就过不能出错，你要与时间赛跑。nick想出了一个前所未有的点子，给每个乐手发一份乐谱告诉他们应该做什么，比如在某一天我们就集中录某一个乐器的几个演奏法的不同力度，从弦乐开始，再到木管和打击乐，一样一样按步就班。随着大量复杂的采样盘被开发出来，租借录音棚的费用成为新的负担。于是eastwest在2006年1月买下了好莱坞著名的cello录音棚，这样他们就有足够多的时间和耐心在自己的棚里处理采样文件了，不必再为节约棚时的花费而担心。cello是全世界最著名的录音棚之一，但在2006年由于破产问题而倒闭，被eastwest看准时机一举拿下。doug解释说：“这个录音棚与其它很多录音棚一样走到了尽头，乐手和音乐人所支付的棚时已经无法养活它了，因为很多人都转战家庭式的录音棚了，但我们却因此而获益，如果不是因为我们的音色和软件，我也绝对不会买下cello棚的。”现在cello棚已经更名为eastwest录音棚，这个有着6间不同房间声学设计的录音室已经成为eastwest的专署领地。eastwest可以根据不同采样对录音的需求来分配，比如说1号棚可以容纳75人的管弦乐队，2号棚声音比较干适合录制摇滚风格的声音，3号棚适合制作60年代那种经典声音。但eastwest也不会100%的完全利用这些棚，在空闲的时间里也会出租给其它乐手和制作人使用，当然eastwest对录音棚的使用有着绝对的支配权，所以他们不必担心时间问题而拖累音色库的制作。有着50年历史的cello棚还有一个优势就在于这里有很多世界上其它地方找不到的经典老设备，成批成批的经典话筒。eastwest几乎没有对cello棚做太多的改动，只是把监听换成了他们更习惯的atc。eastwest还雇佣了pink floyd的制作人nick whitaker来摆弄控制室里的大量设备。除此之外eastwest还请来了著名设计师philippe starck，他设计过很多知名的酒店，eastwest让他对cello棚的非录音房间做了翻新。有了cello棚的eastwest从此更有底气制作精细的采样，有一个弦乐的音色他们在1号棚里花了半年时间去录音，因为他们想得到真实的连弓音色，从任何一个音高连到任何一个音高，一个一个的录，这在以前是完全不可想象的。当采样与虚拟乐器之间的界线变得模糊之后，软件设计已经成为一个重要的衡量标准。eastwest已经与native-instruments取消合作关系。eastwest曾经想到过使用gigastudio，但它的24bit版本迟迟无法推出，而native-instruments适时的发布的kontakt可以支持24bit采样，于是eastwest找上门去请求native-instruments做一个独立的采样播放器软件，这就是后来的kompakt和intakt。与native-instruments的合作持续了三年，但eastwest越来越感到自己失去了领导采样的能力而必须跟着native-instruments的步伐去走，于是nick和doug决定自己开发软件，这当然需要很大的投入而且很有挑战性，但这也是必须走出的一步棋。eastwest最终还是推出了自己的采样器软件引擎play，play引擎已经应用到eastwest大多数的采样上了，包括之前在kompakt引擎上大获成功的symphonic orchestra。明年play引擎将会有更大的改进，包括允许用户自创采样库，波形编辑工具，脚本，最初将与目前的play合并在一起称为play 2，但将来会逐渐衍变为独立运行的软件。play引擎使得eastwest可以创造自己采样需要的功能，比如fab four采样库吧，eastwest认为必须重新创造出beatles当初录音的一种称为artificial double tracking的技术，就是用两台录音机互相在声源之间同步移动，创造出随机的声音变化。doug找到软件工程师告诉它这个技术是怎么回事，只用了几天时间程序员就完美创造出了这个效果，在play引擎里就可以使用，而如果还是跟native-instruments合作的话他们是不会专门为eastwest做这个东西的。再说symphonic choirs，eastwest请求native-instruments制作一个可以提供元音和辅音变化的功能，使用户可以改变采样来创造出合唱的歌词，但native-instruments没有足够的资源去做，eastwest只好自己搞了一个叫做wordbuilder的软件来实现，你必须打开symphonic choirs再打开wordbuilder才可以。而现在eastwest把这个功能做到了play引擎里，你只需要打开一个软件就可以完成一切了。对于采样的未来，doug表示：“一些公司一直在实验将声音转由合成器来模拟出来，这当然可以给你提供很多的控制参数，但是就我的耳朵听起来没一个声音是对的，我想电脑的运算能力还是跟不上。如果让我预测的话，我想说采样加合成的混合才是我们未来需要做的。”附录二twenty years of development history eastwestusa tom flintfounded in the 20th anniversary of the eastwest eastwest founder, let us follow doug rogers together to review the development history, the sampling giants and sampling the future of the world.doug in himself that rogers eastwest won great success, is only 20 years ago when he created eastwest doug sold in new zealand, all the recording equipment, he felt faint, including sampling of new technology of large-scale studio will change immediately. in 20 years, he bought the largest concentration of los angeles studio to make sampling timbre store, its an interesting rebirth.doug in a to describe yourself in the 1980s into 20 years ago, doug sampling library sector in that oneself has recalled the tape can be proficient in the sample to cut out after the project, such as recorded a band with a set of awful drum of engineering, he will use the tape to replace the sampling. he is making a sony in engineering, lost a sampling of tape, with how also can not find in the market, and then again without off-the-peg sampling tape in sales, really difficult broke him, this is just like your computer without software available, one. he thought maybe there will be many people will also meet such situation, so do yourself a drum. but how to sell? he thought of the guitar shop in a friends work, he put yourself in the sample into the box beside the guitar, and will try to buy some. results thought quickly sold out, his friend also realized it was a great new ideas. doug in small success, decided to look for some willing to let him will make the famous drum sound recording, many sampling doug heard the idea after producers are pursy brows, but only clearmountain bob decided to try, doug asked bob: you dont think your drum sound is very sacred? bob said, if they hired me just because i do drum sound, that as a recording of i just so frustrating!bob clearmountain provides the acquisition of the drums sound drums which cd1 sampling dish won special success, doug immediately became the sampling revolution two-decade-long characters, doug and his partner, nick phoenix now produced high quality of plate, a sampling of the high price and spent a lot of time to make. doug recall they won awards, the orchestra symphonic almost spent their 100 million dollars! this includes the concert hall, the researchers on loan money hotel accommodation, the equipment of scheduling money from a recording studio moved to another, the money market promotion and design of money, the tone, by 30 producer and disk programmer spent a time to manufacture, each need 16 dynamics stratification and hundreds of playing skills of sampling, from recording to edit. in the concert hall hall is the difficulty of recording of leisure time and playing time is very musicians, you must be very nervous at the time, it requires complete recordings have you cant go wrong, you want to race against time. nick devised a new idea for each musician, send a music tell what they should do, for example, one day we will focus on one of the few record of different musical works, from the string began to wind and percussion, as same as usual.as a complex of sampling dish is developed, and the cost has become a new studio on loan. so in january 2006 eastwest bought hollywood studio of famous cello, so they will have enough time and patience in his tent, with the sample files dont have to save cost and worry about the tent. the worlds most famous cello is one of the studio, but in 2006, due to problems and collapse by certain time eastwest every scored. doug explained: the studio and many other studio as came to an end, the musicians and musicians have paid when the tent, because it can support many people are moving the family studio, but we have benefited so, if not for our tone and software, i wouldnt buy the cello tent. now has been renamed eastwest cello tents, this has 6 studio of different room acoustical design studio has become eastwest vips living territory. according to different sampling eastwest for recording the needs of distribution, for example 1 tent can accommodate up to 75 people orchestra, 2 for recording awning sound dry rock style, 3 tents for the classic sound in the 1960s. but eastwest wouldnt 100% fully utilizing these tents, in the spare time will lease give other musicians and producers use, of course, for the use of eastwest studio has absolute, so they dont worry about the time problem and drag the timbre store. with 50 years history of cello tents as an additional advantage lies in many other parts of the world to find the classic old equipment, batch batch of classical microphone. eastwest cello almost nothing to do too many changes, tent is changed their more accustomed to monitor the atc. the pink floyd eastwest also employ the producer, nick whitaker to control the amount of equipment with. in addition, a famous designer eastwest also starck philippe, he had designed many well-known hotel, let his cello eastwest tent on the recording room made renovation. a cello from the tent eastwest have more power well-produced, a string of sampling sound their tents in 1 spent six months, because they want to recording the tone, even real bow from any one pitch to any one pitch, a record, it is completely before inconceivable.when sampling and virtual instrument blurred the line between, software design has become one of the important criteria. with the native eastwest instruments - has been cancelled cooperative relationship. gigastudio eastwest ever thought that use, but it wasnt 24bit version, and native - instruments timely release of 24bit kontakt can support, and seek to sampling eastwest instruments made a request native - the independent software, it is the sampling player kompakt and intakt later. the cooperation with the native - instruments lasted for three years, but increasingly feel lost eastwest leadership ability and must follow the sampling instruments - the pace of native to go, then nick and doug decided oneself develop software, this course requires a lot of input and challenging, but it also must be out of step. eastwest eventually of its own sampler software engine, engine has been applied when numbers to most of the sampling eastwest, including kompakt before the engine of the successful symphonic orchestra. next year, when the engine will have greater improvement, including allows users to achieving sample storehouse, waveform, the original script editor tool, with current numbers together, but when called will gradually evidences for independent operation of the software. when the engine that can create their own eastwest sampling need functions, such as sampling library, four fab eastwest think to create the beatles recorded at a double tracking technology called artificial, each with two recorder is between source synchronous movement in the s