Rhytmic Robot Audio – SpaceMan (KONTAKT)弹簧混响效果器
Next Level METAL Drum Library: SpaceMan is a sound designer’s dream…really kicks chaotic melodies. In essence, this is what should happen if you build a synthesizer from springs.
下一级金属鼓库：太空人是声音设计师的梦想……真的踢出了混乱的旋律。从本质上讲，如果你用弹簧构建合成器，就会发生这种情况。
Spring reverbs have been helping to add a shimmery, metallic vibe to electric and electronic sounds ever since someone came up with the ingenious idea of screwing a small tin spring inside a guitar amp and running the signal through it. Since then, spring reverbs haven’t evolved much – the biggest step forward in improvement seems to have been: “Add more springs!” – and their unnatural sound, slightly harsh overtones, and tendency to go “SPOILING-ONG-ONG-ONG-ONG-ONG-ONG” when accidentally hit, soon made them a poor man’s choice over plate reverbs, echo- cameras and, eventually, digital machines from Lexicon.
自从有人提出了一个别出心裁的想法以来，春季混响就一直在为电音和电子音增添一种闪闪发光的金属氛围将一个小锡簧拧入吉他放大器，并通过它发出信号。从那以后，簧混响并没有发生太大的变化——改进的最大进步似乎是：“增加更多的簧！”——以及它们不自然的声音、轻微刺耳的泛音，以及在意外击中时会发出“SPOILING-ONG-ONG-ONG-ONG/ONG-ONG”的倾向，很快，他们就成了穷人的选择，而不是平板混响器、回声相机，最终，Lexicon的数字机器。
Nevertheless, the sound of the spring reverb has become firmly ingrained in our musical memory; he has played an integral role in defining the guitar sounds of many legendary rockers; it has also found its way into countless synths and keyboards, thanks to the same reverb path in an amplifier. Spring reverbs are a bit of a niche product these days. But we have undeniable sympathy for them.
尽管如此，春天的混响声已经在我们的音乐记忆中根深蒂固；他在定义许多传奇摇滚歌手的吉他声音方面发挥了不可或缺的作用；由于放大器中的混响路径相同，它也进入了无数合成器和键盘。如今，春季混响有点小众产品。但我们对他们有无可否认的同情。
And our absolute favorite is the Ekdahl Moisturizer, a spring reverb built to be abused, with its three springs open for you to reach, plus a multi-mode filter and LFO built right into it. This thing isn’t made to add subtle reverb notes to your tracks… it’s made for sound design and sonic chaos, and it forms the basis of SpaceMan.
我们最喜欢的是Ekdahl Moisturizer，这是一款专为滥用而设计的弹簧混响器，它的三个弹簧可以打开让你接触，加上内置的多模滤波器和LFO。这种东西不是为了给你的音轨添加微妙的混响音符……它是为声音设计和声音混乱而设计的，它是SpaceMan的基础。
SPRING SYNTHESIZER:
弹簧合成器：
SpaceMan is what happens if you build a synthesizer from springs. Seriously. Imagine if each note of your synthesizer, instead of triggering an electronic oscillator, began to vibrate a spring with a given step: this is the essence of SpaceMan. We used the same E-Bow guitar tricks as in Uproar, only this time we used them in combination with the built-in Moisturizer filter to generate unstable, oscillating, springy fundamentals. With about a minute of sampling per note and random trigger points, these waves are amazingly unpredictable, and you can adjust them with the spring reservoir oscillation level control. The main sound is, of course, heavily reverberant, metallic, bumpy and, uh, springy.
SpaceMan就是如果你用弹簧制造合成器会发生的事情。认真地想象一下，如果你的合成器的每一个音符，而不是触发一个电子振荡器，开始以给定的步骤振动一个弹簧：这就是太空人的本质。我们使用了与Upbrew中相同的E-Bow吉他技巧，但这次我们将它们与内置保湿过滤器结合使用，以生成不稳定、振荡、富有弹性的基本面。每个音符大约有一分钟的采样和随机触发点，这些波是惊人的不可预测的，您可以通过弹簧水库振荡水平控制来调整它们。当然，主要声音是强烈的混响、金属感、颠簸和弹性。
We then went to the Dark Side a bit, using brushes, bows, nails, screwdrivers, pole bolts, and cable ends to touch, wiggle, scratch, and otherwise tamper with the three springs while adjusting the filter to taste. This brutality has also been looped and randomized and can be set to three different flavors of pollution: Type 1 includes scratches, brushes, and steady contact sounds; Type 2 covers taps, touches, and brief contact sounds; Type 3 explores breath sounds, feedback, and tonal components. They can be used individually or in combination and have their own level control.
然后，我们去了黑暗面，用刷子、蝴蝶结、钉子、螺丝刀、极螺栓和电缆端部触摸、扭动、刮擦，或者用其他方式篡改三个弹簧，同时调整过滤器的味道。这种野蛮行为也被循环和随机，可以被设定为三种不同类型的污染：类型1包括划痕、刷子和稳定的接触声；类型2包括敲击、触摸和简短的接触声音；类型3探索呼吸音、反馈和音调成分。它们可以单独使用或组合使用，并具有自己的级别控制。
ADDITIONAL REGULATORS:
附加调节器：
There are a few more synth-style elements that can be plugged in: Massive noise from the beautiful Korg 770 (we said we’d use it a lot, remember?); a single-knob harmonic generator that adds a progressive amount of harmonic series overtones; sine wave Sub-osc for sound amplification; and a complete set of filter circuits, including a high-pass filter and a multi-mode resonant filter with two low-pass modes and one band pass. Connect it all to a dedicated LFO and you can get wonderful swinging, whistling drifts across the audio spectrum.
还有一些合成风格的元素可以插入：美丽的Korg 770发出的巨大噪音（我们说过我们会经常使用它，记得吗？）；一个单旋钮谐波发生器，它增加了一系列谐波泛音的渐进量；用于声音放大的正弦波Sub-osc；以及一整套滤波器电路，包括高通滤波器和具有两个低通模式和一个带通的多模谐振滤波器。将其全部连接到专用LFO，您可以在音频频谱上获得美妙的摇摆和呼啸漂移。
Separate Contact and Mute controls determine how much (if any) the initial contact sound and note decay is heard; they imitate the “play” of the springs by tapping on them and then manually stopping them. Finally, we have full Envelope control and the ever-popular Glitch Control for creating musically intelligent random patches with a single click. See how easy we made everything?
单独的“接触”和“静音”控件确定初始接触声音和音符衰减的程度（如果有的话）；他们通过敲击弹簧然后手动停止来模仿弹簧的“运动”。最后，我们有完整的信封控制和流行的Glitch控件，可以通过单击创建音乐智能的随机补丁。看到我们做什么都很容易吗？
SpaceMan is designed for left-handed atmospheric sound design, strange howling reverberant noises, unique background textures, and synthesis with a very unusual sound signature. It sounds great when paired with regular synths, adding weirdness and complexity to the sound of paper clips; in addition, it can bring color and movement to a range of musical genres, including EDM, trance, soundtrack and ambient. Open the bay doors, HAL!
SpaceMan设计用于左手大气声音设计、奇怪的啸叫混响噪音、独特的背景纹理以及具有非常不寻常声音特征的合成。它与常规合成器搭配在一起听起来很棒，给回形针的声音增添了怪异和复杂性；此外，它可以为一系列音乐类型带来色彩和动感，包括EDM、出神、配乐和环境音乐。打开舱门，哈尔！
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