在我们开始前，我们还需要先弄懂一些事情。首先，没有什么规则是从诞生起便不会被打破的，包括哪些所谓的通行惯例和原则。你的设备清单里，不一定非得需要我下文推荐过的某个特定的设备；你使用设备的方法，也不一定非得和我在下文中写的完全一样。这篇文章的理论，完全建立在我的经验和两位专业的DJENT音乐人——就像你我一样——所提供的信息上。我已经试过了将一把telecaster电吉他经过了一块metal muff效果器之后接入fender blues junior音箱来实现DJENT音色——结果得到的音色就像人们常说的，你所使用的设备以及设置方法，对你的（DJENT）音色有很大的影响。但是这些只是常理，（使用对的设备）只是更容易在你没有使用真正的箱头时，得到你想要的音色。
上面这个结论，并不包含数字设备——像Axe FX,POD HD,Eleven Rack等等；但是这些常理同样也是存在的。可以使用和挑选箱头一样的原则来选择数字设备，而数字设备所具备的其他特性则可自行选择。最后，上面所说的这些原则，也同样适用于综合效果器和软效果器。
Before we get started there are a few things we need to address. The first is that these are general rules and guidelines, nothing is set in stone and rules are meant to be broken. You do not need the specific pieces of gear I've recommended, nor do you need to use the same methods. This is all based on my own experience and lots of information from both professional musicians in the genre and from fans like you and I. I've gotten a Telecaster to djent going through a Metal Muff into a Fender Blues Junior, tone is in the hands just as people always say, and the way you play has a big effect on whether or not your gear/setup will "djent". Because these are just principles and ideas, they can easily be applied to any setup even if you aren't using a real amp/cab setup. The reason I don't cover digital units** like the AxeFX, POD HD, Eleven Rack etc. is because all the same rules still apply. The rules to picking an amp can be applied to picking a digital unit, and the rest is directly applicable to their digital counterparts. These methods still work with multi-effects units or with software plugins.

过载单块在金属音色中（作为boost）的常见用法是：GAIN开到0，LEVEL开到最大（10），然后去尝试调节TONE。这样可以让过载单块真正的推动箱头并且不会增加过度的失真度，恰当的TONE设置也可以保证原有的TONE不会被过载单块渲染。通常调节TONE的值，可以影响声音的明亮度，并且可以获得更好的截止和清晰度。
The most common setting for an overdrive in metal is using the Gain on 0, the Level on 10, and the tone to taste. This allows the pedal to really push the front end of your amp without adding too much gain or tone coloring from the pedal itself. Usually having the tone control a bit on the bright side is going to give you more cut and clarity.
延音、清晰度以及压缩单块：
压缩这类效果器在金属乐等高增益失真音乐中很少使用，因为过载和失真的信号已经自然的被“压缩”了。在前卫金属音乐中，通常使用压缩效果器和噪音门相互控制，达到：既保证了足够的延音，又能够便于控制，为此，可能需要增大噪音门的门限控制。另外，使用压缩也有助于提高和弦中，每根弦音的清晰度。最后，压缩单块可以帮你稳定你的音色，就好比你突然从低音弦演奏到高音弦，压缩单块会帮助你，让你的声音“流行”很多。
Sustain, Clarity and "Pop" Using Compression:
Compression is something rarely used in metal and other high-gain genres because of how distortion and overdrive already compress the signal naturally. In progressive metal it is used not only to compress the tone for more sustain, but it also helps fight the noise gates (which we will get to shortly) allowing you to have all the sustain you could want, despite having a lot of gating in your signal as well. The compression is also really helpful in bringing out clarity and note definition in chords. Lastly it helps even out your tone wherever you play on the fretboard, so if you're playing a riff that jumps from the low strings suddenly to the higher strings it'll make those notes "pop" a lot more.

为了能够让你的压缩效果器正常工作，去研究压缩效果器的工作原理，是很有价值的。有些压缩单块上，只有延音和LEVEL两个旋钮，也有很多压缩效果器（单块或机架）会有更多的旋钮。阈值是压缩效果器实际压缩你的信号的开始音量。你的延音旋钮显然会等于压缩量，并且也可能出现标注为比率的形式。基本上比率的含义等于你输入量经过压缩效果器之后的输出量之比。换言之，如果你的比率为5：1，那么当你的信号超过阈值5db以上，压缩效果器将会把它减少到阈值以上1db的位置。ATTACK旋钮的作用是调节信号经过压缩效果器之后的响应速度。RELEASE旋钮的作用是调节信号经过压缩器后，再衰减过程中，信号低于阈值时多久停止工作。显然，LEVEL旋钮将控制压缩效果器的输出。
It's worth going over how compressors work so you know how to set yours properly. Some compressors just have a Sustain and Level knob but a lot of the ones on the market (pedal or rackmount) are more detailed than that. Threshold is the volume at which the compressor starts actually compressing your signal. Your Sustain knob is obviously going to equal the amount of compression, and can also appear labeled as Ratio. Ratio basically the amount of input signal to the amount of output signal after your signal passes that threshold. In other words, if your ratio is 5:1 that means that if your signal goes 5db above your threshold, the compressor will reduce that to 1db above the threshold. Attack is how quickly the compressor kicks in after your signal passes the threshold. Release is how quickly the compressor stops working as soon as your signal drops below that threshold. Obviously your Level knob will control the overall output of the compressor.
压缩效果器的型号确实比较少，目前最流行的是KEELY的4钮压缩效果器。它可以提供你所需要的所有功能，被评价为最好的压缩效果器，透明度很高。透明度的概念，是说这个压缩效果器，影响你原本的TONE的程度非常小。如果你喜欢某个压缩效果器对你原本的TONE进行处理之后的音色，你也可以无所顾忌的用它。我还推荐DUNLOP的MXR M87 贝斯压缩效果器，它能够直观的显示压缩情况，实在是6……
Popular compressor models are quite few really, with the most popular model by far being the Keely 4-knob compressor. It has all the options you need and is generally regarded as the most transparent compressor. Transparency is generally what you want with a compressor, and the less it colors your tone the better. If you like how a compressor colors your tone though, feel free to use it. I also recommend the MXR M87 Bass Compressor, which also has a visual display of how the compressor is working, which is fantastic.

至关重要的EQ和“DJENT频率”
这里有两个非常重要的EQ设置，首先，是“DJENT”声音本身。为了加强这种“djent”的声音（请注意我说的加强，不是得到的。后文类似）提升1.4kHz附近的EQ是很有必要的。这个位置，正是发出“嘶嘶声”和“金属音”的频段位置。不幸的是，这个频段并不是一个容易被boost提升的频段，因为大多数EQ单块都是“图形均衡单块”，这意味着真正可实际调整的频段，是被固定的，而不是可以精确的、任意的控制的。之所以这么说，是因为已经有了最好的“参数均衡单块”产品，你可以选择能够满足精确到1.4kHz频率，并提升它的EQ单块。记住，随着你提高频段，更多的噪音也会同时被引入到你的效果链中。当然，任何可以提升这个频段或者提升这个频段附近的设备，都是可用的；甚至一块廉价的综合效果器也是有使用价值的，如果可以的话，利用它的EQ功能。最后强调一点——需要提升的是1.4kHz以及它附近的频段，并不是单单精确的1.4kHz而已。
Crucial EQ and "Djent Frequency":
There's two very important EQ adjustments that should be made, the first is the actual "djenty" sound itself. To enhance that "djent" sound (notice I said enhance, not get. More on that later...) a boost at around 1.4kHz is necessary. This is where that really scratchy, metallic sound is occuring in the frequency spectrum. Unfortunately this is not a frequency that can easily be boosted, because most EQ pedals are graphic EQ pedals, meaning the frequency bands are fixed and you can't change what frequencies you are controlling. All that being said, the best route to take is getting a parametric EQ pedal so you can select the 1.4kHz frequency and boost it as you wish. Remember that the more you boost frequencies, the more noise you are introducing into your signal as well. Of course any unit that can boost this frequency (or close to it) can be used, and it may even be worth buying a cheap multi-effects pedal and using its EQ, if capable. Keep in mind it's around 1.4kHz, not exactly 1.4kHz.
这里有一份可以调整1.4kHz频段的EQ设备清单：
Here's a list of Parametric EQ's that have access to the 1.4kHz frequency:
Boss PQ-4 Parametric Equalizer
Boss SP-1 Spectrum
Carl Martin 3-Band Parametric EQ
Ibanez PQ-9 Parametric EQ
Boss PQ-3B Bass Parametric EQ
BYOC Parametric EQ
Artec SE-PEQ Parametric Equalizer
Catalinbread VariOBoost
TC Electronic Dual Parametric Equalizer
TC Electronic Sustain + Parametric Equalizer
Empress ParaEQ

使用两个噪声门的设置方法，最好的方式是一个噪音门仍旧放在你的音箱LOOP里，另一个放在你的音色链中压缩和过载之后。这样的方式，可以先过滤掉来自你的吉他、压缩以及过载等这些在你箱头之前最大噪音源。当然了，你的EQ单块同样会给你后面的音色链中带来一些噪音，但是仅通过一个噪音门来对抗所有的噪音源也是很难的。继续测试你的第二个噪音门可以发挥作用的位置。
你的音色链应该像下面这样：
For a two noise gate setup, one gate in the loop of your amp and one after the compressor and overdrive is best. This way you are gating noise from your guitar, compressor, and overdrive with one gate, your noisiest elements before the amp. Yes, your EQ pedal will cause a bit of noise to come into your signal as well, but trying to fight too much noise with just a single gate probably isn't going to yield the results we are looking for. But again, experiment with your second gate, it may work better elsewhere. Your signal chain should look like this:
音色链：
吉他 > 压缩 > 过载 > 噪音门1 > EQ均衡 > 箱头 > LOOP SEND > 噪音门2 > LOOP RETURN
Guitar > Compressor > Overdrive > Noise Gate > EQ > Amp > Amp Effects Loop Send > Noise Gate > Amp Effects Loop Return
最后，我们还有一个使用3个噪音门的用法，这个用法来自Periphery的三位吉他手，他们在使用Axe FX之前，使用了这样的配置。这样的用法，可以得到最紧凑的吉他响应；因为这样的用法可以分别去限制每个噪音源的噪音，而不是将这些噪音源汇总到一起之后再通过一个噪音门进行控制。
三个噪音门的位置如下：
And finally we have the three noise gate setup, which is the one used by all three guitarists in Periphery before they made the switch to the AxeFX. This ensures the tightest response from your guitar because you're gating different sources of noise separately, rather than trying to gate all your noise from several sources with a single gate. The three gates were placed as such:
音色链：
吉他 > 压缩 > 噪音门1 >过载 > > 噪音门2 > EQ均衡 > 箱头 > LOOP SEND > 噪音门3 > LOOP RETURN
Guitar > Compressor > Noise Gate > Overdrive > Noise Gate > EQ > Amp > Amp Effects Loop Send > Noise Gate > Amp Effects Loop Return

拾音器，输出和清晰度：
在选择拾音器的时候，请牢记——任何拾音器都可以正常使用（前文已经写到了，原作者认为任何拾音器都可以玩DJENT），（更合适的选择）只是会帮助你更容易的得到DJENT音色。大多数人都有这样一个想法——我们演奏金属乐和其他高增益吉他都需要一块高输出的拾音器。很多情况下，大功率拾音器是一个好的选择，它们通常都比低功率拾音器更低的噪音并且更容易做出像样的失真。对于DJENT这种风格而言，我更推荐使用中等功率的拾音器。这么做的原因是，较低输出的拾音器往往可以得到更好的清晰度，并且他们也有更好的清音音色。这些纯净的清音对于DJENT风格也同样重要。综上所述，中等输出的拾音器在这里显然两全其美。至于是选择主动拾音器还是被动拾音器——都一样用……
举个栗子，Periphery的Misha Mansoor 经常使用BKP的Cold Sweats，这是一块中等输出的被动拾音器。而Animals as Leaders的Tosin Abasi则使用EMG808——这样的高输出主动拾音器。作为DJENT和前卫金属中的两个标志性乐队（乐手），他们的音色都具有：干净、清晰、足够重的特点。对我而言，我觉得主动拾音器有些浑浊；但其他人的感觉可能与我相反。总而言之，怎么选择拾音器，还是要依赖于你的听感和你的设备。如果你的音色听起来太软，试试更高功率的拾音器；如果失真太燥或者声音浑浊，尝试一些功率稍低的拾音器吧。
Pickups, Output and Clarity:
When choosing pickups, keep in mind anything will work, and this is just to give some helpful tips on polishing your tone a bit with your pickup choices. Most people have the idea that playing metal or high gain guitar requires a high output pickup. A high output pickup is great in many ways, they are usually have less noise and will distort more readily than lower output pickups. For djent specifically, I would recommend medium output pickups. The reason for this is that lower output pickups tend to have a bit more clarity, and will have much better clean tones. These pristine sounding clean tones are another important part of djent, and having medium output pickups offers the best of both worlds. As far as active vs. passive, both work. For example, Misha Mansoor (Periphery) uses BKP Cold Sweats a lot, which are medium output passives. But on the other hand Tosin Abasi (Animals as Leaders) uses EMG808 high output active pickups. Both are considered major icons in the djent and progressive metal world, and both have clear, articulate, heavy tones. In general I personally find active pickups to be muddier, and so do others, but other people feel quite the opposite, and it is totally dependent on your tastes and your rig. If your tone is too weak sounding, try higher output pickups. If it's too distorted and muddy, try lower output pickups.

前排！

前排

粗略过了一遍，晚上回去看

前排

Djent 大法好，然而我用直阻不到8k的paf7去玩还是略蛋疼的，真心不好控制。

神他妈的djent

这个好技术贴 下次试试3噪音门的

以前看过这文章，最后发现EQ起到的效果可能是最明显的，哐哐哐哐哐