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发表于 2010-12-3 22:02
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贴几段第七章的原文，都是某一部分的开头，不用怎么考虑上下文。有兴趣的朋友一起翻译一下。第七章是全书最后完成的，一直在赶时间，大家一定会译得比我们好得多，如果校稿时还有机会的话，就根据大家提供的译法进行修改。我们译的文字就先不帖出来。
没有什么专业术语的：
This is the point in the discussion where the warning label appears. Subjective adjustment of any design is difficult at best and loudspeaker systems have been probably made to sound worse with the “golden ears” approach just as often as they have been improved. While there have been many instances of manufacturers who did not rely upon objective measurement at all and been successful, there have also been just as many whose loudspeakers were not successful for the same reasons.
The two factors, besides just bad judgment and poor hearing ability, that contribute to failure with the subjective listening process have to do with microphones and rooms. If you have listened to a lot of different loudspeakers, it’s obvious that there is much ariability in sound quality, and the same thing is true with microphones used in recording studios. Your favorite choice of program material, especially if you habitually listen to the same recording (or a series of recordings by the same mix engineer), has been recorded with a microphone that has a particular timbre or sound quality. So the caution here is to beware of using just a single recording as your sonic yardstick.
有一点点音乐术语的：
“Voicing” is a term generally used in music. For piano technicians, voicing a piano means adjusting the hardness or softness of the hammers after you have tuned the piano. That hardness or softness changes the timbre of the notes and gives a different “voice” to the sound of the piano. Even when the piano tuning is perfect, you can still give it a different “sound” quality. An extreme example of piano voicing is tack piano, an old musicians’ trick in which you put thumbtacks on all the hammers of an upright piano, giving the piano a tinny or chiming qualiquality while still maintaining the same tuning.
The other musical use of the term voicing is in chord construction. Chord voicing generally refers to the harmonic order of notes in a chord. A simple type of chord voicing is a concept known as chord inversions. For example, a threenote triad C chord on a piano has the notes C, E, and G. When you play these three notes with the C note on the left, C-E-G, this is called the “root” position. By changing the order of the notes but still playing the same three notes, you get a slightly different sound, and these are called inversions. A 2nd inversion of the C chord is E-G-C and a 3rd inversion is G-C-E.
下面是专业术语多一点的。L版看过我的译文后的回复是“这段。。。有点想砸键盘的冲动”，大概是受不了了的意思（为什么只想砸键盘呢？因为键盘便宜？这样的话我希望他砸显示器，因为显示器明显比较好砸）：
The last three fourth-order crossovers are a special class of asymmetrical networks. They are asymmetrical because of the way they are constructed. They don’t have “circular poles” as do the previous filters (all except the Chebyshev, which has poles located on an elliptical plane), but rather a mutated plane which facilitates their derivation. The fourth-order Butterworth, Bessel, and Linkwitz-Riley are all formed by two cascaded sections with the same Q and corner frequency. These three asymmetrical fourth-order filters have second-order sections with dissimilar Qs and skewed corner frequencies. Thus, no second-order implementations of these filters are possible. |
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发表于 2010-12-2 21:12
