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我们都遇到过这种情况：你翻遍成百上千个底鼓（kick）样本，却找不到一个真正合适的。有的底鼓瞬态不错，有的底鼓冲击力十足，还有的底鼓有着完美的低频尾音。但一旦你把它们叠加在一起，结果却是一个软弱无力、浑浊不堪的混合体：叠加底鼓很少能成功。
Chop Suey就是解决方案：它不是将元素叠加，而是对元素进行排序。这种方法消除了相位问题，同时让组合后的底鼓保持清晰的瞬态、有力的鼓身冲击力和独特的尾音。
所见即所得
使用压缩器、饱和器或瞬态设计器来塑造底鼓可能是一项繁琐的任务。这些工具会影响整个底鼓，使得你无法在不影响鼓身的情况下简单编辑瞬态。可操作的范围很小，选择也极其有限。而使用Chop Suey，你总能看到自己在做什么。由于底鼓的前几毫秒对于感知至关重要，你可以在视觉上拉伸这个区域以便进行精细编辑。
We’ve all been there: you browse through hundreds of kicks, but nothing really works. One has a nice transient, another one a cool punch in the face and the third has the perfect boomy tail. But once you layer them the result is a weak muddy mess: layering kicks is rarely successful.
Chop Suey is the solution: instead of layering, the elements are sequenced. This method eliminates phasing issues while allowing the combined kick to maintain the crisp transient, the punch of the body and the characteristic tail.
What You See Is What You Get
Shaping kicks with a compressor, saturator or transient designer can be a tedious task. These tools affect the whole kick, making it impossible to simply edit the transient without impacting the body. The workable ranges are tiny and your options are massively limited. With Chop Suey you can always see what you are doing. As the first few milliseconds of a kick are so crucial for the perception you can visually stretch this area to allow for fine editing.
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