ADSR [Attack, Decay, Sustain, Release]
起衰延消/Qi3 Shuai1 Yan2 Xiao1
n/a
CHEARS: False
EARS: True
CMT: False
EARS2 Encyclopedia: True
CHEARS:
EARS:
起冲，衰减，延留，消去：在大多数的模拟和数字设备中，这是包络生成器的四个基本参数。
起冲 = 从零到最大振幅的持续时间；
衰减 = 从最大振幅到振幅稳定状态的持续时间；
延留 = 稳定状态下振幅的电平；
消去 = 从振幅的稳定状态到零的持续时间；
Attack, Decay, Sustain, Release: On a number of analogue and digital devices, these four parameters form the basis of an envelope generator. Attack = the duration from a zero to a maximum amplitude; Decay = the duration from the initial maximum amplitude to a stable state amplitude; Sustain = the level of the steady state amplitude; Release = the duration from the steady state to its final zero amplitude. (Source - Dictionnaire des arts médiatiques: http://www.dictionnairegram.org
EARS 2:
ADSR（起冲，衰减，延留，消去）是描述一段时间内声音形状的一个术语。（参见：包络）
开始的比较快的声音（例如：咔嗒声），我们可以描述成：它拥有一个快速起冲。
一个循序渐进的声音，我们可以描述成：它拥有一个慢速起冲（例如：正在接近的汽车声）。
声音的衰减表示声音的起冲段达到平稳的延留段的时间。
声音的延留是指声音持续颤动和发声的长度。咔嗒声的延留时间非常短，然而钟声常有一个较长的延留时间。声音的延留段可以通过分离和循环来扩展声音或创建一个新的稳定的声音。
声音的消去是声音最终结束的方式。
影响声音的包络可以大大的改变声音特性，当声音进行了反向处理，它的包络也会被反向，这常常会导致音质的最大改变。
当通过合成器来创作一个新的声音时，这个合成器常常可以控制ADSR（原文是ASDR）包络的形状，当使用录制好的声音进行创作时，想象ADSR包络的形状也是非常有用的。组合包络形状比较类似的声音可以帮助声音很好的结合在一起。当ADSR包络差异非常大的声音结合在一起时，可以创作出拥有非常丰富结构的声音。
ADSR (Attack, Decay, Sustain, Release) is a term used to describe the shape of sounds over time (see also envelope).
•Sounds that begin very quickly (for example a click) can be described as having a fast attack. Sounds that begin more gradually can be described as having a slow attack (for example: the sound of an apporaching car). Removing the attack of a sound can significantly affect what we hear (bell example).
•The Decay of a sound is the time which it takes for the attack portion of the sound to reach a steady Sustain.
•The sustain of a sound is how long it continues to vibrate and sound. A click has very little sustain, while a bell often has a long sustain. The sustain portion of a sound can be isolated and looped to extend sounds or to create new and steady sounds.
•The release of the sound is the way in which the sound finally ends.
Affecting the envelope of a sound can greatly change the characteristic of a sound. When sounds are reversed their envelope is also reversed, and it is often this that leads to the greatest difference in sound quality (sound example).
When creating new sounds on a synthesiser it is often possible to control the shape of ASDR envelope, and when composing with recorded sounds it is often very useful to imagine the ADSR envelope shapes. Combining sounds with similar envelope shapes can help to link the sounds together (sound example), while contrasting sounds that have very diffrerent ADSR envelopes can create rich textures.
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