Audioloom Smart Audio Solution Box Of Color 1 v1.2.0_WIN-R2R

通道条插件Audioloom Smart Audio Solution Box Of Color 1
VST插件格式：
VST3/AAX

多功能一体式音色塑造插件，集通道条、失真、空间效果于一体，九段处理链路涵盖染色、压缩、无标均衡、延迟混响与DA转换。摒弃硬件型号标注，独特界面引导靠听觉创作，支持自定义IR，可复刻复古模拟与90年代嘻哈质感。

翻译：
Box Of Color 1
我推出的产品都是我真心喜爱，并且我自己也会第一个使用。
Box of Color，一个独一无二的声音塑造平台

Box of Color 是什么
为什么我是你日常的声音塑造工具
尽管它有着（刻意为之的）独特之处，但这款插件实际上非常强大。它既是通道条，又是失真效果器，还是氛围生成器——但它又并非同时具备所有这些功能。Box of Color 可以非常微妙地以模拟的方式压缩声音，也可以像你最喜欢的效果器板一样运作。我特意没有包含任何名称、规格或模拟品牌；这个世界已经充斥着这些，我不想再添油加醋。我希望移除所有（或几乎所有）相关信息，让我们回归耳朵的聆听。
图形用户界面 (GUI) 的设计刻意让人感到迷茫，原因有二：首先，因为我们就像孩子玩音乐一样，玩得越多，音乐就越有趣；其次，是为了避免使用大脑的机械部分。提供无关的参数会迫使你去寻找真正想要的声音。
不要被它的外表所迷惑；这款工具能为你带来绝对一流的音质——你会亲眼见证的！

众多模块
触手可及的卓越音链
该插件由七个模块组成，你会发现，尽管它们通常是串联的，但它们之间的交互却非常悦耳动听。在塑造声音的过程中，你经常会发现自己需要调整音链起始端的参数。

GUI 切换按钮
在“Boomer”模式和“Producer”模式之间切换。

1- 输入模块和电平
我喜欢 -18 dB 左右的电平……嘿，我是数字音乐，对吧？所以给我留点动态余量！
旋转输入电平旋钮，直到 VU 表指针到达绿色区域的顶部。
系统已优化至 -18 dB 至 -12 dB 之间运行。“保持在此”箭头设置为 -16 dB，第一个黄色 VU 表设置为 -12 dB。当然，您可以超出这些电平，但如果您想获得最佳音频链效果，请保持在此范围内。一如既往，用耳朵来判断。
增益匹配：如果您不确定电平，请启用此功能。此功能会自动进行增益匹配，取峰值电平和 RMS 电平的平均值。

2 – 色彩
首先使用一种微妙的色彩；如果您想要模拟通道条，请仅使用此阶段。
这里有 5 种输入模型……您真的想破坏这份乐趣，让我告诉您它们是什么吗？拜托，绝对不行。我们在这里是为了用耳朵和直觉，而不是用眼睛和大脑！但我可以给你一些提示：这里有 3 款英式混音器的模拟，涵盖 2 个品牌和 3 款型号，然后是一个冷门的电子管单元，最后是一台很棒的磁带机。DRY=旁路

3 – 特性
精彩之处就在这里
5 个饱和/失真/迷幻效果器模型。使用“特性”旋钮调制输入信号，并调整此阶段的饱和/压缩曲线。使用“色彩”旋钮设置强度和干湿比。

4 – 压缩器
难道还少了压缩阶段吗？当然没有！
各位：这些压缩器就像瑞士军刀一样，音质绝对出色（我知道我有点偏心）。我可以告诉你，两级压缩器极其罕见，几乎绝迹（EMT 和 Telefunken……好吧，我剧透了）。另外两款则是永恒的经典。
泵感：决定压缩器的压缩强度。
压缩增益：补偿你对压缩的探索。好好利用它，别过度使用。当然，你也可以尽情使用——毕竟你们都是成年人。

5- 均衡器
我真的需要解释这里发生了什么吗？拜托……
正如你所意识到的，这个趣味十足的小平台旨在让你用耳朵去聆听，所以我有点卖关子了，但也许有一天你会感谢我的。这里没有任何数值显示——没有增益，没有频率等等。只需转动那个旋钮，如果听起来不错……那就行了。偶尔享受一下这种乐趣，不是吗？

6- 延迟
一个简单的延迟，如果放在合适的音频链中，也能产生惊人的效果。
– 延迟色彩：我不太记得它的具体作用了，但我认为它可以让声音更明亮或更暗。在音乐创作中尝试调整，找到最适合你声音的设置。
– DLY DRIVE：滤波器之后、延迟之前的饱和器。
– DLY TIME：当延迟与网格分离（DLY SYNC）时，此旋钮可让你自由创建紧凑的拍击延迟或切分音延迟。
– DLY SYNC：1/1、1/2、1/4、1/8、1/16 三连音或直拍
– 反馈：为什么是宇宙飞船？反馈会带你飞向无限远方，最终回到你的世界

7 – 混响
我们真的应该就叫它们“混响”吗？
在这里，我会继续故意不告诉你这个模块里发生了什么，因为这正是塑造声音的乐趣所在。
提示：如果你想发挥创意，尤其是在使用合成器和不寻常的人声时，可以尝试在启用下一个模块的情况下，同时聆听整个声音并调整混响模型。
低切和高架均衡器可以帮助你在混音中定位声音。
位置：允许你将延迟插入到混响之前，或者让它们并行运行。
↑ IR DROP ↑⤴：我知道你会喜欢这个功能，并且会尽力感谢我：你可以在这里添加自己的 IR，为你的曲目增添更多个性化的元素。

8 – Saturazione（饱和度）
Saturazione 代表饱和度……考虑到意大利在 20 世纪 60 年代是混音器和延迟器制造领域的佼佼者，这多少有点民族自豪感。
这一阶段既神奇又危险——如果你想让你的音轨在混音中真正脱颖而出……那就试试吧！这一阶段集饱和器、压缩器和扩展器于一体。你再也不需要之前一直使用的那些吉他效果器链了！Saturation Drive（饱和度驱动）决定了这一阶段的工作强度，而 Amount（量）则是一个干湿比控制。

9 – DA Conversion（数模转换）
嘿，伙计：有多少插件能让你获得那种纯正的 90 年代音色？
我在这里破例了：插件名称会帮助你理解其输出算法的含义。这一阶段比较特殊，但在某些情况下却非常有用。

小贴士：如果你想重现 90 年代嘻哈音色——以及更多其他音色——请使用 Input Colour（输入色彩）和 DA Conversion（数模转换）阶段，绕过其他阶段。你会感谢我的。

整体干湿比混合
用于更微妙的声音设计

输出
各位，我们做到了——我们到达终点了。
输出增益：您可以调整数值，使输入电平与后处理输出电平相匹配。
拜托各位，认真点：务必匹配增益，否则您的耳朵会欺骗您。

最后阶段还有一个限幅器，它并非设计用于常规用途，而仅作为信号返回 DAW 之前的输出安全保障。
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原文：
Box Of Color 1
I bring to market products that I love and that I would be the first to use.
box of color, a platform to shape your sound like no others

What Box Of Color is
Why I’m your everyday sound shaper box
Despite this (deliberately) quirky aspect, this plugin is actually very powerful. It’s a channel strip, it’s a distortion pedal, it’s an ambience generator – yet it’s none of these things at the same time. Box Of Color can be very subtle, compressing the sound in an analogue-style way, or it can function just like your favourite pedalboard setup. I have deliberately NOT included any names, specifications or emulated brands; the world is already full of them, and I’m not about to add to the dogma. I wanted to remove all (or almost all) references so that we can get back to using our ears.
The GUI is deliberately disorienting for two reasons: firstly, because we’re like children playing with music, and the more we play, the more fun the music will be; secondly, to avoid using the mechanical part of the brain. Giving you irrelevant parameters forces you to search for the sound.
Don’t be fooled by appearances; the sound this tool can give you is absolutely top-notch – you’ll see!

Many Modules
a superb chain at your fingertip
The plugin consists of seven modules, and you’ll find that although they’re generally connected in series, the interaction between them is very musical. You’ll often find yourself adjusting the parameters at the start of the chain as you shape the sound.

GUI SWITCH BUTTON
Switch between “Boomer” and ” Producer” mode.

1- Input module and level
I’m happy to be at around -18 dB … hey I’m digital, right? so gimme headroom!
Turn the input level knob until the VU meter reaches the top of the green zone.
The system has been optimised to operate between -18 dB and -12 dB. The ‘Stay Here’ arrow is set to -16 dB, and the first yellow VU meter to -12 dB. You can, of course, go beyond these levels, but if you want to get the best out of your audio chain, stay within this range. Use your ears as always.
GAIN MATCH: enable this if you are uncertain about the level, this is an auto gain match with an an average between peak level and RMS level.

2 – Color
A subtle colour to start with; use only this stage if you want to emulate a channel strip
Here are 5 input models… do you really want to spoil the magic and have me tell you what they are? Come on, no way. We’re here to use our ears and our gut, not our eyes and our brains! But I’ll give you a few clues: here you’ll find 3 emulations of British mixers, 2 brands and 3 models, then an esoteric tube unit, and finally a lovely tape machine. DRY= BYPASS

3 – Character
This is where things start to get interesting
5 saturation/distortion/euphoria generator models. Use Character to modulate the input and adjust the saturation/compression curve of this stage. Use Color knob to set the intensity and wet/dry Percentage.

4 – Compressor
Could a compression stage be missing? Of course not
Guys: these compressors are your Swiss Army knife and they sound absolutely brilliant (I’m biased, I know). I can tell you that the two-stage models are extremely rare and almost impossible to find (EMT and Telefunken… OK, I’ve given it away). The other two are timeless classics.
Pump: determines how hard the compressor works.
Comp Gain: compensates for your forays into the world of compression. Be grateful for it and don’t overdo it. Or just go on and do it – you’re adults, after all.

5- Eq
Do I really have to explain what’s going on here? Come on…
As you’ll have realised, the whole point of this playful little platform is to use your ears, so I’ve been a bit of a tease, but maybe one day you’ll thank me for it. There are NO numerical readings of ANY kind – no gain, no frequency, and so on. Just turn that bloody knob and if it sounds good… well, that’s it. We can treat ourselves to a bit of this every now and then, can’t we?

6 – Delay
A simple delay can be devastating when placed in the right audio chain
– DLY COLOR: I can’t quite remember exactly what it does, but I think it makes the sound brighter or darker. Experiment with it in a musical context and find the right setting for the sound you’re looking for.
– DLY DRIVE: a saturator after the filter and before the delay.
– DLY TIME: when the delay is unlatched from the grid (DLY SYNC), this knob allows you to freely create tight slapbacks or off-beat delays.
– DLY SYNC: 1/1 1/2 1/4 1/8 1/16 triplet or straight
– Feedback: Why a spaceship? To infinity and beyond, the feedback will take you home

7 – Reverb
Are we sure we should call them just ‘reverbs’?
Here, I’ll continue to deliberately avoid telling you what happens in this module, because that’s part of the fun of shaping the sound.
A TIP: experiment with the reverb model whilst listening to the whole thing with the next module engaged if you want to get creative, especially with synths and unusual vocals.
A low-cut and high-shelf EQ will help you position the sound in the mix.
POSITION: Allows you to insert the delay before the reverb, or to have them run in parallel
↑ IR DROP ↑⤴ : I know you’ll love it and will try your best to thank me for this feature: from here, you can add your own IR to give your track an even more personalised touch.

8 – Saturazione
Saturazione stands for Saturation… a bit of national pride, given that back in the 1960s, Italy was among the best at making mixers and delay units

This stage is magical and dangerous – if you want your individual tracks to really stand out in the mix… go for it! This stage acts as a saturator, compressor and expander. You no longer need those guitar pedal chains you’ve been using up until now! Saturation Drive determines how hard the stage works, whilst Amount is a dry/wet control

9 – DA Conversion
Hey mate: how many of them let you get that proper 90s sound?
I’ve made an exception here: the names will help you understand what the plugin’s output algorithms are referring to. This stage is unusual but extremely useful in certain contexts.

A TIP: if you want to recreate that 90s hip-hop sound – and more besides – use the Input Colour and DA Conversion stages, bypassing the others. You’ll thank me later.

Overall MIX DRY/WET
Use this for a more subtle sound design

OUTPUT
Guys, we’ve done it – we’ve reached the end.
Output gain: you can adjust the numerical value to match the input level with the post-processing output level.
COME ON, GUYS, BE SERIOUS: always match the gain, otherwise your ears will play tricks on you

As the final stage, there is also a limiter, which isn’t designed for regular use but only as a safety net at the output before the signal goes back into your DAW

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