我们的第二个条目在KVR开发人员挑战，继2016年的玛丽·奥克，第二次进入戈戈兹Phu系列的鼓的幽灵的声音淡入历史的迷雾。Gogodze Phu Vol II 的灵感来自 Kim Jung Mi 1973 年专辑《现在》中 lo - fi 和死鼓的声音。 没有多少人真正想要鼓是 lo-fi 所有的时间， 虽然， 所以我们采取了录音， 并做了一个可变保真套件， 不是通过应用典型的 lo -fi 效果， 但只是通过搞砸的阶段， 混合和调谐的七个麦克风， 我们录制的一切. 每个套件都用相同的七个麦克风进行采样。有一个踢， 一个圈套与侧棒， 中心命中和边缘命中， 三个真正死气沉沉的汤姆斯， 和一个高帽子与五度开放加脚凿。 这里有两个基本的混合。"47"混合做复古混合从四到七个麦克风。它可以做格林约翰斯， 格林约翰斯加上一个麦克风在套件前面 （一般我们最喜欢的声音） 和所有七个麦克风。保真旋钮控制麦克风相位偏移。在100%，一切都是完美的相位，和声音的速度实际上是无限的。我们在这里不仅违反了音乐传统， 而且完全不尊重物理定律， 因为我们喜欢它的声音。 "13"组合更脏，开始只是一个非常复古的Shure SM-55声乐麦克风在套件前面，并可选地添加头顶和麦克风侧向对着墙壁与大窗户。在其情况下，保真旋钮控制主麦克风上非踢声的高通滤波，以及其他两个麦克风的相位对齐。 1701 个样本总数，提取的样本总数超过 400 MB。 Our second entry in the KVR Developer Challenge, following 2016's Marie Ork, and second entry in the Gogodze Phu series of the ghosts of drum sounds fading into the mists of history. Gogodze Phu Vol II is inspired mainly by the lo-fi and dead drum sound on Kim Jung Mi's 1973 album "Now". Not many people really want drums that are that lo-fi all the time, though, so we took the recordings and made a variable-fidelity kit, not by applying typical lo-fi effects but only by messing with the phase, mix and tuning of the seven microphones we recorded everything with. Every kit piece is sampled with the same seven mics. There's a kick, a snare with sidesticks, center hits and edge hits, three really deadened toms, and a hi-hat with five degrees of openness plus foot chiks. There are two basic mixes here. The "47" mix does vintage mixes from four to seven mics. It can do Glyn Johns, Glyn Johns plus one mic in front of the kit (generally our favorite sound) and all seven mics. The fidelity knob controls microphone phase offset. At 100%, everything is perfectly in phase, and the speed of sound is effectively infinite. We're not just violating musical tradition here, but totally disrespecting the laws of physics, too, because we like how it sounds. The "13" mix is even dirtier, starting with just a very retro Shure SM-55 vocal mic in front of the kit, and optionally adds the overhead and a mic aimed sideways at a wall with big windows. In its case, the fidelity knob controls high-pass filtering on the main mic on the non-kick sounds, and the phase alignment of the other two mics. |
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