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镶边延迟插件 Morbid Electronics MANTRA v1.2.0 [WiN]

MOCHA | 23 October 2025 | 7.1 MB
音频插件 MANTRA 的图形用户界面(GUI)中,呈现了一个坐着的人物形象:当插件在单声道(mono)与立体声(stereo)模式间切换时,该人物的 “灵魂” 会逐渐剥离。相应地,MANTRA 的窗口会平滑地展开与收缩,以此具象化呈现 “灵魂与身体分离 — 重聚” 的过程,为插件的操控功能赋予了独特的视觉表达。

磁带延迟:简史

我们如今所熟知的音频延迟(Audio Delay)效果,其源头可追溯至莱斯・保罗(Les Paul)在 20 世纪 40 至 50 年代对多轨录音技术的开创性研究。最初,音频延迟是通过连接两台变速磁带机实现的 —— 这一方式能让音频信号之间产生有节奏的延迟差。20 世纪 60 至 70 年代,该技术逐渐普及,人们得以用它制作出具有重复感、节奏感的延迟音色。布莱恩・伊诺(Brian Eno)、金・塔比(King Tubby)、披头士乐队(the Beatles)等艺术家在其定义流派的专辑中,大力拓展了延迟效果的应用边界,使延迟效果成为全球录音室中的标配工具。
简而言之,延迟效果是增强录制音乐的深度、质感与律动感的不可替代的工具。本质上,延迟效果的演进历程映射了音乐本身的发展轨迹;倘若没有它,当代音乐的声音版图无疑会留下一处空白。
MANTRA’s GUI features a seated man whose soul is stripped away as the plugin switches between its mono and stereo modes. Naturally, MANTRA’s window smoothly expands and contracts to tell this story of the transition between detachment and reunification with the body, providing a unique visual representation of its controls.

TAPE DELAY: A BRIEF HISTORY
Audio delay as we know it today has its roots in Les Paul’s pioneering work with multitrack recording in the 1940s and 1950s. Initially, the effect was achieved by connecting two tape machines with variable speeds, creating a rhythmic lag between audio signals. This technique, popularized in the 1960s and 1970s, allowed for the creation of repeating, rhythmic delay tones. Artists like Brian Eno, King Tubby, and the Beatles were instrumental in pushing the boundaries of delay effects in their genre-shaping albums, entrenching delay as a staple in studios around the world.

Simply put, delay is an irreplaceable tool for enhancing recorded music’s depth, texture, and groove. In essence, the evolution of delay mirrors the evolution of music itself, and its absence would undoubtedly leave a void in the sonic landscape of contemporary music.

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