Such is the case for Elsa the young heroine in the feature film Restless reverb.

在故事片" 永无止境的混响" 中，年轻的女主角埃尔莎就是这样。

They created custom reverb an effect that adds depth and echo to sound.

建了自定义混响效果，可以增声音的深度和回声。

Yeah, Rocky sucks. The Rock: There's a reverb that happens in the arena.

奥普拉：是的，洛基很烂。 The Rock：舞台上有混响。

Reverb in a natural setting tends to fade as the audio signal decays.

自然环境中的混响会随着音频信号的衰减而减弱。

Nonlinear reverb just can’t be replicated in the real world without technology.

没有技术，线性混响就无法在现实世界中复制。

On yours, the reverb's bouncing at the same time.

而你的带子上 回声是同时响起的。

That's the sound of gated reverb.

那是门控混响的声音。

Well, adding effects like reverb to create an echo and a rumble can make them even scarier.

好吧，添混响等效果来建回声和隆隆声可以使它可怕。

But not everyone who wanted good reverb had access to that type of space.

但并不是每个想要好的混响的人都能进入那种类型的空间。

Room - its reverb came from the walls of the studio.

房间 - 它的混响来自工作室的墙壁。

Then for a decade, gated reverb was a sound you just couldn’t escape on the radio.

然后十年， 门控混响是您在收音机中无法逃避的声音。

Nothing illustrates this more than the evolution of reverb.

没有什么比混响的演变能说明这一点了。

Audio processing techniques like applying a low-pass filter to minimize salient events and adding reverb make sounds fade into the background.

音频处理技术（例如应用低通滤波器以最大程度地减少突出事件和添混响）使声音淡入背景。

Sure, gated reverb drums aren't a timeless sound.

当然，门控混响鼓不是永恒的声音。

You can go online and download massive Prince and Phil Collins inspired gated reverb drum sample packs.

您可以上网下载大量受 Prince 和 Phil Collins 启发的门控混响鼓样本包。

Plate reverb boxes were 600 pounds or more.

板式混响盒重达 600 磅或多。

Reverb was achieved in the early days the most natural way of all, which is to have an echo chamber.

混响是在早期实现的最自然的方式，即拥有回声室。

A year after “In the Air Tonight, ” those huge drums were no longer an accident, the sound was built into reverb technology.

在“In the Air Tonight” 一年后，那些巨大的鼓声不再是偶然的，声音被融入了混响技术。

Echo chambers took up real estate and real estate was expensive so plate reverb was invented.

回声室占用不动产， 而不动产价格昂贵， 因此发明了板式混响。

Susan fed that Linn-LM1 to the AMS reverb box and used a preset called “nonlinear.”

Susan 将 Linn-LM1 送入 AMS 混响盒并使用了一个名为“线性” 的预设。