Lemur Audio SAMUEL v1.0.22_WIN-R2R（2026.10.15更新）

通道条插件Lemur Audio SAMUEL
VST插件格式：
VST3/AAX

Lemur Audio SAMUEL全能通道条，搭载四段控制台EQ、高低通滤波、前级饱和、门限与反馈压缩。支持压缩/EQ顺序调换、侧链处理，零延迟，内置多视图频谱监测，适合音轨与实时录音。

翻译：
认识 SAMUEL：终极通道条（Channel Strip）
四段式调音台风格均衡器
包含两个搁架式（shelf）频段和两个钟形（bell）频段，所有频段始终处于信号通路中：当旋钮置于中心位置时，该频段不产生任何音染或增益变化，因此无需频繁开关频段。低频（LF）搁架范围为 30 至 450 Hz，高频（HF）为 1.5 至 16 kHz；中低频（LMF）覆盖 200 Hz 至 2.5 kHz，中高频（HMF）覆盖 600 Hz 至 7 kHz，每个频段均具备 0.5 至 3 的 Q 值调节功能。两个频段范围切换按钮可改变钟形频段的频率位置——“÷3”将 LMF 移至低中频段，“×3”将 HMF 提升至约 21 kHz——且每个频段的增益调节范围均为 ±17 dB。各频段对增益和 Q 值的响应特性与传统调音台通道一致，确保低频与“空气感”频段保持深厚的质感。

高通与低通滤波器
高通滤波器范围为 20 至 350 Hz，低通滤波器范围为 12 kHz 至 3 kHz。当旋钮置于“OFF”位置时，滤波器完全从信号通路中移除；旋钮下方的小型 LED 指示灯会显示滤波器是否处于激活状态。“EQ ON”开关可一键旁通整个均衡器（包括滤波器），便于快速进行处理前后的对比。

前置放大器饱和效果——麦克风（MIC）与线路（LINE）模式
位于通道条前端的前置放大级。LINE 模式保持高频清澈，同时为低频增添温暖感；MIC 模式则呈现更宽广、明亮的音色特征。驱动（Drive）范围为 -12 至 +24 dB，且该级电路保持输出电平恒定，因此调节驱动量只会改变音色质感而非音量——低于 0 dB 时声音比单位增益（unity gain）更纯净，高于 0 dB 时谐波成分随之增加。整个处理级采用过采样（oversampling）技术，确保谐波不会折叠混叠（fold back）回可听频率范围内。

具备调音台特性的噪声门（Gate）
阈值（THRESHOLD）范围为 -30 至 +10，衰减范围（RANGE）为 0 至 40 dB，释放时间（RELEASE）为 0.1 至 4 秒，并配有用于启动时间（Attack）的“FAST”（快速）模式开关。 HYST（迟滞）参数设定了门限在开启点下方多远的位置重新关闭，从而防止衰减中的通鼓（tom）或余音悠长的军鼓（snare）在门限边缘产生颤动（chatter）。左侧的LED列显示了门限处理造成的信号衰减量。

反馈式压缩器（Feedback Compressor），可置于EQ之前或之后
该压缩器监测自身的输出信号，因此随着压缩深度的增加，压缩比会变得更陡峭，从1:1一直变化到无穷大（即限制器模式，LIM）。RELEASE（释放时间）范围为0.1至4秒，旋钮最上方设有AUTO（自动）档位，此时释放时间会随音频内容动态调整；SLOW（慢速）开关用于切换启动时间（attack）。HPSC（高通侧链滤波）功能可对侧链信号进行高达250Hz的高通滤波，防止低频成分引起混合信号的“抽吸效应”（pumping）；LINK（联动）用于设定双通道间检测信号的共享程度；MIX（混合）则用于将干信号混合回来，实现并行压缩。C→EQ按钮用于切换压缩器与均衡器的先后顺序。SC INT（侧链内部路由）功能将均衡器从主音频通路移至压缩器的侧链通路中——在此提升某个频段，压缩器便会针对该频段做出反应，而不会改变实际的音色，从而实现从频率相关控制到齿音消除（de-essing）等多种功能。该插​​件未设补偿增益（make-up gain）旋钮，而是通过OUTPUT（输出）参数来设定输出电平。

各级处理阶段均配有显示视图
MASTER（主控）窗口显示带有峰值读数的输入和输出电平表——点击即可重置读数，停止播放时读数也会自动清除；窗口中央提供五种视图模式供选择。SAT（饱和）视图显示前置放大器在当前输入电平下产生的谐波成分；GATE（门限）视图随时间推移绘制输入/输出信号与门限值的关系曲线；COMP（压缩）视图显示压缩状态；EQ视图显示设定的均衡曲线；FFT视图则显示输出信号的频谱。视图设置会随工程（session）一同保存。设置面板中的MODE（模式）用于在立体声（STEREO）和单声道（MONO）之间切换——单声道模式仅处理立体声音轨的左声道输入，并将其发送至两个输出端。

零延迟特性及​​相关工作流程
SAMUEL在运行时无任何延迟，宛如模拟调音台的通道条，因此既可用于工程中的每一条音轨，也可用于实时输入信号的处理。INPUT（输入）和OUTPUT（输出）参数均提供±24dB的增益微调（trim）范围。顶部栏包含旁通（带 10 毫秒交叉淡变）、撤销与重做、初始化（INIT）、预设浏览器、A > B 切换（支持两者间复制）以及“保存”和“另存为”功能；窗口大小可调整。

原文：
meet SAMUEL ultimate channel strip
A four-band console equalizer
Two shelves and two bells, every one always in the signal path: at its centre setting a band adds exactly nothing, so there is no need to switch bands on and off. LF shelves from 30 to 450 Hz and HF from 1.5 to 16 kHz; LMF covers 200 Hz to 2.5 kHz and HMF 600 Hz to 7 kHz, each with its own Q from 0.5 to 3. Two range buttons move the bells — ÷3 takes LMF down into the low mids, ×3 lifts HMF up to about 21 kHz — and every gain runs ±17 dB. The bands answer gain and Q the way a console channel does, and the bass and the air keep their depth.

High- and low-pass filters
The high-pass runs from 20 to 350 Hz and the low-pass from 12 kHz down to 3 kHz. Parked at OFF, a filter drops out of the path entirely; the small LED under each knob tells you it is in. The EQ ON switch takes the whole equalizer out, filters included, for a quick before and after.

Preamp saturation — MIC and LINE
A preamp stage at the head of the strip. LINE keeps the top end clean and puts its warmth in the lows; MIC is the broader, brighter voicing. Drive runs from −12 to +24 dB, and the stage hands the same level back out, so turning it up changes the colour, not the volume — below 0 it is cleaner than unity, above it the harmonics grow. The whole stage runs oversampled, so the harmonics do not fold back into the audible range.

A gate that behaves like a console gate
THRESHOLD from −30 to +10, RANGE from 0 to 40 dB of attenuation, RELEASE from 0.1 to 4 s and a FAST switch for the attack. HYST sets how far below the opening point the gate closes again, so a decaying tom or a ringing snare does not chatter on the threshold. The left column of LEDs shows how much the gate is taking away.

A feedback compressor, before or after the EQ
The compressor listens to its own output, so the ratio steepens as the compression gets deeper, from 1:1 up to inf. (LIM). RELEASE runs from 0.1 to 4 s, with AUTO at the top of the knob, where the release follows the programme; SLOW switches the attack. HPSC filters the side chain up to 250 Hz so the low end does not pump the mix, LINK sets how much the two channels share their detection, and MIX blends the dry signal back in for parallel compression. C→EQ swaps the order of the compressor and the equalizer. SC INT takes the equalizer out of the audio path and puts it in the compressor’s side chain instead — boost a band there and the compressor reacts to that band without the tone changing, from frequency-dependent control to de-essing. There is no make-up knob: OUTPUT sets the level.

A display for every stage
The MASTER window shows input and output meters with peak readouts — click one to reset it; they also clear when playback stops — and one of five views in the middle. SAT shows which harmonics the preamp makes at the level coming in, GATE draws the input and output against the threshold over time, COMP shows the compression, EQ the curve you have set, and FFT the spectrum of the output. The view is saved with the session. MODE in the settings panel switches between STEREO and MONO — MONO processes only the left input of a stereo track and sends it to both outputs.

Zero latency, and the workflow around it
SAMUEL works without any latency, like a channel of an analogue desk, so it can sit on every track of a session and on a live input. INPUT and OUTPUT trim ±24 dB. The top bar carries bypass with a 10 ms crossfade, undo and redo, INIT, the preset browser, A > B with copy between the two, Save and Save As; the window is resizable.

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