对于初学者来说，它使用了更多的波段，在中档和高端产生了更多的细节。最不寻常的是，在你开始处理DSM之前，你需要首先分析一个“源”信号，然后软件将使用它作为一个虚拟的“参考”，推动处理过的信号更接近它的动态和色调质量。
由于DSM不仅可以处理光谱信息，而且还可以处理动态信息，因此有很大的应用空间。基本的工作流程包括捕获所需信号的概要文件，然后将该概要文件应用到目标音频。通常，这将是一种情况，捕获信号的最好的声音部分的一段音轨，并使用它来重塑同一音轨的其余部分。
例如，在没有出现嘶嘶声的段落中，通过按下捕捉按钮可以很容易地处理过嘶嘶声，然后当声道被DSM处理时，嘶嘶声在整个表演过程中被抑制。
在另一个例子中，你可以从一个鼓总线捕获一个明亮的，响亮的瞬变信号，并用它来增加整个鼓混合的整体水平和亮度。或者也许你想把一种乐器的声音或者甚至是整个混音应用到另一种乐器上——DSM已经覆盖了你。
它真的有用吗?
“它是一种具有前瞻性思维的处理器，能产生惊人的结果，经常取代整个连锁效应。”
即使在极端的设置，DSM不会遭受典型的失真或令人窒息的人工压缩(尽管通过仔细的设置，你可以使它产生创造性的泵送效果)。它也没有遭受与多频带压缩相关的典型交叉频率问题。相反，如果被滥用，它会产生自己特有的人工产物，导致颗粒状、失真的声音，或者只是在捕捉到的轮廓与目的地轨道不合适时出现不寻常的频率曲线。
然而，在正常运行下很难让它听起来很糟糕，而通过低频和高频的定时配置和参数阈值控制(就像应用于捕获的EQ)，修复糟糕的声音很容易。
总之，动态频谱映射器是真正能够戏剧性地改善几乎任何音频材料，通常在几分钟内最多。它的工作与原始信号的同情，以防止不寻常的人工制品和声音足够好，用于混音和掌握。它是一种具有前瞻性思维的处理器，能产生惊人的结果，经常取代整个连锁效应，并节省了调整的时间。
For starters, it uses many more bands, resulting in far greater detail in the midrange and top end. Most unusually, before you start processing with DSM, you need to first analyse a ‘source’ signal, which the software will then use as a virtual ‘reference’, pushing the processed signal closer towards its dynamic and tonal qualities.
Since DSM works with dynamic as well as spectral information, there’s plenty of scope for its application. The basic workflow involves capturing the profile of a desirable signal, then applying that profile to your target audio. Often, this will be a case of capturing the best- sounding part of the signal in a section of a track and using it to reshape the rest of the same track.
For example, an over-sibilant vocal can easily be treated by holding down the Capture button during a passage where no sibilance occurs, then when the vocal track is processed by DSM, the sibilance is suppressed throughout the entire performance.
In another example, you could capture one of the the bright, loud transients from a drum buss and use it to increase the overall level and brightness of the whole drum mix. Or perhaps you’d like to apply the sound of one instrument or even an entire mix to another – DSM’s got you covered.
Does it really work?
“It’s a forward-thinking processor that produces amazing results, often replacing whole chains of effects”
Even at extreme settings, DSM doesn’t suffer from the typical distortion or choking artefacts of compression (although with careful settings, you can make it produce creative pumping effects). Nor does it suffer from the typical crossover frequency problems associated with multiband compression. Rather, it generates its own particular artefacts if abused, resulting in a grainy, distorted sound or just an unusual frequency curve when the captured profile is inappropriate for the destination track.
However, it’s difficult to make it sound bad under normal operation, and fixing poor sounds is made easy by the low- and high-frequency Timing Profile faders and the Parametric Threshold controls (like an EQ applied to the capture).
In conclusion, Dynamic Spectrum Mapper is genuinely capable of dramatically improving almost any audio material, usually within a few minutes at most. It works in sympathy with the original signal to prevent unusual artefacts and sounds good enough to be used for both mixing and mastering. It’s a forward-thinking processor that produces amazing results, often replacing whole chains of effects and saving hours of tweaking.
