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037-Eng-Persian Dictionary of Noise Engineering
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037-Eng-Persian Dictionary of Noise Engineering
Uploaded by
Obaid HashmiCopyright:
Available Formats
"L¼ XL #S"
|K#p½ ~Å UL
"L ©qX6 w É«ÊE6
P«6
"P6
A/B ing
#$ pw {P5 w W#t "P. o}5I "L¼ ¿- K . (Switching) Q L}w |Ä
K \ ¿- Ã6 L}w O P. Lu "L¼ #R OK K\ L# A/B ing
c-a #y5XK >PJ "P. B nPF "L¼ R >PJ "P. A nPF (monitoring)
#. L\ K# ¿- K "L¼ VÇÄP. # B . A Q" L}w 4~#F Pl6 #. 4qO O#w .
K\ {P5 w c-a 4pw "R #6 L\ W#t
Absorption
O"KQP2 "K# ~#J |¼"q OK " v!#Çd¼" Q" \# w 6¼ SP" n6" # +N>
4X" |I}I5
Absorption Cofficent
,Pa Ã6 "P. K\ DdX Æ +N> w 6¼ SP" Q" [I. +N> ,Pa
K\ K#p5X" R6P 6¼ V#wPq Q" K# Æ +N>
Acoustic effect
L z "O "L¼ O n"Pe" cE P:'6 Ç5Xw!$ P:'6
Acoustic energy
K\ Pz!Q"L" #:3" # {S LF" #. w 6¼ ; Æ OK K> SP"
4X" 6¼ O#[q ON= #. ,X# 5
Acoustic Instrument
K\L~6ÇP5Ç~"!#O"L!Æw!L.!Ã-eY#Ã6O"!}X!.!$!"L¼!wQ#X
"LÅ XL #S"
AC-3 (Audio Coding-3)
LD O C~ HDTV "P. {#5=K "L¼ 3#Äe" Q#XKP[q 5Oy~$
5.1 ~##w L B "L¼ 5WX (Compact Disc) CD KP[q C~ (Laser Disc)
#5Oy~$ AC-2 AC-1 4X" L\ aPÄ -~"K 4wP\ nPe Q" w {#5=K -~"K
LO"K "T #KP.O#w w L 5W PyK (Encoding) O"NzRO
Active Crossover
K#p5X" #. "O R6P #6 L # "KP5Wz W#wPq (Band) KLE w P5}q
Wt6 P6ÆBw KLE L B . O5WR"P6 KK L # (Active) {#Ãq P¼# Ä Q"
#KLE ÆÇp6 Q" V2 KP.O#w " OK KO"K KP.O#w zL }. #5WX OK L w
Æ {#9 "P. K\ K#p5X" "T 6¼ L w 4t6 W#wPq KLE P "P.
{# yX L\#. Active Crossover P5}q "O"K w! (3-way) "O X zL }. 5WX
Wt6 (High) #. (Mid) cX5 (Low) #2 W#wPq KLE X . "O 6¼
L w
Active equalizer
L # (Active) {#Ãq ÇP5Ç~" P¼# Ä Q" w ORw!" # (equalizer) Q#X P."P.
L w K#p5X" (Integrated Circute) ¿5= 3"O"L # O5WR"P6 KK
Acoustic Treatment
LK Pl6 "O $ Ç5Xw!$ 3#¼_J #6 K\ L[w EdX O w [\2
ADAT (Alesis Digital Audio Tape)
5WX " OK L\ aPÄ K » K |"" OK Alesis 4wP\ cX6 w 5WX
ÆÇp6 R6P}w O"KP. V#wPq #. {#5=K "L¼ v!"P6
K\ c-a S-VHS A " O" O 4. (Resolution)
ADAT Optical
Æ # Q" ADAT v!"P6 {#5=K "L¼ 3#Äe" {#t5" "P. 4X" KO"L#5X"
O P-q LF" |.#w!
ADC (Analog-to-Digital Converter)
5X2 3O¼ . w "O È~#$ {# yX 3#p5 PK#t w ÇP5Ç~" {L- O"L Æ
"LÅ XL #S"
Q" ADC {L- #O"L L
w |L-6 Æ Pp¼ 4.#: 5WWz PK#t .
4X"
L
5W {#5=K "L¼ #5WX OK #O"L P5
ADPCM (Adaptive Differential Pulse Code Modulation)
O#W. w 4X" ~#5=K 3#Äe" T (Compression) Q#X KP[q 5Oy~$ Æ
L
w |Ä ~#5=K 3#Äe" K . L$LL2 n5J" U#X"P. L\#. ¿PX
AES (Audio Engineering Society)
" LKPz VX'6 K {#X OK w 4X" "L¼ XL
¿= O#_5J" #
3#Ã~#d
3#ttE6
Q OK 4X" "L¼ XL
OK "qPF K# P5zOR. ¿=
KO"K 4~#Ãq "L¼ XL
#KO"L#5X"
AES/EBU Interface
AES-3 K#
X" OK w {#PX 3O¼ . "L¼ ~#5=K 3#Äe" {#t5" 4Pq
¶ KO"L#5X"
bdJ Q" AES-3 KO"L#5X" 4X" L\ ;OK $ 3#_I[ AES-3id 1996 1992
AES-3id KO"L#5X" #" L
w K#p5X" " » V"L1" XLR #Æ> V#.
KO"L#5X" " OK KP. KX " V"L1" BNC #Æ>
V#. Pm bdJ Q"
K"K {#t5" "L¼ |.#w Æ sPe Q" "6 "O B A "L¼ {##w K
AES 24
P61#w #Ç-\ OK 5qO O#w . 6¼ #5WX
Q OK 5qP[2 KO"L#5X" Æ
AES 24-1 # #. $ {" 4Wu
w!#6 4X" 4Wu L
B "O"K KO"L#5X" " 4X"
4X" L\ P[5
~#5=K 6#Äe" #Ç-\ sPe Q" K
\ {P5
w! "
Ä
AFL (After Fader Listening)
# Pl5 4#t Q" O-Ä Q" V2 "L¼ {#
yX (monitoring) K
\ "P. 4X" Fd¼"
"L¼ R (Fader) OLq
Aliasing
w È~#$ {#
yX Æ Q" O"KP. #y
5X"J# #V#wPq K#=" |Ç[
KO"K O"KP. V#wPq o_ Q" P6#. W#wPq
Alignment Tape
LO"KP.OK KKPz K#p5X" }O "L¼ c-a ##y5XK h
6 "P. w "L¼ O"
4X" 6¼ o}5I #V#wPq #. #{#
yX
"LÅ XL #S"
All-Pass filter
#V#wPq #6 L
w K#=" "L¼ {#
yX OK Q#q 4p\ # PJ'6 ctq w P5}q
LK O-Ä KJ Q" #$
"K OK Pl6 L. "O "L¼ {#
yX
Ambience
{#9 "P. K\ re" Ä "L¼ . w V#-$ # cE Ä "L¼
#FKQ" P2 cE Æ OK ja . 4-W OK }¼#q Q" O"KP."L¼ }X . w "L¼
L\#. $ L
# # "P
IX "L¼ K#Ã." #6 "O"K w "L¼ " . KKPz c-a
R
Q "L¼
cE Ä "L¼ . K\ 5pz cE Ä "L¼
K\ K#p5X" #
X #}q R}6
K"O #Z# OK $ Q" L
z
Ambient Sound
L
w j>O Ambience .
Ambiophony
# K5X" |J"K (Reverberation) "$V2 h
6 "P. $ Q" 5\Nz OK w \O
YO " OK L\ Pz!P. zL
}. Æ.Lq 5WX Q" K#p5X" #. 3PW
w O#6
PJ'6 Q" K#p5X" #. L\ -Ã6 K5X" otX n"Pe" #O"K O #zL
}.
L
w Q#X-\
CdX 6¼ #+#6Q#.
Ph KO ##Q
Ambiosonic
"L K#=" "P. w (Surround Sound System) dE "L¼ 5WX Æ
KO "P. P5[. # qPÇ O#B Q" 5WX " OK K. L\ F"Pe LÃ. X 6¼
# {##w O#B L\ (Encoding) O"NzRO {#
yX {#t5" "P. P5[. # {##w K
5WX " 3O¼ " OK K\ K#p5X" {#
yX (Decoding) #[zRO "P. P5[.
" OK L# K#=" L
\ n"Pe" OK ">OK » tq" 6¼ "L Æ L"6
4X"O 0B #OE OK 6¼ ;"" |L-6 "P. qPÇ O#B Q" 5WX
"
Q (up-down) #2 #.
(Front-back) ,tÄ }>
(Left-Right)
K\ K#p5X" c-a cE (ambiance)
K\ |L-6 {##w K . WP6# O"NzRO YO . L#. #qPÇ " #6 >PJ
L$ 4XK . ~" {##w O#B (KL=
4q#OK {#t5" Q" V2 #6
"LÅ XL #S"
(Decoder) #[z RO (Encoder) O"NzRO KP.O#w R~ |Ç[ O"NzqPÇ ]
[L.# ;"O 5WX " w L\ 8Ä#. PyK 3Ç[
AMP (Amplifier)
Uw # j L B . {# yX 4t6 yyB . >6 #. w "L¼ {# yX L w 4t6
KKPz Wt6
Ampere
KMS }}~" . KO"L#5X" OK ÇP5Ç~" #P> 3L\ LF"
OK 5u w 4X" ÇP5Ç~" #P> O"Lt P1$ Æ (Meter-Kilogram-Second)
L.# #P> K"Q$ #`q OK Q" P5 Æ }¼#q KLE# {e #. t5W Q" X K
#. 4X" P."P. P1$ Æ PyK oPÃ6 s-e L\#. P5 P. 6 »
X K . P
X Æ Q" #: Æ OK ÇP5Ç~" O#. (qulne) ~w Æ O-Ä
Amplitude
"L¼ {# yX OK #P> # S#5~ "K
Analog (Analogue)
"L Oe . w 3¼ 3L\ # O#[q 4.eO #K L # 4Ã-e OK ÇRq #5w!
"O"K È~#$ #5w L\ L# X#u # È~#$ #5w L 5W Pl6 |.#u
S" Ã L w "L2 # Ã LÃ. }-u O"Lt #. U#u OK L 5W 5.#: #w O"Lt
Pp¼
#2 DdX K #. #4w . w KO O#w . {#5=K S" |.#t OK È~#$
KO"K O#\" Æ
#.
ANSI(American National Standards Institute)
OK #KO"L#5X" O#[5" ,_6 ÃX6 Q OK w #ÇP$ } KO"L#5X" 55W"
KO"K 4~#Ãq # X R}6 K"O }> Q" o}5I #QF
Anti-aliasing filter
#6 KO O#w . {#5=K . È~#$ "L¼ #{L- KO OK w ONz #2 P5}q
aliasing LL2 Q" Pz}> "P. "O O"KP. V#wPq o_ Q" P6#. #V#wPq
L# oÃ`6
"LÅ XL #S"
Antinode
Antinode # Ç\
KO"K "O #=.#> P5[. w 6¼ w!#X ; Æ Q" [I.
K\ L#
Artificial Reverberation
}X . 5W. cE OK "L¼ KLÃ5 #+#6Q#. Q#X -\ Ä
_ "$ V2
"$ V2 L~ ##y5XK
ASA (Acoustical Society of America)
t.#X #. ¿= " L\ VX'6 K {#X OK w #ÇP$ Ç5Xw!$ ¿=
ÆRq "L
["K >6 KO Ç5Xw!$ }Ä YQ$ 3#ttE6
Q OK e
4X" Æ5Xw!$ Z"K . "L
uÄ P#X "L¼ XL
3¼
ASPEC (Adaptive Spectral Perceptual Entropy Coding)
"P. KO"L#5X" Æ YO " 4X" "L¼ XL
OK 5qP[2 O#W. x
Lw YO Æ
cX6 w 4X" ~#Ä 4pw #. "L¼ QF OK (Bit Rate) #K"K GP "R Z#w!
aPÄ )wP5[ CNET Fraunhofer ¿=
Thomson
AT&T,Bell O6"P.
L\
Q" "L¼ {#t5" #Ç" "P. "O (Compression) Q#X KP[q Q" #. >OK YO "
KP. O#w . ISDN 6"P.#I Ç-\ sPe
Assign
.#I5" {##w L
B # Æ . 6¼ {#
yX Æ {#XO" # ¿Q6
ATM networking (Asynchronous Transfer Mode)
Avid, Sonic Solution #4wP\ }X . w ¿PX O#W. "Ç-\ S~
Ç6 Æ
3#Äe" {#t5" "P. ¼#J |Ç6P2 ATM L\ 5qPz O#w . Studio Audio
L\#. P61#w Ç-\ O ~#5=K
Attenuator
L
w oÃ`6 # Attenuator 4X" "L¼ {#
yX DdX OK Z#w "P. "}X
Æ O P. "L
w{P5
w # #y5XK |J"K OK 5#t Ç-\ Æ 3O¼ . L"6
L\#. #y5XK
"LÅ XL #S"
Audience Reinforcement
}X . 3PW
w #O#6 K5X" OK Pa#F #zL
\ . #P. #XO "L¼
#. 4pw #. ,X#
6¼ #5WX
Audio
3"R=6 OK "L¼ ZI2 # {#XO"
4q#OK
L~6 #W" cX6 L
\ |.#u 3"¼"
O#[q 3"Pl6 " #~Ç~ L\ KP[q #=.#> "qPF y#J ÇP5Ç~"
$ . w 4X" L
\ q |.#u #W" Yz cX6 w K\ > K#=" 8Ä#. #$
L
z Audio # "L¼
Audio Chain
{#
yX w 6O¼ . L
\#. c-6P PyLÇ #. w 6¼ 3"R=6 Q" ~"5 "Ä=
KONy. 6¼ P=Q # Ä= " Q" 4Wu P Q" "L¼
Audio Mixer
Æ OK "O #$ 5I$OK PyLÇ #. "O 6¼ ¿-
L
B "6 $ OK w #y5XK
#K5X" OK "L¼ L
w,wP6 # Audio Mixer K ,wP6 6¼ {##w!
OK 6#F Zt "O"K X#X" |#X Q" Ç R}6 K"O
S.K
O"KP."L¼
L\#. #P. Æ L~6
Audio Spectrum
Q" #$ 5J#X R#5 #"6 "O"K #W" Yz w "L¼ W#wPq KLE # oe
» Q" P6#2 #V#wPq L\#. R6P »»»» #6 » . KLE " L\#. PyLÇ
OK #W" Yz L
# 3¼ "O# "O R6P »»»» Q" P6#. 3¼ K# "O R6P
6¼ #5WX 4W L
\ . OK#u R6P »»»» #6 R6P » KLE #. #2
L
# |Ä rq KLE OK L#. "qPF
Audio Spectrum Analyzer
$ |}E6 R=6 4> "L¼ {#
yX #V#wPq #6 |Ç\ L#[ "P. #y5XK
Auditorium
L
# #KPz j P # #P. L#[ "P. "Pz!#\#6 T #y#> O#6
3PW
w P6#6
}q Z# #~#X
"LÅ XL #S"
#~#X # Ä #O#6 OK Pz!#\#6 O`F Q" \# T "L¼PX
R}6 O"KP-}q #K5X" [#
Auditory filter
OK (Critical bands) "PE. #L#. 3O#-Ä Da6 DP[6 "P. Fd¼"
LO"K P5[. Lw!'6
#2 #V#wPq O w ONz # #P5}q
Auditory threshold
. KO"K # "
\ #5X$ w #W" Yz cX6 L
\ |.#u "L¼ DdX |u"LF
4X" 5W." V#wPq
Aural Perspective
L.#6Q#. #"L¼ . t5W "L¼ 4-W
=F |9 }"Ä #. w "L¼ ¿-
}¼#q P:'6
K\ Ã6 "L¼ 3#_I[ 4pw
O#= CdX Q" L\
(A3D) Aureal 3D
O#. ~" w (3 dimension sound) LÃ. X "L¼ ZI2 "P. T S~
Ç6 Æ
w L
w #ÄK" Aureal 3D L\ "O" Crystal River Engineering 4wP\ cX6
3"¼" #W" #Yz!
L# "Pq z L
}. K sPe Q" "O LÃ. X "L¼ L"6
,6P6 L. KPw 4q#OK "O o}5I ##Ç #4> OK z!#z ¿.#
Q" LXO
X "L¼ "6 yB 4X#=
" {"X {#F K\ L
\ L"6 LÃ. X "L¼
"
#__I5 Ph . KPw K#=" 4X" ¼#J #Ç 4> OK w zL
}. K #. "O LÃ.
Aureal 3D S~
Ç6 KO OK Crystal River Engineering 4wP\ #ÄK"
LXO Ph . td
"L
B
Auto Locate
# O" Q" ¼#J dt . XP5XK w "L¼ c-a ZI2 ##y5XK Q" `Ã. OK #Ç"
K\ Ç O6"P2" . L\ K"K UOK$ #. s.#d ÆWK
Auto Reverse
4X#w O" nPe K P ZI2 # c-a |Ä w 4X#w vK ##y5XK Q" `Ã. OK 5}.#u
. O" nPe Æ w #y
5WX " KP.O#w #. ¿u" OK LK #=" pu L. "O
4> L\UÇÃ #. O#w " L
w c-a # ZI2 . jP\ PyK nPe
LXO #5"
4X" PN2#Ç" O" 4wPF
"LÅ XL #S"
Automatd mixing
#="!3#h
6!P61#w!Æ!$!OK!w!6¼!¿-
!L
B!,wP6!" P.!O#wKJ!5WX
"O 3#h
6 " #LÃ. KPw PJM "O "L¼ R #KO 4pw 4w O P. L\
L\ #=" #h
6 Z2 #. s.#d KO #{#
yX O P. O#wKJ Oe .
L
w!O"PÇ6
Auxillary
3"R=6 >PJ # KO OK (Line Level) cJ DdX #. P."P. DdX #. "L¼ {#
yX
Q" P6#2 qPÇ {#
yX DdX Q" P6#. ~#
yX DdX "O"K cJ DdX 6¼
4X" zL
}. {#
yX DdX
A-Weighting
Q" 3#p5 #V#wPq . 4-W #W" "
\ 5WX 4X#WF K- #WÇ |~K .
P5X L
# 6¼ ;"" Pz!Q"L" ##y5XK KO OK ¼#J #P5}q
E
"O"K w 4X" A-Weighting #P5}q " Q" Ç K\ K#p5X" P5qX
L
w Ã>"P weighting filter .
A 4X" ¼#J
Azimuth
We#
l O" L . "Q
Azimuth Aligment
[3Q$ h
6 ] "O "L¼ We#
l O" ZI2 c-a L . "Q Ç#Ç h
6
L
z
Back - emf (Back - electromotive force)
We#
lP5Ç~"
¶ #5WX #6 w 4X" "LL2 Back-Voltage # Back-emf
OK ,}m" LL2 " "L¼ XL
OK #" L
5W P.O $ #. vPE5 @2X "O"K
zL
}. Æ . {#
yX {#Ä" ¿du Q" V2 L
w Ph,}> #zL
}. KPÇ}Ä
"K" KJ 4wPF . zL
}. @2X
|W#52 SP" K> Pe#J . We#
lP5Ç~"
K#=" 8Ä#. 4wPF " K\ Ç#
K qPÇ . -\ zL
}. ¿u" OK LK
+}d# LL2 " LXO 3OLu P#q }1$ >PJ . |.#w sPe Q" w L\ S#5~ Æ
LXP. |u"LF . K\ ÃX "qPF #zL
}. 4J#X OK 4X"
Background music
P5[. 5Iy"P. "P. w K\ 5pz "L
w "P " # x
$ . 5 ÆQ
KP. O#w .
KONz K"LO #5X"K OK w A$ #. L
\ # B#\#6 OK U#WF"
Q . #R VÇ # ,wP6 #y
. V1X c-a "L5." 5 ÆQ K\
##5X"K OK #y#> "O"K QP" 5 ÆQ K\ q#a" L O" # }q
}q L
}. ##5X"K O#5J#X OK X#X" ##
. Q" Ç |Ç\ . 4X" [#
4X" L$OK R}6
Backing Track
K
[. "O $ \z sPe Q" L"6 Q"
Ç6 w 6¼ L\c-a Z2 Q" v!"P6 # -~
L"Rq#. $ . "O KJ "P>"
"LÅ XL #S"
Baffle
qPÇ . ÆKR Ç5Xw!$ "L OK Pl6 ,-X w ÇBw Ç5Xw!$ Ep¼
#qPÇ P. Ç5Xw!$ #"L O"NzP:'6 LÄ "P. Ep¼ " Q" K\
K\ K#p5X" O#=
Baking Copy
}¼" IW "P.
q {#Ç\" w KO" OK w 6¼ L\ c-a #P. Æ K IW
KO O#w .
L$ Z2 (Master Copy)
Balance Control
"L¼ 6#Lt #L
w 4t6 OK vP5[ Oe . w "S"
"qPF (consumer) y#J P5X" (Preamplifiers Audio)
0B #{##w OK "L¼ L
}. DdX Pl6 "P. KO O#w . (Professional)
PyK {##w OK "L¼ L
}.
{##w Æ OK "L¼ SP" Z"Rq" #. K\ K#p5X" 4X"O
4X"O 0B #{##w OK "L¼ L
}. 4-W OK Q"6 K#=" "P. ,}m" L.# Z#w!
K\ K#p5X" P5X" 5WX OK
Balance
#P. Æ 4J#X OK 6¼ o}5I ¿.#
z!#z #"L¼ =F {K#Ã6 Q"6
#{#
yX ,X#
,wP6 #qPÇ 4> "L
P
DE¼ +#I5" }X!.
ÆqP5X" 5WX OK 4X"O 0B #{##w OK "L¼ =F 4-W Q"6 KO
(Surround Sound) dE "L¼ #5WX OK #zL
B #{##w R
Balanced Line
. X K Q" w PyLÇ . |.#w }X . 6¼ #5WX 3#_6" "P. P6P. YO
e#F" "O X K $ w L\ 5q#. R}q X Æ "L¼ {#
yX {#t5" "P. L\ LA2
We#
l #"L Q" \# (Hum) # R YO " OK K\ 5J#X
L
w
bdJ KKPz nPeP. Q#= #Q Q" |¼#F R
A K"O ;""
AES/EBU {#5=K "L¼
RS.422 3#_6" OK (Balanced Lines) V#.
{#
yX 4qO "P. Ç
}¼" X K KO"K KP.O#w "qPF È~#$ "L¼ 5-~"
(Shield) L}\ $ . w X X Q" K\ K#p5X" {#
yX 4[zP. "P. PyK
"LÅ XL #S"
+J O#W. K# Æ ,-X L. K\ |t5
6¼ 3#Äe" yA
L
z
4X" 6¼ #5WX Q
L. . # R 4"L "P.
Balanced microphone
L
5W V#. # O#t5 }J"K L
.X "O"K w 4X" #qPÇ "P. Fd¼"
"P. ctq w L}\ X Æ "L¼ {#
yX {#t5" "P. X K Q" #qPÇ " OK
K\ K#p5X"
KO O#w . #$ nNF 5X"J# #{#
yX KO Q" Pz}>
L
5W " »» KLF
#2 KO V"L1" "O"K w "qPF #qPÇ Ã
L
\#. XLR-3 >PJ Æ> "O"K L
w K#p5X" V#. bdJ Q"
Bandpass filter
LK O-Ä Q#>"
L\Ã6 V#wPq K . V#wPq #. #{#
yX . #
6 w P5}q
#V#wPq # . w L
z #2 #. ¿du V#wPq
L\ Ã6 V#wPq K .
V#wPq K . #V#wPq #
6 ONz # P5}q L\ 5J#
\ 3OLu
. 4-W {#
yX 3OLu w 4X" W#wPq 3OLu V#wPq LK O-Ä "O 3OLu
KKPz ~" 3OLu o_ {#
yX 3OLu
à L.# Z#w 3dB ~" 3OLu
Bandwidth
K\ K"K #[ BW #. w 6¼ V#wPq OK #2 #. -3dB b#t KLÄ 3#p6
Base
OK O" " 4X" L\ L[w $LWw!" Q" ~}E $ O P. w O" Ç5X2 #2
KO O#w . "L¼ We#
l ZI2 c-a ##y5XK
Basic Tracks
tX 3$ "L¼ c-a . ]#_5J" w L#.L
B tX c-a OK "L¼ #v!" P6
5J#
\ }¼" #v!" P6 # . KO"K KO-w "OK
O#5z
U#.O#5z L
# O"K5O
L\
Bass Reflex
woofer zL
}. z!"Pq#K #=.#> #Ç" K#=" "P. w zL
}. -Ã> Q" ¼#J j
P."P. #. zL
}. -Ã> P. OK " O#[q #6 K\ -Ã6 zL
}. -Ã> OK J"OX
L\#.
"LÅ XL #S"
Bass Trap
K5X" OK #2 V#wPq 6¼ ;"" +N> "P. 6"L6 K "Pq
Bass tip-up
o}5I |K . . #"L¼ # #2 #V#wPq Pz;"
Bass woofer
4X" K#Q Pdu #. z!"Pq#K "O"K w #2 O#W. #V#wPq ZI2 "P. zL
}.
Bass
#2 #V#wPq . KO O#w . #2 #V#wPq ZI2 "P. w zL
}.
KO"K ~Ã O#5z . 4-W P6. "L¼ w O#5z Ä KO"K O#\"
BCD
5WX OK uO P "Q" . w KLÄ 5WX Æ (Binary Coded Decimal)
K"KO"Pu uO #. (binary) KK 5WX OK $ {K#Ã (decimal) L K©
00100011 KLÄ BCD 5WX OK L K© 5WX OK KLÄ {#9 "P. K\
{K#Ã w 5WX (Binary Coded Digit) 3=0011 2=0010
K\
1001 5WX " OK KLÄ {#9 "P. K\ K#p5X" KLÄ P (binary) KK
L\ L"J
Bel
O"Lt bel 4X" |. XK K {K#Ã Alexander Graham Bell # Q" L\ 5qPzP.
w!" 4\"K KP.O#w -u w K.
p}6 #X Q" |# Æ {e OK {#
yX Æ 4q"
K\ j>O Decibel .
KO"K KP.O#w P5w!
Bell (Alexander Graham Bell)
KJ 4J#X #y5XK sPe Q" 4W"6 {#X OK " p}6 #y5XK #ÇP$ jP5I
"O audiometer #y5XK
A "L# |t5
ÇP5Ç~" {#t5" bdJ cX6 "O "L¼
"L¼ KO OK K#Q 3#ttE6 L[I. |#Ç6 "O Phonogragh #y5XK 4J#X
K"K #=" $ {#t5"
Bi-amp
{#Ä" #. #2 #V#wPq 4t6 "P. #z!"L> P#q}1$ K #. 5WX Æ
"LÅ XL #S"
#P5}q #. "L¼ {#
yX 5WX " OK L\#. #z!"L> #zL
}. . {#
yX
Q" V2 ZI. P #2 V#wPq #. V#wPq
L\ Wt6 ZI. K . Crossover
KKPz {#XO" ZI. # T zL
}. . 4t6
Biamplification
K\ j>O Biamp .
Binary
uO K
KK # P
#. KLÄ 5WX OK {#9 "P. 4X" 4~#F K "O"K w 5Ãa
O"K "O »
Binaural Recording and Reproduction
P5X" YO . O#5pz w
#5X"K }q Æ O"KP."L¼ OK \O $ .#Q#. "L¼ c-a
"L¼ 5\"K "P. "O #qPÇL#. YO " OK K\ c-a L#. K O P.
. #qPÇ Q" Æ P KPw ÆKR OK #. O#w " K Q"5 SX Q" 4J"
Ç
L# gpF #
A "O KJ }¼" 4pw "L¼ #6 LXO #="
Bit
3#Äe" R> P5ÇBw . w "Binary digit" # "Binary unit" 3O#-Ä opI
L\#. 5\"K "O # » O"Lt K L"6 #
6 bit Æ K\ re" ~#5=K
Bit Clock
K#p5X" $ Q" {#5=K "L¼ VqP5
" OK #R {#
yX {#t5" "P. w 4Ä#X 4.
K\
Bit Stream
#$ L
.Pz hF L. P
#. {#
yX # 5. #P>
Bit rate
OK bit rate {#9 "P. LO"K (bit stream) 5. #P> OK #4. w W#wPq # GP
6
L"J 4. 4.3218 10 #: Æ OK
à 4X" MHZ 4.3218 #. P."P. CD
L.# {#t5"
Blumlein Array
"Q #. PyLÇ O#
w OK qPÇ K $ OK w P5X" O"Nz qPÇ Æ
Ç6 Ä
LPz O"Pu . 4-W >OK »
"LÅ XL #S"
Bobine
4X" We#
l "L¼ #O" O"Ly PJM "P. "}X w ]_I PuPu
3q »» »» »» Q" L
6O#-Ä Ã #PuPu Z#=
z!
Boom
" KO"K KP.O#w R}6 Q#W}q O"KP."L¼ #K5X" P5[. OK w "}X
L"6 O#w #y
. L\ ,_ $ #5" OK qPÇ w 4X" Q#. . R= }X
#}q OK
E¼ PX O"KP."L¼ #y
KO$ K> . hE~ P OK "O #>.#> #Ç"
LK QF Q" ;O#J w K\ Pt5W "z . L#. .
R}6 #Z# #
X
#. ÇKR }¼#q L"5. L#. "L¼ P5. 4q#OK "P. Ç
" a
L\#. 5qPz O"Pu .OK
L\#. 5\"K PyQ#.
Boomy tubby
L
w nNF "O #. #V#wPq w #Ç 6¼ 4pw . b.P Fd¼"
wL" #2 Ca #. "L¼ =5 OK L# LL[6 4t6 "O #2 #V#wPq
KKPz |¼#F v!"T2
"$Q#.
Boost/Cut equalizer
}> |#2 O Ã K\ K#p5X" ORw!" Æq"Pz ##y5XK OK w Fd¼"
KÄ 3O¼ . w [w ~ K#Q K"LÃ6 Q" È~#$ ORw!" Æq"Pz #y5XK Æ
$ OK Pl6 yA L
\#. cX # » dt OK #~ " Pz!" K\ K#p5X"
LO"K O"Pu
$ OK {#
yX
"K 4t6 8Ä#. #~ KP. #.KKPz K#=" ORw!" V#wPq
(Cut) V#wPq $ OK {#
yX
"K oÃ`6 8Ä#. ~ KP. #2 (boost) V#wPq
K\
Bouncing Tracks
L\ c-a "L¼ v!"P6 L
B # K $ OK w L#. L
B YO . tX c-a OK Ç
Ç6
O#w " #. K\ c-a ~#J v!"P6 Æ O
# =5 L\ ,wP6 PyLÇ #.
c-a #Ç" }X L. L\ K#$ KL= c-a KPw v!#2 "P. "L5." #v!" P6
K\ "Pq tX #Q#X Q" P5[. K"LÃ6 "L¼
"LÅ XL #S"
Boundary Microphone
{W1w O#w " #. K\ ,_ "L
w VÇÃ
4IX DdX O w qPÇ
"O L\ VÇÃ
t5W 6¼ ;"" L"6 4X" rq DdX ÆKR w qPÇ
L
w 4q#OK Q#q! #R
Breathing
#L
w!KP[q Q" K#p5X" #y
Q R 5X"J# Z#w Z"Rq"
nPÃ R Pumping . L\#. $ nNF P. ÃX L#. w 6¼ (Compressor)
4X"
Buffer amplifier
L. >PJ #{#
yX PyK Q" "L¼ {#
yX Æ KPw "L> "P. w P#q }1$
oÃa {#
yX Æ 4t6 "P.
A KO O#w . KO {#
yX O O"Nz P:"
4>
" P. Ä K\ K#p5X" Buffer amplifier Q" L_t L
B . $ {#XO"
KPw K#p5X" $ Q" "6 ÇP5Ç~" #O"L 3#t-e V"L1" s-d6
Bulk Tape Eraser
ÈOR. ÇP5Ç~" #.P
$ Æ Q" K#p5X" #. w We#
l #O" L
w v!#2 #y5XK
L
w v!#2 O#-Ç . L\ c-a #"L¼ Q" "O 6¼ O" CdX #6 u
Busy Background
RwP6 OK {#Ç\" ,-X w K\ re" 6¼ ,wP6 # "L¼ P . w Å}\
Q
P5[. Cd¼" " L# nPE
}¼" "L¼ Q" "O L
\ >6 L"5. LKPz "
\
KO"K KP.O#w #
X OK
Buzz track
K"K #[ "P. O#5pzV2 OK KP L
# -wP6 6¼ #}> #
Q "L¼
OK w #. Pp K y5pz L
# L
\ . #=" 4XK OK ~#Ç #Ç #Q L#XO
L
K #[ w
LXP. Yz . O#du "L¼ #. "P - |Ç\ . KP "L¼ $
4X" $"O L$ 4qO P2 #y5W" Æ OK Pp K " ~#Ç
Buzz
LO"KP.OK K\ "P }¼" "L¼ #. #z w "5X"J# L
#\J# 6¼ 6
4X" 60HZ # 50HZ V#wPq #. #ÆO#
"LÅ XL #S"
Buzz
ÇP5Ç~" |#X # #PK
#O5wSP2 ,#> Q" w 5X"J# "L¼ {#
yX Æ
K\ L
\ 6¼ 5WX sPe Q" K\ K#="
Byte
L
z "O #bit Q" #6 Pz Æ
Bias Current
c-a #y
w 4X" »» KHZ V#wPq #. X
X ÇP5Ç~" #P>
L#W2
E
|#w K- dJ Q" \# ;#>Ä" K#=" Q" Pz}> Oh
. We#
l
O#w "P. 6¼ #L
w 4t6 OK KO O#w . We#
l "L 3L\
Bias $ . w 4X" t5W ÇP5Ç~" #P> . ;#5F"
¨ J #0 #O5WR"P6
L
z U##. #P> # Current
bar
¿.P P55#X Æ OK K } Æ #. 4X" P."P. w 6¼ O#[q "P. LF"
bus
Æ . ¿-
L
B # Æ Q" #{#
yX # {#
yX {#t5" "P. w ÇP5Ç~" K# L
B # Æ
K\ K#p5X" L_t L
B #
B-Weighting
L
w j>O Weighting filter .
Capstan
L
z "O "L¼ We#
l ZI2 c-a ##y5XK Ç#Ç 4Wu OK O"K Py
~ GPB
(Prich roller) LO#[q Æ5}m Æw . 4X" |¼ Py
~ GPB " RwP . w "}
}O ZI2 c-a ##y5XK OK KO$OK 4wPF . Ã 4ÄPX #. "O "L¼ O"
OK L$OK 4wPF . "R= ÇP5Ç~" O6 Æ }X . O"K Py
~ GPB "qPF
Q" \# O"KPy
~ GPB 4wPF
y#J 4X#w ZI2 c-a ##y5XK OK w ~#F
4X" }¼" ÇP5Ç~" O6
Capsule
4X" (Diaphragm) "P- |#\ w qPÇ Q" 5Wu
Cardioid microphone
. KO"K # [O w 4X" "S" Cardioid #5X"O Æ6
5> qPÇ
n"Pe" Q" "L¼ {#
yX 4q#OK (pattern) y~" . "O#\" w 4X" ,}u #
Ã
L\ 4q#OK qPÇ #K |.#t OK K> 3"¼" ctq #qPÇ " OK L\#.
L\ 4q#OK qPÇ 4[2 #"L¼ K\ |L-6 ÇP5Ç~" {#
yX .
Cartridge
. ¼#J Æ
Ç6 #. "L¼ We#
l O" #5" "L5." w "L¼ #O" "P. T "-Ã>
KKPz ZI2 O" "L5." Q" (KL= #5" . O" LXO #. ,6P6 L. 5[z |¼
"O tX "L¼ "I. Pz!" L
# ZI2 c-a L
"6 "O "L¼ {##w #6 #<P6O#w!
¿u" OK 4X" PN2#Ç" P5X" {##w O#B #6
w c-a <P6O#w O P5X" 3O¼ .
"LÅ XL #S"
O" 4X" L\ LA2 $ OK . O" Q" "5W. t}F w 4X" PuPu Æ |#\ <P6O#w!
K\ |t5
PuPu . 4wPF K\ LA2 $ >O#J 4Wu OK . PuPu |J"K Q"
K#p5X" KO O" #
2 K\ \# 4"L OE ZJPB Q" O" 4wPF Ç}.
"L¼ #4X#w aPÄ #. L
w 4wPF #: OK P55#X 4ÄPX #. w 4X" P5}
LPz O"Pu K#p5X" KO P5w #<P6O#w!
Cavity Resonance
L
w Ã>"P Helmholtz Resonator . "hpE LL[6
CCIR
Q" "J#\ (International Radio Consultative Commitee)
L~6
Q OK w! (International Telecommunications Union) ITU
" 4q#OK {#t5" K"O #{#
yX #. c-6P K#
X" Q#XK#$ ¿Q6
O#[5"
KO"K 4~#Ãq Q}6 K"O
3"P.#I #QF OK #{#
yX
CD (Compact Disc)
cX6 w (Compaet) KP[q C~ O P. {#5=K "L¼ PJM 6¼ 5WX
5WX " OK L\ aPÄ O#=6 vO# Æ 3O¼ . X V1}q #4wP\
CD O P. {#5=K 3O¼ . tuK #6 P9w!"LF {#5=K "L¼ L\ Lw 3#Äe"
"O"K w P55#X Pdu #. Optical disc # O ÆWK K\ PJM ÆF
¼#J Æ5X2 Q" #CD L\#. #5K
K"K CD # 6¼ CD L
# p}5I j""
3#Äe"
OR~ O U#ÇÃ" }X . w KO"K O"Pu $ O R}q Q" " L\ 5J#X
P_6
6¼ CD L
# p}5I j"" #CD L\ L"J » ~#5=K
(Compact CD-Rom (Compact disc Recordable) CD-R P61#w!
LO"K disc Readonly memory)
CD changer
L# ZI2 ,6P5. L"6 "O CD L
B w CD ZI2 #y5XK
CD-R (Compact Disc-Recordable)
Æ L\#. 5\"K K> $ O P. c-a #Ç" w! (Compact Disc) "KP[q C~
# {#
yX KPw v!#2 #Ç" 4X" c-a |.#u O#-Ç "P. #
6 (Compact ) CD-R
4W "Pq $ O P. KL= c-a #5K
"LÅ XL #S"
CD-RW
P. c-a #Ç" O#. L
B "P. w (Compact Disc Rewritable) "KP[q C~
4X" "Pq $ O
Center frequency
#. V#wPq LF K # V#wPq . KO"K KP.O#w ONz # #P5}q OK w P5"O#2
KO"K O#\"
#2
Channel
ZI2 \#
qPÇ Æ {#
yX L"6 w "L¼ R KO machine
(External) >O#J cJ # ÇP5Ç~" Q#X Æ
(Reproduce machine)
K\ L# Fader w P5W#52 Q" Ã {##w P OK "L¼ DdX {P5
w "P. L\#.
P "P. x
P5}q L
# PyK 3#h
6 Q" 4X" Ç
A L
w K#p5X"
K\ K#p5X" {##w!
Chorus
3#ÃqK . K\ L"J #zL
"J Q" Pz cX6 w Q"$ Æ Q" [I. . w P«w
{#
yX Æ Q" [I. $ OK w "T 6¼ }> K\ 5pz
KKPz O"PÇ6
P-> ¿> }¼" {#
yX #. V1X L.# #Q PJ'6 #:} #6 6¼
|¼#F {#
yX =5 OK L
w Pl6 ÆKP2 # qK#_6 Oe . PJ'6 #Q K\
}X . ,}m" 6¼ }> " LXO Yz . ;6 Y#Ã6O" Ä #. "P
4X" .#5XK |.#u "L¼ ~#5=K 4Çq" L~ ##y5XK
Clean
"O"K w K\ re" ;#>Ä" R Q" O#Ä 6¼ #{#
yX . "L¼ XL
OK
L\#. #. 4pw #. _~#J# L. L#. #6 W#wPq HX#2
Clean feed
"L¼ |w w R}6 # K"O #P. OK L
w 4wP\ Æ . ~#XO" #
"O "L¼
KO"KP.OK "O " KJ "L¼ R> #P.
Clear
t. Q" $ R#6 L
\ 3O¼ " OK w L\#. q#w Ca 4q#p\ "O"K w "L¼
"LÅ XL #S"
P. Lw!'6 6¼ {#
yX Æ OK #. #V#wPq K> #. ¿u" OK 4X" P6#X$ #"L¼
L
.# P5[. 4q#p\ Ca "L¼ #{#
yX
#$ O
Clik
L
#
"L¼ We#
l #O" YP. "P. We#
l #k6 Q" K#p5X" Q" \# R
3"OM
YP. |E OK #$ cX6 "L¼ We#
l O" LP. #. w ~Ã Kq #k6
dt O-Ä #y
. K"K 4XK Q" "O KJ L\ c-a 4.#: |Ç\ O" O We#
l
L
w R K#=" ZI2 L |E Q" L\ LP.
Clip
L\ Ã6 Q#= LF Æ Q" w p
# 4-9 #4Wu OK "L¼ {#
yX DdX w #y
8Ä#. P" " w L
# nNF "O #5Wu 6¼ ÇP5Ç~" 3"O"L
KO P6#.
Clipping level "O DdX $ (clip) YP. |Ä " KKPz {#
yX OK ;#>Ä"
L
z
Clip LED
LK #[ w (Light Emitting Diode) LED O KK # . ÇBw Å"PB
PyK 3"R=6 # "L¼ R Æ ÇP5Ç~" 3"O"L Q#= KLE Q" {#
yX DdX
4X" L\ >PJ OK (Distortion) ;#>Ä" K#=" 8Ä#. K O-Ä 6¼
Coaxial Cable
O6 Æ s#Ä " O 4X" L\ e#F" Ia s#Ä Æ #. w Ç6 W K# Æ
sPe Q" {#
yX {#t5" |Ä KO O#w . PyK s#Ä $ O KO"KO"Pu L\ 5q#.
|.#w 4X" O#t5Pm {#t5" cJ Æ ¿u" OK KPz #=" # K# # Rl
OK R KLE nO#_ ~ K\ K#p5X" P_6 3"R=6 OK P5[. {#Ww!"w!
KO"K 6¼ 3"R=6
Codec (Code-decode)
{#t5" 4> VÇÄP. {#5=K . È~#$ Q" 6¼ #{#
yX |L-6 "P. }#X
AC-3 {#9 "P. 3#Äe" Q#X KP[q "P. ¼#J #5Oy~" #$
Ä w L
5W 6¼ 3#Äe" Q#XKP[q "P. #YO ADPCM MPEG
L
\#. Codec
"LÅ XL #S"
Coloration
Q" "O#2 LL[6 Q" \# W#wPq HX#2 (Distortion) ;#>Ä" "L¼ R$ xO
L
z "O #V#wPq
Commag
We#
l O" O L\ c-a "L¼ #. "P }q
Commentary
L#[ # OK $ L
z #"
K\ L
\ }q OK w K\ 5pz #
IX . O#5pz!
off-screen # Narration
}q OK EP[6 #O#5pz z " . KKPz
K\ K#p5X" \O"Rz # L
5W #}q OK P5[. L\ 5pz R Narration
Comopt
4X" 5q# 3P\ Æ52" # . w O "L¼ L#. # v!"P6 O "L¼ 3#-wP6
O6"P. OK v!"P6 " KPw L#[ "6 ;" P#_6 |Ç\ . }q O#
w O P. "O $
# O "L¼
L#. # v!"P6 " . K\ K#=" }¼" }q O P. /#B |Ç\ . }q
K\ 5pz R Ç52"
Compander
(Expander) L
K YP5Wz Æ (Compressor) L
w!KP[q Æ Q" -wP6 5l~
(Daynamic #2 P5Wz Z#w "P. L
w KP[q Æ |#\ Compander
P5Wz Z"Rq" "P. L
KYP5Wz Æ (Encoding) O"Nz RO #y
Range)
Z#w "P. Ã Compander Q" L\#. (Decoding) #[z RO #y
#2
K\ K#p5X" (Headroom) 3Ç[ |F "P. # R
Composite Sound
#P. Æ L\ >P6
}.K }¼" "L¼ j=
Compression
L\ w!" P5 KP[q " #{Ç~ $ OK w 6¼ Ç5Xw!$ ; Æ Q" 5Wu
=F LÄ Z#w KKPz Ã-e LF Q" P5[. #`q $ PpW6" O#[q w E .
P5Wz {P5
w Oh
. (Compressor) L
w KP[q #O"L Q" K#p5X" #. "L¼ {#
yX
"P. \O 6¼ 5WX OK ;#>Ä" K#=" LÄ (Dynamic Range) #2
"LÅ XL #S"
w 3¼ }¼" "5E 5qO 4XK Q" L. 6¼ {#5=K 3#Äe" hÄ =F Z#w!
L
z Q#X KP[q $ .
Compressor
L
z L
w!KP[q $ . w Q#= KLE OK {#
yX DdX {P5
w "P. #y5XK
|.#u KO . >PJ Z"Rq" 4-W
ÇP5Ç~" #O"L Q" K#p5X" #. #y5XK " OK
Æ >PJ {#
yX KO OK Z"Rq" LF" Æ #. 11 4~#F OK 4X" +#I5" Ã6
"Q" . 21 4-W +#I5" #. 4X" L[ |Ä KO" OXP1w Q
L.# Z"Rq" LF"
. K\ K#Q LF" Æ #
6 >PJ {#
yX
KO OK Z"Rq" LF" K
LF" Æ #
6 >PJ {#
yX
KO OK LF" » Z"Rq" #. w 101 4-W #6 ,6P6
O#-Ç . O"L P. (Limiter) L
w KLE #y5XK nJP. |~K .K\ K#Q
O"KP."L¼
OXP1w K> #. KPz #=" =OL6 3O¼ . 3"Pl6 5q# Z#w!
#y5XK O#w "P. "O #4-W Q" Ç 4X" c-a {#F OK w "#P. j #. ,X#
5!
(Comperssion zL
w KP[q 4-W L
# P5"O#2 L
B #OXP1w OK L
w +#I5"
(Attack }F #Q
(Comperssion Threshold) zL
w KP[q #5X$
Rate)
O"KP.P. 3O¼ OK w 4X" Ã6 |.#u (Release Time) #O #Q Time)
"L¼ #. CdX Ç}. K\ KO" "\LJ "L¼ 4pw . #
6 #$ DE¼ +#I5"
^_I6 . tX c-a "P. #OXP1w DE¼ PzO#w . L
$OK {P5
w 4E6
KO"K ;#5F" #. Ph 4uK .P=6
Condenser mic
Q#J qPÇ 4X" Q#J #
à . Capacitor "P. PyK # Condenser
Q" "L¼ 4q#OK "P. L\ SO#\ Q#J Æ Q" w 4X" qPÇ Condenser mic #
#qPÇ j " OK L
w K#p5X" ÇP5Ç~" {#
yX Æ . $ |L-6 " sPe
}¼#q 3"Pl6 8Ä#. " O#[q 3"Pl6
L
\#. 4u" Pz
$ "qPF j"" w!
ÇP5Ç~" {#
yX . 4# OK 3"Pl6 " L\ qPÇ OK Q#J 3#Ep¼
L\ |L-6
Contact Microphone
$ #. t5W U#6 #. "O L#> W> Æ "L¼ w qPÇ #-WB qPÇ
L
w 4q#OK
"LÅ XL #S"
Control Room
c-a ##y5XK
"L¼ R L
# 6¼ z!#z 3"R=6 w K5X" ,
> OK u#6"
#zL
}.
6¼ #L
w 4t6
#>PJ #KO {#_6" Ep¼
ZI2
r#6" " OK 4X" ,X#
Ç5Xw!$ Z\2 "O"K LO"KO"Pu $ OK "L¼ #Py\Q"KP2
|Ä
$ w
¯ pw {P5
w "L¼ (monitoring) K
\ #. "L¼ UL
# O"KP."L¼
LK #=" "O "L¼ ZI2 # ,wP6
c-a
Cottage loaf Response
$ 4[2 Q" P6U#WF $ P.O 4X Q" "L¼ 4q#OK w 5> K HX#2 #. qPÇ
LK Z\2 "O P62 "Q 4X"
Crap (Completely ridicalous audio performance)
"QO" 6¼ 3"R=6 "P. )Fd¼" w R$PIW #w 6¼ "O#w! 3O#-Ä opI
KO O#w . 4pw . 4u
Crest factor
; |Ç\ Æ (rms) P: O"Lt . (Peak) ;" O"Lt 4-W #. "P. w Fd¼"
4X" $ P: O"Lt P."P. ;" O"Lt X
X ; Æ OK {#9 "P. K\ K#p5X"
tX ;" PK#t PyK 3O#-Ä . 4X" P."P. » #6 tX 3"¼" OK 4-W "
F"Pe OK Headroom 4" Py#. P" " 4X" P: PK#t Q" P6#. 12-20 dB
4X" 6¼ 3"O"L
Crossfade
DdX =OL6 Z"Rq" {#F Ä OK 6¼ ¿-
Æ {#
yX DdX =OL6 Z#w!
L#. 4.#: O" # "L¼ DdX w Oe . 4X" PyK Ã-
{#
yX
Crossover
oe 4X" ONz # ONz #2
ONz #. #P5}q Q" -wP6 w ÇP5Ç~" O"L Æ
ZI. L
B . #zL
}. . {#Ä" "P. "O (2OHZ-20KHZ) 6¼ #V#wPq
#6 #2 #V#wPq OK 3q » Q" > {e 6¼ ;"" w #=$ Q" L
w Wt6
#V#wPq KLE #6 L"6 zL
}. @
LO"K #. #V#wPq OK @
" Æ
# X ,}m" zL
}. K
|u"LF Q" "P.#
. L# ZI2 "O (20HZ-20KHZ) 6¼
"LÅ XL #S"
# . zL
}. Æ {#9 "P. K\ K#p5X" #V#wPq #6 ZI2 "P. zL
}. L
B
800HZ Q" P6#. "P. PyK 800HZ PQ #V#wPq ZI2 "P. woofer
" OK L
z (Midrange & Tweeter) zL
}. $ . w K\ K#p5X" L"6
V#wPq #. ONz #2 P5}q Æ 800HZ ¿du V#wPq #. ONz!#. P5}q Æ . 3O¼
j L
B . O-Ä L#. U#X"P. Crossover #P5}q 4X" Q# 800HZ ¿du
,\
A L\ Wt6 (Linkwitz-Riely Bessel Butterworth)
#V#wPq oÃ`6 GP L
w^I[ w! Crossover #P5}q
E
dB # ,WFP.
#P5}q j Ã6 OK PyK P5"O#2
4X" dB
decade octave
L\#. Crossover
Crosstalk
. ,}m" LL2 " PyK {##w . 6¼ {##w Æ Q" "L¼ {#
yX Æ 5X"J# {#t5"
. "L¼ #R OK KO {S# K . # ZI2 c-a #L OK O#= v!"P6 K
K\ #. dB ,WFP. L\#. |J"L6 #
à . Crosstalk L$ K>
Crystal Microphone
j K\ 5J#X Ã ~#5WPw # Ç"PX K" Q" #YP. Q" w qPÇ Ä
. 4-W #{#5WPw 4wPF #. 4X" ]#J "z . O#
w OK K" " -Ã6 YP.
3L\ #. w K\ L~6 S#5~
L"5pz O"Pu O#
w OK ,6P6 " . w " K .
KO"K t5W d."O # #. L
w KOJP. 6¼ ;""
Cue (Cue Send)
#\z . ~#XO" {#
yX DdX {P5
w "P. "L¼ #R OK #Ç"
{#XO" K\ 5pz R Sono # Aux $ . w K5X" |J"K (Headphone)
. jP\ 9 ]#J O#w #=" "P. zL
}. # \z sPe Q" #P= . 4Ä
4Çq" K#=" # P= KPw 4-E¼
Cue mixer
KPw P-> ¿> #. "O Cue #{#
yX w "L¼ R OK "L¼ ÄPq L
w ,wP6
bdJ Q" ,}m" "L¼ LL> #R OK L5XPq K5X" |J"K #\z . "O =5
K\ K#p5X" Cue mixer "
Ä . (Auxiliary) Çw!
"LÅ XL #S"
Current
K> #. ÇP5Ç~" O"L Q" dt Æ Q" O-Ä ÇP5Ç~" O#. O"Lt ÇP5Ç~" #P>
4wPF . #P5Ç~" ÇP5Ç~" O"L Æ Q" dt K OK ÇP5Ç~" |W#52 n5J"
#[ I # i nPF #. "O ÇP5Ç~" #P> K\ K#=" ÇP5Ç~" #P> L
$OK
4X" P1$ $ LF" L
K
Cut off frequency
dt # #. L
w 4q" KJ O"Lt P9w!"LF Q" 3dB {#
yX w #P5}q OK W#wPq
K\ 5J#
\ R (Corner frequency) \z V#wPq # 3dB dt # 3OLu
Cut-Only equalizer
"P.
A 4X" L\ F"Pe oÃ`6 "P. ctq w Çq"Pz ORw!" "P. Fd¼"
" OK K\ K#p5X" R band-reject equlizer notch equalizer Da6
L
\#. 5\"K L
"6 #P5W#52 w 4X" LF P6#. odB 4Ãu ORw!"
KO O#w . .#I5" #V#wPq # V#wPq oÃ`6 "P. $ PQ PK#t
C-Weighting
L
w #y weighting filter .
DAB
"L¼ ~#5=K ZI2 #
à . w! (Digital Audio Broadcast) 3O#-Ä opI
T ~#5=K #LPz Q" DAB "L¼ #L
5XPq {#
yX 4q#OK "P. 4X"
3#Äe" "6 4X" CD "L¼ 4pw .#[ DAB OK "L¼ 4pw!KKPz K#p5X"
K {#XO" (Audio Data) 6¼ 3#Äe" "P R (Meta Data) q#a"
DAC
Z# R D/A 3O¼ . w (Digital-to-Analog Converter) 3O#-Ä opI
|L-6 È~#$ {#
yX . "O {#5=K {#
yX w 4X" #y5XK # O"L K\ K"K
{#5=K QF OK "L¼ #{#
yX YQ"KP2 P=Q OK 4Wu PJ$ DAC L
w
KKPz {#Ä "¶ zL
}. . L"6 4t6 Q" V2 |¼#F {#
yX 4X"
Damping factor
w KO"K O#\" back emf Z#w {P5
w #"6 . 4X" "P ,Pa
à .
3OLu L
w 4t6 >PJ |.#w }w V"L1" . zL
}. V"L1" 4-W Q" 3O#-Ä
L\#.
Z sp
Damping Factor = _________________
Z ampout +Z cable
DASH (Digital Audio Stationary Head)
-~ #6 "O"K L w K#p5X" 4.#: L Q" w {#5=K "L¼ c-a OK 5Pq
P. P55#X #6 O" 4ÄPX We# l O" Q" DASH 4X" 6¼ (Track)
"LÅ XL #S"
OK Studer Sony #4wP\ }X . DASH KO"L#5X" L
w K#p5X" #:
L\ 5qPz O#w . (Multitrack) -~ L
B c-a #\# 4J#X
DAT (Digital Audio Tape)
-\ #JPB L DAT We#
l O" 4X#w Q" w {#5=K "L¼ c-a \#
OK R . {#
yX P9w!"LF KP. P. (video recorder) P_6 c-a #\#
$ OK O"KP. V#wPq |. XK #. P."P. DAT 5WX
4qPz O"Pu AES YPN2 KO K {#X OK {_E " 4X" R6P}w!
DAW (Digital Audio Workstion)
P61#w Æ Q" |Ç[5 w ~#5=K 3O¼ . #"L¼ ,wP6 L6
c-a 5WX
3O¼ . # DAW OK L\ K#p5X" "L¼ R 4X" 6¼ O"Rq"P "L¼ 3O#w!
w 4X" Ãu" |Ç\ . # K\ LK P61#w Z# Ep¼ O P. w 4X" Q#=
4X" ~Ã #"L¼ R -\
DCC (Digital Compact Cassete)
LKPz aPÄ V1}q 4wP\ cX6 w ~Ã È~#$ #4X#w 5WX ~#5=K j
ZI2 c-a È~#$ #4X#w .J . "O ~#5=K #4X#w! DCC c-a \#
5J#X PyK LKPy <"O
q 3Ç[ {#-t5X" LÄ Pe#J . DCC L
w
K\
DSD (Direct Stream Digital)
(Super Audio ÆWK "P. V1}q X #5wP\ nPe Q" w Ç
Ç6
Audio ,uO 6¼ # CD Ry#> "
Ä . Compaet Disc) SACD
"P. 5. Æ6 Oversampling YO Q" DSD Æ
Ç6 OK 4X" L\ aPÄ DVD
K\ K#p5X" O"KP.!
DSP (Digital Signal Processing)
#5Oy~$ Q" K#p5X" #. w {#5=K {#
yX YQ"KP2 "P. "T (chip) \"P6
(Equalization) Q#X P."P.
KPw P5}q A ~#Ä"
{#5=K #O"Rq" 4IX
j"" #DSP LK #=" +J O#W. 4pw K#Ã~"rq "O#w #. "O PJ'6 K#="
6¼ 3"R=6 #6 OK L\ aPÄ z!#z #3O¼ . w LO"K p}5I
LO O#w . {#5=K
"LÅ XL #S"
DTRS (Digital Tape Recording System)
(Multitrack) -~ L B c-a \# qPÃ "P. "O rq 3O#-Ä Tascam 4wP\
LRzP. DA-88 # #. KJ {#5=K
DTS Cinema
4wP\ cX6 w # X #}q "P. {#5=K 6¼ 5WX Æ
aPÄ F"Pe Dolby Digital #. 4.#uO OK (Digital !Theater !systems) !DTS
L\
DTS Consumer
K#p5X" "P. CD DVD (Laser Disc)LD OR~ C~ OK 5qO O#w . DTS CPe
K\ 5J# \ R DTS ZetaDigital . w {R OK
DVD-Audio
#. "O O#5\ 5 4.#: P#_6 "L¼ {##w P. Ä L"6 w DVD Ä
#6 $ OK O"KP. V#wPq R6P#yz #6 $ Z#= z L# c-a 4pw P6#.
Æ
3O¼ K . |. XK $ OK R . {# yX 4-W 4X" R6P}w
4X" L\ aPÄ K
DVD
P_6 C~ # Ã . Digital Video Disc 3O#-Ä opI DVD 5\Nz OK
C~ # Ã . Digital Versatile Disc 3O#-Ä opI w!" ~ K. uO
5pw P."P. » |u"LF 5qPi #.CD LL> j DVD ¿u" OK L\#. uO j 5
LO"K z!#z j"" # DVD 4X" P6#. ,6"P .
De-Esser
nPF #. L #\J# 3"P:" nNF Z#w "P. w 6¼ {# yX Py\Q"KP2 Ä
(Compressor) L w!KP[q ¿u" OK Py\Q"KP2 " KO O#w . Y L # Pp¼
L w P:" R6P}w » #6 W#wPq KLE OK w 4X" ¼#J
Dead
"$ V2 K> #_t zT "O"K w #`q . "L¼ XL OK KP #`q
}J"K CdX Z\2 OK K" Q" #cE " K\ 5pz L\#. (Reverberation)
"LÅ XL #S"
_I[ #. dE |#w j 4#¼ r#6" L
\#. 6¼ ;"" +M#> w L
w K#p5X"
KP.O#w }X . "O 6¼ ;"" +N> P5[. U#ÇÃ" P5w w 4X" KP # Dead
. T Ç5Xw!
¶ $ 3#[#Q$ #=" "P. KO$ "Pq [\ [2 L
# ]#J K"
KO O#w!
Delay Line
PJ'6 O"Lt w $ Q" O-Ä "L¼ {#
yX OK PJ'6 K#=" "P. ÇP5Ç~" O"L
#O5Çq" L
#
{#5=K "L¼ ##y5XK OK Ã L
w K#=" "O 5.#:
K\ K#p5X" $ Q" "L¼ ~#5=K
Delay
#. #Q " LXP. Yz . Ã "}¼#q Q" "L¼ #6 L[w {e w #Q 3L PJ'6
K\ Ã6
4X" #: P OK P5 » #. P."P. )-Pt6 w 3¼ 4wPF 4ÄPX . >6
{P5
w |.#u ##Q #. {#
yX L
B # Æ OK PJ'6 K#=" "P. w O"L # }X
{#5=K "L¼ YQ"KP2 ##y5XK OK Delay O"L #KP.O#w Q" Ç KO O#w!.
PyK LÄ KP.O#w L\#. flaning, phaseshift, echo, Reverb K#=" L
#
Q#. ##`q ÈOR. #O#6 OK #zL
}. Q" "L¼ ZI2 OK Delay K#=" ##y5XK
LL2
3¼ 4ÄPX #zL
}. . e |¼"q Pe#J . ##Ç " OK 4X" ¿X
##y5XK Q" K#p5X" #. w 4\"K "J "O L
\ "L¼ L
B # K +}d#
nPeP. |Ç[ " #zL
}. . L\ {#Ä" #{#
yX OK (Delayer) L
KPJ'6
#6 "P. (Delay) PJ'6 #Q K. #WÇ Delay 3"O"L OK 5Ç K\
L\#. 6¼ #V#wPq
Delta - Sigma modulation
OK L\ F"Pe K {#X OK w {#5=K . È~#$ {#
yX |L-6 "P. \O
Q" YO " OK L\ 5J#X James C.Candy cX6 K {#X
È~#$ |L-6 OK P6#. 4pw . .#5XK "P. digital filtering Oversampling
O6L Æ "O"K delta - sigma A/D {L- Æ K\ O"KP.P. {#5=K .
4X" {#5=K P5}q Æ È~#$
"LÅ XL #S"
Demagnetizer
ZI2 c-a #L We#
l L#W2 nNF "P. #y5XK w L
w Ve#
lPm
4X" 6¼ We#
l #O" 4wPF PW OK ¿u" 3#Ãdu P#X
Depth
KO"K O#\" tX #Q#X L
# 6¼ ¿.#
OK # ÇKR . w O"L
\ X#WF"
L\c-a "L¼
L\#. K#Q
X#ÇÃ" "L¼ . 5q#OK t5W "L¼ 4-W Pz!"
LXO Ph . P6OK L\ c-a "L¼ 3O¼ " Pm OK KKPz VF P6ÆKR
L$ Ph . P6OK "L¼ L\#. P5[. B P "L¼ sÄ # Depth "P.#
.
Dialogue tracks
P. V#-$
Q #"L¼ O#5pz w K\ re" #v!" P6 . w w #L#.
Z\2 w ¼_I }q O P. "L¼ KO" z " OK K\ c-a #$ O
"L¼ L#. Æ K\ ZI2 P_6 }q #. #R Oe . L\ c-a KO"K We#
l
Dialogue track # O#5pz L
# z!#z "R= #v!" P6 |#\ L"6 |#w!
L\#. (Sound Effect) 6¼ T }> tX
Dialogue
#
X #}q
E¼ OK "PyQ#. #4_I\ }X . w #O#5pz # w!
K\ KP. O#w . #p L#XO "P. z!#z #Z# R}6
Diffraction
$ U#X"P. w #
X #}q OK Æ52" YO . "L¼ 4-: OK X#X" \O
# -~ O P. O #+#6Q#. Q" \# Pl5 {#Ç\" . |L-6 6¼ #{#
yX
LKPz }q O#
w \#F
Digital Audio
Q" (Quantizitation) Q#X O"Lt (sampling) O"KP. #Æ
Ç6 KP.O#w!
Q" KP5Wz "Ä= |Ç\ . #$ {#t5" Q#XPJM "P. 6¼ È~#$ #{#
yX
#Æ #Pp¼
Digital audio data Compression
"L¼ {#t5" Q#X PJM OK Q# KO #4. K"LÃ6 Z#w "P. w #5Oy~$
"LÅ XL #S"
L\ 5J# \ {#5=K "L¼ Q#XKP[q . LO O#w . {#5=K
~#5=K 3#Äe" Q#X PJM L#. # 2 Z#w 8Ä#. {#5=K "L¼ Q#XKP[q
K\ "L¼
Digital filter
"L¼ #{# yX YQ"KP2 pi {#5=K LA2 3"O"L Q" K#p5X" #. w P5}q
HX#2 O P. P:'6 L"6 (Prosessing) YQ"KP2 " KO"K LÄ . "O {#5=K
L\#. <O Æ# K {P5 w V#wPq
Digitization
. (sampling) O"KP. }X . È~#$ {# yX Æ |L-6 KPw uO
L z "O {#5=K {# yX
Dim
Talk back Q" K#p5X" #y #Pq r#6" #zL }. {# yX DdX O#wKJ Z#w!
Direct Box
#. O#t5 "L¼ {# yX . "O #. V"L1" #. O#t5Pm "L¼ {# yX w #y5XK
. ÆP5Ç~" #Q#X >PJ {#_6" "P. #y5XK " Q" L w |L-6 #2 V"L1"
K\ K#p5X" qPÇ ]_I bdJ
Direct Sound
#. w K\ 5pz O"KP-}q {#F OK K"LO Q" O"KP."L¼ . w E¼ PX "L¼
"L5." KO" OK w 4\"K >6 L#.
LXP. #=" . "L\ .Z2 3"L6
K¶ O" P#X #y5pz O"KP."L¼ #K5X" OK V1X KKPz #=" O"KP-}q
L. t5W 6¼ ;"" L w q#a" }q . "O tX 4Çq" L # PyK
O#[5" cE CdX Q" U#ÇÃ"
Directional Pattern
w "F# 4> PyK 3O#-Ä . qPÇ "L¼ 4q#OK # 4X#WF y~"
4X" nPÃ #5X"O y~" . KO"K "O "L¼ 4q#OK P5[. qPÇ
Directional mic
P#X Q" KPw 4q#OK P5[. "T #4> # 4> Q" "O #"L¼ w qPÇ
"LÅ XL #S"
L
# z!#z j"" qPÇ j " 4X" w O#W. $ 5q#OK "L¼ 3#>
KO"K stereo hyper Cardioid
bi-directional
Super Cardioid
Disc
KP[q C~ L
# O ##L "Pz 3#Ep¼ . }w Oe . w "S"
re" DVD CD-ROM
(Laser disc) O C~
(compact disc)
K\
Disk
4IX ÆWK P61#w #4ÇWK L
# We#
l PJM ##L . w "S"
K\ re" (Hard disk)
Distortion
$ ;" #4Wu (Clipping) YP. Pe#J . w "L¼ {#
yX OK "5X"J# Pl6
# uP. #O#5z L
# KO" `Ã. OK 5-~" K\ K#=" ÇP5Ç~" 3"O"L cX6
6¼ ]#J 3"P:'6 "P. $ Q" Ä
_ 3O¼ . {#5=K "L¼ O5Çq" ##y5XK
K\ K#p5X"
Dither
(Distortion) ;#>Ä" #6 K\ KRq" {#5=K "L¼ {#
yX . (LÄ w R
L\ L
\ P6Da" #2 DdX #{#
yX K\ 8Ä#. O#w " L.# Z#w!
Dolby A
w 5WX " OK 4X" L\ aPÄ -~"K 4wP\ cX6 w R Z#w 5WX Ä
P K\ Wt6 KLE O#B . "L¼ W#wPq oe
L\ 5J#X "qPF KP.O#w "P.
L
K YP5Wz (Compressor) L
w KP[q W#wPq #KLE " Q" Æ
Æ {P5
w w "5X"J# P:'6 Q" ,6P6 " . LO"K KJ . ]_I (Fxpander)
Q" a OK L\ Pz}>
KO"Ny. PyK #V#wPq P. 4X" Ç W#wPq KLE
" OK L$ |Ä . K#p5X" P9w!"LF (Audio Mosking) 6¼ zL
#\2 LL2
L
w 4t6 O"L Æ sPe Q" Ç K\ KO" Q" PW K Q" {#
yX
5WX
O#B . "O "L¼ W#wPq oe w W#wPq ÆÇp6 O"L Æ "O Q" PyK dJ
L\ ¿> PyLÇ #. c-a #y
. O"L K P >PJ V1X
L
w Wt6 KLE
L.# Py[B Z#w R ,6P6 L. L\ w Q" ZI2 ¿u OK
"LÅ XL #S"
Dolby B
w 5WX " 4X" L\ aPÄ "qPFPm nO#_ "P. w R L
#w 5WX Ä
"O e.P #L
"Pq
KO O#w . 4X#w )¼_I
6O#=6 #3¼ c-a OK P5[.
Q" LÃ. {#
yX w ,6P6 " . L.# Z#w R #6 LK #=" ZI2 c-a ¿u OK
)t5W #$ Q" Ç K\ Wt6 J#\ K . R6P }w ONz#2 P5}q Æ Q" O-Ä
V#wPq L
XO L
w ¿> Æ . L
w 4t6 ONz!#. P5}q Æ sPe Q" PyK
DdX L\ w #. w Oe .
K\ {P5
w {#
yX DdX cX6 ONz!#. P5}q ¿du
L#\2 "P. #y5XK KO w #y
K\ 5X#w R V#wPq " O"Lt Q" {#
yX
LK O-Ä "O #. }J V#wPq #. #{#
yX #
6 P5}q
L\#. q#w #. V#wPq R
L
w¿> . t5W PW Q" {#
yX P5[. =5 OK 4X" RB# >PJ P. P:'6
" ¼J Oe . 4X" Dolby A Q" P6K#X Dobly B R L
#w 5WX LXO
8Ä#.
ZI2 #y
. $ KP5Wz c-a #y
. "L¼ {#
yX =F KP[q #. 5WX
K\ R Z#w!
Dolby Digital
5WX " L\ j"P5J" -~"K 4wP\ cX6 w ~##w L
B 6¼ 5WX Æ 6O#=6 #
#ÆWK
DVD OK K#p5X" "P. V1X L\ F"Pe #
X OK KP.O#w "P. "L5."
Z\ 6¼ #v!" P6 $ #
X KP.O#w OK 4q# |#Ç6 DTV HDTV OR~
Q" K#p5X" #. #2 V#wPq #
4X"O dE
0B dE
4X"O
0B {##w!
. OK Æ52" 3O¼ . L\ |L-6 {#5=K 4Pq . AC-3 Q#X KP[q
Q" K#p5X" #. #zZ\ #{##w
ZI2 #y
. K\ /#B #}q \#F #G"OX
Pz!P. #. R #KP.O#w t. OK L$ 4XK . AC-3 ]#J (Decoder) #[z RO
4XK . #{##w "L¼ AC-3 (Decoder) #[zRO (Encoder) O"NzRO Q"
V#wPq {##w }¼" {##w <
2 . O#\" w 4X" nPÃ R 5.1 . 5WX " L$
KO"K (Low frequency Enhansment) LFE # .#I5" #2
Dolby
nPe OK $ KP5Wz V1X {#
yX =F KLE KP[q Q" K#p5X" #. w 5WX
LK Z"Rq" "O We#
l ZI2 # c-a 5WX Æ R . {#
yX 4-W
|.#t
L
5W Dolby B Dolby A 5WX " }¼" j
¶ K
"LÅ XL #S"
Doppler effect
¿-
Pi# w #y
Pi# Æ LK Q" 6¼ ¿-
Æ V#wPq OK L\ K#=" 3"Pl6
O#du Æ w 4X" #y
LL2 " {#9 P6QO#. L
# 4wPF PyLÇ . 4-W "L¼
ÆKR #y
{#9 " OK K\ OK " Q" V1X ÆKR Pi# Æ . #[w 3X
Z#w 3X V#wPq
O#du L\ OK #. L\ P6K#Q <OL6 . 3X V#wPq
O#du L\
Christion dohann # . [P6" "K a#O "LÇRq cX6 P}2K LL2L.#
L\ o[w K {#X OK »
Doppler
Double System
" OK L\#. L\ #=" O"KP-}q #. #R O"KP."L¼ $ OK w \O . }q L~6
#R #V~#2 Q" K#p5X" #. O"KP-}q .OK "L¼ We#
l c-a #y5XK YO
L
w O#w PyLÇ #. x
# Oe .
Doubling
KP. O#w . L#. Æ O P. }q "L¼ #z!"L> L#. L
B ,wP6 #y
. w Fd¼"
KPw }.K . w PyK #.Q . #.Q Æ Q" }q Æ #O#5pz >P6 K\
4X" nPÃ
Drop out
"L> |~K . We#
l #O" ZI2 ##y5XK L >PJ "L¼ {#
yX 4q«"
# We#
l LWw!" 3"OM 5J"
Ç LÄ
O" p9w Pe#J . w ZI2 L Q" O"
Q" K"LÃ6 K"K 4XK Q" # K- 4XOK L$ K> . We#
l 3"OM y5IO
{#5=K "L¼ QF OK
#dJ |~K . #4.
Dry Recording
"$V2 L
# 4Çq" zP PzO#w . L. "L¼ c-a |Ä #="
Dry
6¼ ;"" |¼#F w K\ re" ÇP5Ç~" #{#
yX . Æ[J # Dry Cd¼"
L
\#. (Echo) "$Q#. (Reverberation) "$V2 L. t5W
Dub-in
4X" LXO ##2 . $ O"KP-}q w }q "P. y5pz T
. "L¼ c-a
"LÅ XL #S"
Dubbing Session
4-E¼
L\ #=" $ O"KP-}q w }q O "PyQ#. $ e w S.K }FP
K\ c-a #$ "L¼ L
w
Dubbing
}X . w O#5pz "L¼ L#. Æ O . $ {#t5" "L¼ L#. L
B ,wP6
O"Pu #\KJ P#_6 O P. L\c-a K5X" OK #P. c-a Q" V2 "PyQ#.
KPz
Ducker
#. "O 6¼ {#
yX Æ DdX w (Dynamic Processor) #2 Py\Q"KP2 #y5XK
w!"P2IX OK O"Rq"4IX " LÄ KP.O#w!LK Z#w K 6¼ {#
yX KO
Q" Pz!"
4X" ZI2 {#F OK tX
cE Æ OK 5u {#9 "P. 4X" (Paging)
"L¼ L\ ¿du tX "L¼
LXP. #y5XK . L
z "L¼ qPÇ sPe
ZI2 tX (KL=
L
z w #6" Q" V2 K\ ZI2 #zL
}. Q" L
z!
K\
Duplex Sound Track
#
X #}q "P. Æ52 «" "L¼ L~6 OK \O . )Fd¼" w L#. K "L¼
tX L
# #"L¼ P#X L#. Æ OP. "PyQ#. O#5pz
YO " OK K\ re"
K\ c-a PyK L#. OP. 6¼ T #}>
D-Weighting
L
w Ã>"P weighting filter .
Dynamic - Processor
L
w Ã>"P Dynamic Controller .
Dynamic Controller
KP[q K\ K#p5X" "L¼ {#
yX
"K OK Pl6 K#=" "P. w 6¼ 6"R=6
(Noise Gate) #PzR (Limiters) #L
w KLE
(Compressors) #L
w!
L
\#. #2 P5Wz! #L
w{P5
w Q" Ä"" (Expander) #L
K YP5Wz
"LÅ XL #S"
Dynamic microphone
ÇP5Ç~" {#
yX . 6¼ ;"" |L-6 "P. @2 X Æ #.P
$ Æ Q" w qPÇ
Q" qPÇ " OK 4X" nPÃ R vPE5 @2 X qPÇ . K\ K#p5X"
#. K\ K#p5X" L\ |¼ vPE5 @2 X Æ . w Ç-X (Diaphram) "P-
OK L\ 5J#X wQ#
~$ X Q" w @2 X
"P- DdX . 6¼ ;"" KOJP.
@2 X OK 3¼ 3L\ #. ,X#
5 #P> KPw 4wPF 3OLuP2 #.P
$ . n#Ç\
" » KLF $ V"L1" "P.#
. 4X" w à @2 X OK K"LÃ6 KKPz K#="
LF #6 Æ#
K # vPE5 @2 X #qPÇ OK V"L1" Z"Rq" "P.L\#.
L
w K#p5X" qPÇ 5XK |J"K OK ÇBw L
"Rq" O6#OpW"P6 Q" " »»
w L.# Z"Rq" V#wPq5qO#. #. vPE5 @2 X #qPÇ Q" `Ã. V"L1"
P."P. KLF KO V"L1" #. #L
w 4t6 . #qPÇ z " 4X" Q
K\ |¼#F (flat) 4E6 W#wPq HX#2 #6 L
.# {#_6" #[W"L1"
Dynamic range
|.#u {#
yX P6#2 . ;#>Ä" L. 6¼ ÇP5Ç~" {#
yX P6L
}. 4-W
,WFP. <O Æ#
K L
# 5WX Æ <O Æ#
K # #2 P5Wz! "O ^I[6
P L
}. "R 4X" (S/N) R . {#
yX O"Lt P5[. ¿u" OK K\ #. dB
KKPz KLE
à LF OK $ Nl6 ¿-
"6 . >6 #. 6¼ 3"R=6 OK {#
yX
{#F Ä OK K. L
\ |.#u w 4X" ~#
yX P5w {#
yX P DdX P6#2
,WF P. w O"LtK " }¼#q L\#. ÇP5Ç~" 3"O"L
Q R DdX Q" P6#.
#6 {#
yX "R È~#$ 6¼ "qPF 3"R=6 OK L\#. <O Æ#
K
4X" dB
"P.#
. 4X" -94dBu R {#
yX O"Lt P5w L.# Z"Rq" L"6 dBu
» dBu È~#$ 3"R=6 #5WX OK #2 P5Wz P9w!"LF
PQ d."O Q" -Pt6 Oe . <O Æ#
K "R
{#5=K "L¼ QF OK L\#.
L$ 4XK!.
#2 P5Wz # <O Æ#
K \~QO 4.
dB #. P."P. <O Æ#
K
4X" \~QO 4. O"Lt w #CD OK {#9 "P.
K\
"LÅ XL #S"
dB (decibel)
K 5O#y~ P."P. K ¿u" OK dB KO"K p}5I j"" w "L¼ XL
OK -W LF"
{#
yX K (Power) 3OLu # (V) S#5~ L
"6 4-W K " L\#. 4-W
4}Ä L
\#. Ç5Xw!$ ; K (Intensity) 3L\ (Perssure) O#[q # ÇP5Ç~"
# ÇP5Ç~" {#
yX
"K |u"LF }¼#q w 4X" " "L¼ XL
OK dB Q" K#p5X"
. "O {#
yX DdX Æ Ã ,-X L. 4X" K#Q O#W. #$ P9w!"LF #6 Ç5Xw!$
4-W " B L
=
X $ . 4-W "O #{#
yX P#X KPw K#p5X" ¿>P "
Ä
P."P. K Q" P64F"O 3#-X#E "P. K\ K#p5X" #$ 5O#y~ Q" 4X" zOR. O#W. KLÄ
Æ5Xw!$ OK {#9 K\ KP. KX 5O#y~ "
¿.PP5 P. 6 » #. P."P. w #W" cX6 L
\ |.#u "L¼ O#[q |u"LF P
4X"
w Pz!Q"L" "J w 6¼ O#[q P
Æ5Xw!$P5Ç~" OK
4X" 3" } #. P."P. w ¿>P 3OLu P
w Pz!Q"L" "J w 6OLu P
Æ 3OLu w ~#F OK 4X" 60dB #6 50dB Ã qPÇ Æ >PJ 3OLu
L\#. +4dB #6 -10dB . "L¼ Line
EBU (European Broadcasting Union)
,_6 L6
6
Q OK w R}6 K"O ZI2 #2O" K#E6"
KO"K 4~#Ãq R}6 K"O #. c-6P #KO"L#5X"
EDL (edit Decision List)
OK w Ãdu P ##2 jP\ #Q Ã6 #. 6¼ #6w z!#z 3#Ãdu L6 4XPq
K\ K#p5X" 6¼ #O"Rq" 4IX #O"Rq" P
Echo Canceller
(Echo) "$Q#. (Digital Singal Processor) DSP Q" K#p5X" #. w #y5XK
3O¼ K . 5X"J# #w!" " L
w nNF "O zL
}. qPÇ . 5X"J#
. zL
}. 6¼ {#
yX 4[zP. Q" Ç5Xw!$ w!" L
5W ÇP5Ç~" Ç5Xw!$
w!" #"
KKPz |¼#F LO " "K" zL
}. Q" ZI2 $ KL= 4t6 qPÇ
#L
w nNF Q" rq #w!" nNF "P. K\ K#=" {#t5" bdJ OK ÇP5Ç~"
L#- w 4X" Pw!M . Q K\ K#p5X" Æ P T (Echo Canceller) w!"
KPw #-5\"
L\ L[w 3X 8Ä#. w #Æ.Lq #. "O rq 5X"J# #w!"
Echo Plate
. Ä
_ "$V2 L~6 "P. w ]_I R}q Q" wQ# Ep¼ Q#X"$V2 Ep¼
{ L̄- KO$OK Y#Ã6O" . "O Ep¼ " (Transducer) { L̄- Æ KO O#w!
4X" (Contact Microphone) #-WB qPÇ Æ ¿u" OK w PyK
ZÃ6P Ep¼ {e Pl6 #. L
w |L-6 ÇP5Ç~" {#
yX . "O Ep¼ 3#\#Ã6O"
K"K Pl6 "O "$V2 #Q "6
"LÅ XL #S"
Echo Wave Form
. Q# KO PJ'6 #. 5[zP. "L¼ $ OK w }¼" "L¼ #. L\ 5I$ ; |Ç\
O"Lt K\ O#w =5 L\P6x $YJ ,-X ,6P6 L. L\ L"KPzQ#. KO
Pl6 "O $ Q# #. s.#d #6 KO"K O"Pu O"KP."L¼ O#5J" OK Pl5 zK Æ }X . PJ'6
LK
Echo chamber
zL }. Æ Q" |Ç[5 5WX vQ# O#W. R}q 4IX CdX "O"K w "T Æu#6"
3#p5 ##Q #. (Reverberation) "$V2 K#=" "P. 4X" qPÇ Æ
KO O#w .
Echo
L\ ¿> }¼" {# yX #. w P5[. # #: } » PJ'6 #Q #. "L¼ {# yX O"PÇ6
. "$V2 {K#Ã #-5\" Oe . ,}m" S" " L w K#=" "O w!" # "$Q#. LL2
KO O#w!
Edital (Editing Block)
We# l #O" K"KO"Pu "P. {e OK O#\ "O"K w |Ç\ |d5W R}q "Ãdu
T k6 }X . O" YP. "P. $ ½PÄ OK + Ō KÄ ÆO#. n#Ç\ K "L¼
4X"
Editing
Q" ¼#J 4Wu nNF Oh . #$ KL= |¼ We# l #O" YP. L6
# }-u O" . PyK O" Æ Q" 5Wu K q#a" # O" O L\c-a "L¼
#O" }X . 6¼ We# l O" Æ o}5I #4Wu . O"Nz!}¼#q 5F
3"R=6 OK 6¼ #{# yX KRq" nNF . A 4X" OL~
We# lPm
#O"Rq" P OK R {#5=K "L¼ R ÆWKKO# L # {#5=K "L¼ z!#z!
K\ 5pz 6¼
Effects Return
OK w (Effector) 4Çq" K#=" ##y5XK Q" 5[zP. {# yX DdX {P5 w P5W#52
KO"KO"Pu "L¼ R >PJ 4Wu
"LÅ XL #S"
Effects Send
KO 4Wu OK w 4Çq" K#=" ##y5XK . ~#XO" {#
yX DdX {P5
w P5W#52
KO"K O"Pu "L¼ R
Effects
K\ K#=" "L¼ {#
yX #Py\Q"KP2 }X . w >6 ,~#> 6¼ #LL2
XL
Q#q Pl6
flanging
(Echo) "$Q#.
(Reverbration) "$ V2
L
5W nPÃ 6¼ #4Çq" Q" Q#q PJ'6 (doubling) O"PÇ6
Efficiency
. Ç5Xw!$ >PJ 3OLu 4-W Q" 4X" 3O#-Ä w zL
}. Æ #L"O # KQ#.
ÇP5Ç~" KO 3OLu
Electret Diaphragm
w
w!#X 5WP5Ç~" O#. |~K . w Æ6#5X"P5Ç~" #qPÇ "P. z!"Pq#K Ä
Electret Microphone . P5[. #z!$ "P. KO"L Nl6 . Q#
L\ K"K $ . -u
K\ j>O
Electret microphone
4> Nl6 ¿-
Æ KP.O#w Q" +#
5>" "P. w Q#J #qPÇ -\ qPÇ
w electricity magnet opI
electert # . "K# Q"
Q#J 3#Ep¼ SO#\
V"L1" w K\ 8Ä#. P" " L
w K#p5X"
4X" "K ÇP5Ç~" O#. "O"K
K\ 4t6 JFET Æ cX6 3P5Ç~" Q#J >PJ KO #. qPÇ >PJ
L
5W .}d 4pw "O"K #qPÇ j "
Emberhard effect
|Ç\ . 4Çq" " "L¼ 4pw
e KP. #. "P. 6¼ (effect) T }>
|Ç\ . 4Çq" " QP" K\ q#a" ~" "L¼ . "L¼
e zL[w!
K\ KRq" Æ[J ~" "L¼ . Q# KO
e O"Lt . >6 #.
ÇP5Ç~"
Encoded Tape
-~"K L
# R L
#w 3"O"L Q" c-a #y
. w 4X#w # |O 6¼ We#
l O"
L\#. L\ K#p5X"
"LÅ XL #S"
End - Fire Microphone
4X" qPÇ L. O#t6 OE #5X"O OK $ -du HX#2 }¼" OE w qPÇ
4X" ¿u" OE " P. KÄ Ep¼ OK "P-
Envelope
#Q . 4-W "L¼ Æ =F Pl6 yyB
Environmental Sound
. K5X" Q" ;O#J O"KP-}q cE OK w Ã-e #"L¼ . Q#W}q 4Ã ¼ OK
Pm #zLP2 "L¼ L # K\ re" L XO Yz!
Equalizer
#{# yX h 6 oÃ`6 4t6 "P. w ÇP5Ç~" #P5}q Q" ¼#J j
"L5." OK L \#. h 6 |.#u 4.#: 3O¼ K . #ORw!" K\ K#p5X" ÇP5Ç~"
O#w . # X p}6 OK c-a {#t5" Q" V2 6¼ #{# yX DE_6 "P. #ORw!"
"L¼ {# yX C¼" "P. w L 5W ÇP5Ç~" 3"O"L #ORw!" ¿u" OK L 5qO
HX#2 O O"NzP:'6 #. P" " LO O#w . ~" KO #. >PJ KPw #W
" KPz #=" V#wPq . 4-W {# yX "K Z"Rq" # Z#w {# yX W#wPq
Q#q HX#2 DE_6 "P. 4.#: #ORw!" |.#t OK L 5W h 6 |.#u #ORw!" j
LO O#w . (Delay) PJ'6 K#=" #y . {# yX Æ
Erase Head
Q" We# l #O" KPw v!#2 "P. "L¼ c-a ##y5XK OK w ]_I L Ä
c-a L Q" |-u O" 4wPF PW OK L " KO O#w . }-u L\ c-a #{# yX
KO"KO"Pu
Erase
"L PzO#w . }X . We# l #O" DdX Q" "L¼ {# yX KPw v!#2
L z "O Pl5 We# l
Erasing
# Q" KL= c-a "P. $ Q#XK#$ L wv!#2 L }> Q" "L¼ O O-Ä
OK OK $ KO"Nz }X. "L¼ #O" O We# l QPm 3"¼" KP.
L w K#=" #. V#wPq #. u We# l "L Æ w #y5XK
"LÅ XL #S"
Exciter Lamp
Z# #O5wSP2 OK (Optic) O "L¼ ZI2 O"L Q" [I. w "T 0
#. L\ ÆPE6 |X5q #6 K\ ,-X }q 4[2 OK 5qPz O"Pu #. 0 " 4X" }q
|.#u "L¼ }q \#F OK L\ 4-: #\O #X K#Q # w 4-W . }q YKPz!
K\ "
\
Expander
{#
yX (Dynamic Range) #2 P5Wz w "L¼ {#
yX Py\Q"KP2 Ä
#y5XK
Expander L
K YP5Wz Æ ¿u" OK LK Z"Rq" "O KJ Q" O-Ä
"O {#
yX #4Wu t. #" KPw 4t6 "O KO {#
yX
"Kw CdX w 4X"
>PJ {#
yX
"K |u"LF P9w!"LF }¼#q K\ 8Ä#. P" " L
w 4t6
L
K YP5Wz
KO"Nz P:" {#
yX #. CdX OK Q#X KP[q w Od# L.# Z#w!
L
w P:" {#
yX #2 CdX OK R
Extinction Frequency
L (Gap) n#Ç\ #
2 K. #W =5 OK
$ OK w W#wPq LF V#wPq
LF L
w Ã6 LF V#wPq K\ nNF {#
yX
L\ c-a {#
yX ; {e #. ZI2
4X" L n#Ç\ Q"L" Q" Ã.#6 V#wPq
#2 LF 4X" We#
l c-a V#wPq #.
"R . w L n#Ç\ PX K OK We#
l }q 3"Pl6 #. 4X" ,X#
5 >PJ
K\ w
; {e L\ ÈOR. =5 OK V#wPq Z#w "Q" . #5w!" P. |. XK
K\ KLE #5w!" » . We#
l c-a OK {Ã KLE P9w!"LF
5.1 Surround Sound
4Pq " L\ ,_6 F"Pe MPEG }X . w ~##w L
B {#5=K "L¼ 4Pq
DVD
L #O"
(LD) OR~ C~
#
X #}q OK K#p5X" "P.
0B
}¼" |t5W {##w <
2 . O#\" "5.1" OK "5" KLÄ 4X" L\
.Z2 DTV
.#I5" {##w Py#. R "0.1" KLÄ KO"K 4X"O dE 0B dE #
4X"O
4X" nPÃ R Subwoffer {##w . w {##w " 4X" [\ (Optional)
5.1 Surround ¿u" OK KO"K 3OLuP2 #2 V#wPq #"L¼ ZI2 . ]#_5J"
4X" DTS Dolby Digital O#=6 #4Pq }Ä # Sound
FFT (Fast Fourier Transform)
" #"R Q" LK #=" "O LA2 3#-X#E w 4X" {#
yX YQ"KP2 5Oy~$ Æ
+"> . .#5XK 4ÄPX ""Pq O#t5 3#-X#E #=" Q" +#
5>"
5Oy~$
» K OK x
. 4wP\ Q" Cormelus Lanczos cX6 O#. ~" FFT L\#.
K\ K#p5X" {#5=K "L¼ #. c-6P }Ä OK 5Oy~$ " Q" LKPz DP[6 K
FIR Filter (Finite Impulse Response)
nNF "P. KO {#
yX {#5=K # Q" KLE ¿> Q" w {#5=K P5}q
O"L#2 W#wPq HX#2 OK L
6 #,\ 5\"K #Ç" KP. P. ¼#J #V#wPq
XP #P5}q . 4-W {#5=K #P5}q #"R Q" #Q 4\Nz #K |.#t OK
" w K F"Pe dJ Q#q HX#2 5\"K "P. "6 "O FIR P5}q L\#. È~#$
K\ #V#wPq #6 "P. 4.#: #Q PJ'6 8Ä#. P"
"LÅ XL #S"
Fade -Out
Pp¼ . ~" DdX Q" "L¼ (Level) DdX =OL6 Z#w!
Fade-In
(0dB) K#Ä DdX . Pp¼ DdX Q" "L¼ (Level) DdX =OL6 Z"Rq"
Fader
O"Pu O"KP."L¼ UP5XK OK w O"KP."L¼ R ##y5XK OK 5qO O#w . L
w {P5
w!
KO z!#z 6¼ ¿.#
DdX #
"K KPwK#Q # w "P. L"6 5\"K
4X" ÇP5Ç~" ~ # P5W#52 Ä ¿u" OK Fader K\ K#p5X" >PJ
Fast forward
"L¼ We#
l ZI2 c-a ##y5XK OK }> nPe . O" ¿PX 4wPF
Feed Reel
Supply Reel $ . ,}m" w }O "L¼ ZI2 c-a #y5XK OK 0B 4X |O
K\ 5pz!
Feedback (Acoustic Feedback)
;"" " 4wPF 4ÄPX K. ^I[# Pl5 LÃ. X OK 6¼ ;"" 4wPF PW
#{#
yX Q#q n5J" "P.#
. 4X" ÇP5Ç~" O"L OK {#
yX 4ÄPX Q" P5w O#W.
Q" w #y
LL2 " 4W ^I[6
.Z2 |.#u }¼" {#
yX #. 5[zP.
w ,6P6 L. KKPz K#="
K\ K#p5X" 6¼ L
w 4t6 zL
}.
qPÇ
K#=" |~K . LXP. qPÇ . zL
}. "L¼ Q" [I. K. LF Q" Z. "L¼ 4t6 Pz!"
#zL
}. L[w 3X #Ç"
{#
yX V#wPq L
B # Æ LL[6 (Loop) t}F Æ
4t6 ^I[ #5X$ Æ ¿u" OK L
# "L¼ Æ.Lq "O LL2 " L$ K> .
. zL
}. Q" w "L¼ Pz!" ~ LK GO "L¼ Æ.Lq $ Q" V2 w KO"K K>
OK #5X$ " K"K L"I GO Ç.Lq
L\#. #5X$ " Q" P6#2 OK LXO qPÇ
LXP. Æ KLÄ . L$ K> . (Loop Gain) t}F OK 4t6 P. w 4X" LF
3" } » tX # L
z "L¼ P:" OK qPÇ >PJ L
w ½Pq {#9 "P.
Q" L\ ZI2 "L¼ Pz!" {#F K\ ZI2 zL
}. sPe Q" 4t6 Q" V2 S#5~ "
L\#.
3O¼ " OK
L
w K#=" 3OLu 3" } $ >PJ OK LXO qPÇ . zL
}.
"LÅ XL #S"
4[zQ#. P:" OK BPz 3O¼ " OK dB # » #. 4X" P."P. t}F OK 4t6 P.
8Ä#. w "L¼ Æ.Lq #"
4X" L$ K> . t}F Æ zL
}. sPe Q" qPÇ "L¼
K\ K#="
KKPz L[w 3X
.
K\ 4t6 P5[. "L¼ # L\ P6ÆKR . zL
}. qPÇ L
w ½Pq {#F
OK
LXP. 4~ } » . zL
}. Q" 5[zQ#. "L¼ P:" OK qPÇ >PJ w Oe
# "L¼ Æ.Lq L
\ #5X$ OK LXO Æ KLÄ . t}F OK 4t6 P. 3O¼ "
K\ 8Ä#. t}F 4t6 P. OK Z"Rq" P6ÆBw "5qPz O"Pu L[w 3X
(KL= L\ 4t6 Z2 Q" Z.
L
w O-Ä t}F " Q" w O#. P zL
}. >PJ
LL2 #. }.#t "P. KKPz "L¼ Æ5Xw!$ Æ.Lq K#=" 8Ä#. P" " K\ ZI2
L\ #=" Q 4uK #. ~#X Æ5Xw!$ F"Pe L#. " "L¼ Æ.Lq L
#\J# O#W.
qPÇ zL
}. 4W#. )#: L# K> . "L¼ ,X#
# #U#ÇÃ" #6 L\#.
Pz}> qPÇ . zL
}. t5W "L¼ KO Q" #6 L\ K"K O"Pu 4[2 . 4[2
E
Ph Q" zL
}. j "L¼ 4q#OK 4> Ph Q" qPÇ j . L#. )
a K\
# . 6"R=6 (PJ" K\ P5w LL2 " K#=" #Ç" #6 K >6 "L¼ ZI2
3"O"L Q" K#p5X" #. w L"L\ 5J#X Æ.Lq L
w nNF # Feedback Suppressor
LP. . Q" "O "L¼ Æ.Lq
ÆP5Ç~" LA2
Feedback (Electronic Feedback)
L# Æ.Lq 5WX # KO . 5WX Æ >PJ {#
yX Q" 5Wu 4[zP.
K#p5X" 6¼ #L
w 4t6 #Q#X #X L
# ÇP5Ç~" #O"L OK w K\
#X OK p
Æ.Lq Q" #L
w 4t6 OK 4X" p
4-9 3O¼ K . K\
. >PJ Q" L\ K"K 4[zP. {#
yX Pz!" K\ K#p5X" 4-9 Æ.Lq Q" #Q#X
3O¼ OK 4\"K "J 4-9 Æ.Lq #y$
L\#. KO {#
yX #. Q#q KO
K#=" p
Æ.Lq
KO {#
yX #. 5[zP. {#
yX . >OK » Q#q n5J" K>
4X"
. Z2 {P5
w |.#u #w ÇP5Ç~" #O"L OK Æ.Lq K\
Fiber Optic
R O ;"" {#t5" "P. 4X" wQ# Pdu "O"K w "T #O#6 # #5\O
R O 5\O Æ O {#
yX L
B {#t5" #Ç" KO"K KP.O#w L\ ~L 3#Äe"
"LÅ XL #S"
KP.O#w 8Ä#. w 4X" $ LÄ #4R Q" dE #R 4Q"O#2 O"NzP:'6 LÄ
#6w |¼"q OK 4X" L\ 6¼ 3"R=6 Q" JP. R 6"P.#I #5WX OK $
K#p5X" "[\ #P-q Q"
P5[. |¼"q OK Ç5X2 #P-q Q" P5 » Q" P5w!
K\
Figure-Eight Response
}> Q" "L¼ 4q#OK . O#\" w qPÇ 5> K HX#2 |Ç\ 6 4[
8 HX#2
KO"K qPÇ 4[2
Filter
{#
yX Æ #V#wPq Q" "KLE O-Ä Q" Pz}> "P. w ÇP5Ç~" O"L
(Low Pass) ONz #2
(High Pass) ONz!#. j"" . #P5}q KO O#w . 6¼
L\ Wt6 (Notch filter) ONy # (Band Pass) ONz #
Fishpole boom
#y5pz K\ |¼ $ PX Æ . qPÇ w K\ re" Ç-X L
}. Q#. .
4X" O"KP."L¼ ÆBw . Ä ¿u" OK L
w c-a "O #"L¼
Flanging
¿> YKJ 5q#PJ'6 IW #. 6¼ {#
yX Æ $ OK w "T 6¼ }>
#y
. ,}m" flanging Q" L
w Pl6 #: } » #6 » . PJ'6 #Q KKPz
K\ K#p5X" O#5z L
# tX #Q#X Q" `Ã. "L¼ c-a
Fletcher Munson Effect
Pz!" LL2 " s-eP. 4X" L\ b#-
5X" Flecher Munson
E
Q" w "LL2
L
\ $ #. #2 #V#wPq
K\ ZI2 PyK "L¼ Q" P6#2DdX #. "L¼
L\ L"I
Fletcher-Munson Curves
#
E
» K OK O#. ~" "P. w LK. #ttE Munson Fletcher
LKPw P[5
Pz!Q"L" o}5I #V#wPq . 4-W "O $ 4X#WF Yz "
\
W#wPq KLE OK w 6"¼" . 4-W Yz 4X#WF w L
K #[ #
E
"
V#wPq #. 3"¼" "P.#
. 4X#V#wPq t. Q" P5[.
L
5W KHZ #6 KHZ
"LÅ XL #S"
3"¼" L
}. #. P."P. #$ L
}. #6 K\ ZI2 P6L
}. L#. rq KLE Q" P6#. P6#2
# "
\ K#Ä KLE #
E
" ¿u" OK L\#. R6P}w #6 V#wPq #.
L
K #[ "O "L¼ 3L\ V#wPq "Q" . # #Yz 4X#WF Pl6 yyB
#V#wPq #2 #V#wPq
E
#5" K OK # "
\ w LQ#X ^I[
Z#Q$ KO K"Pq" X . #
E
" L
w 4q" "L¼ w 3L\ =F OK T . #.
4q" #. #V#wPq OK "
\ "R
K"Pq" X Z"Rq" #. w Oe .
KO"K y5W. R
L
w K#p5X" "L¼ L
}. Pz!Q"L" "P. Son Phon
LF" K Q" L
w
Floor mixer
"P. "O"KP-}q # "O"KP.P_6 "L¼ #XL
# y
# . w Fd¼"
L\ LK Q" +#
5>" . >6 #. #y[2P
ÇKR OK #qPÇ O"Pt5X" yyB
K\ re" "L¼ 4pw P6#. . | R .OK cX6 #$
Flutter Echo
K#=" Q" #O"K . 2OK2 #+#6Q#. #y
w "L¼ =F OK ¿PX Pl6
K\
Foldback
"L¼ R }X . K5X" |J"K #zL
}. # \z sPe Q" "L¼ L
B # Æ {#XO"
5WX OK {#9 "P. L
z "O #$ "5E Q" #P. #P= #z!$ "P. #Pq r#6"
\z sPe Q" tX #Q#X "L¼
Multitrack # -~ L
B YO . tX c-a
Q"$ #Q#X t. #. #R K} 5O . >6 #. #6 K\ ZI2 L
"J "P.
L"I.
Foley
. K "Lu" }q "P 6¼ #4Çq" #R c-a . O#. ~" w 4X" ÄP5I #
R L
w "Pq "O #4Çq" #R c-a #Ç" w Q#X}q #K5X" . Pe#J "
L
z Foley
Foreground music
w Oe .
KKPz "P>" }¼" [2P
cX6 w PÃ\ L. # }¼" tX
LO Z# # #
X ~#X . w 4X" tX Ãdu " L
\ "P. P5[. "Pz!#\#6
L\#. CPd (Background music)
Q tX #. W#t OK ,}m"
"LÅ XL #S"
Four-Channel Stereophonic Film
#}q Q" JP. "L¼ ZI2 c-a OK T \O . w "ÆqP5X" {##w O#B"
,X# 5 R "L¼ o}5I P#_6 L\ LK #. #y YO " OK K\ 5pz # X
"Surround # "dE "L¼ " LL> #5WX KO #. K\ L \ $ #.
K\ K#p5X" PyK YO " Sound"
Fourier theory
¿.#6 L B . "6 "O ÆKP2 ¿.#6 P yB LK CP\ w a#O O6 Æ
XL OK O6 " Q" KPw |L-6 L\ 5J# \ Q#q # "K #. X Ww X X
K\ K#p5X" 6¼ ;"" |}E6 R=6 "P. "L¼
Frame Noise
OK 4X"O 4X . # X #}q K#Q L\L[w ,-X . w R {# yX
L\ ;O#J Ã-e ¿a Q" "L¼ 4~#F " OK K\ L~6 L K Z# ##y5XK
KO Z2 L\ R L\ . 4X . P5[.
Frequency
#: Æ OK We# lP5Ç~" ÇP5Ç~" 6¼ ; Æ |#w 3##X K"LÃ6
Full Track
L\#. L\ c-a "L¼ Æ # 6 #$ ½PÄ #6 OK w "L¼ O"
Fundamental
x"K w R> tX 4 Æ R> P6. Ã ~" #2
}¼" V#wPq
L w Ã6 "O 4 "L¼
GOBO
Q#X Æ "L¼ LXO Q" Pz}> "P. 4X" +B V > Q" Ã w "Ep¼
GOBO 4X" #>.#> |.#u KO O#w . PyK Q#X qPÇ . tX
L\#. go-between opI
Gain
"P. KO . >PJ {# yX "K 4-W Q" 4X" 3O#-Ä w L w 4t6 Æ P.
#y$ L\#. 4~ KO "Q" . 4~ » >PJ "O"K L w 4t6 Æ Pz!" {#9
4X" » $ Gain # P.
Galvanometer
"Ep¼ . R= w ÇP5Ç~" #O"L OK S#5~ # #P> "R L K #[ }X
Ep¼ O L# 4.#: #. .PtÄ Æ 4X" S#5~ # #P> U#X"P. L\ L . >OK
Q" P5"~#z #5J#X OK LK #[ "O O"L S#5~ # #P> O"Lt hE~ P OK ;OL
S#5~ # #P> 3L\ #. ,X# 5 w ".PtÄ A KPz P q Æ #.P $ .. Æ
4J#X OK P5"~#z Q" K\ K#p5X" KKPz nPE PyK 4X . KJ ~" |E Q"
K\ K#p5X" "L¼ {# yX =F O"Lt K"K #[ "P. ".PtÄ P5 u
Gap
cE KO" $ sPe Q" We# l ;"" w ZI2 c-a #L ÆO#. O#W. n#Ç\
PÇ ZI2 L
¶ Gap ~ PÇ KLF c-a L
¶ Gap KKPz L n"Pe"
4X"
"LÅ XL #S"
Gate
L
w Ã>"P Noise Gate .
Granulation Noise
L$ K> . quantization #dJ Q" w L
\ |.#u 6¼ ;#>Ä" Ä
Graphic equalizer
#V#wPq OK {#
yX
"K h
6 "P. [w #{P5
w Q" w h
6 |.#u ORw!"
OK V#wPq Æ +#I5" #. "6
ORw!" j " OK L
w Pz!P. o}5I
K"K #=" "O V#wPq $
"K oÃ`6 # 4t6 |Ä R6P »»»» #6 » KLE
Group Delay
Q" {#
yX Æ O-Ä #y
¿u" OK V#wPq . 4-W {#
yX Æ Q#q 4p\ Pl6 GP
PJ'6 O"Lt L\#. 4.#: #V#wPq #6 "P. Q#q Pl6 "R Pz!"
5WX Æ # O"L Æ
4.#: PJ'6 #. #V#wPq 4X" 4.#: 5WX $ "P. (Group Delay) Pz!
L
w O-Ä 5WX Q"
Groups
{P5
w Æ cX6 L\ ¿> PyLÇ #. w "L¼ Æ OK KO {##w L
B # K Q" -wP6
L
B {P5
w "P. ¿u" OK K\ h
6 #$ }w DdX group fader
à LF"
K\ K#p5X" group fader Q" "L¼ R OK KO
Guard Band
Q" +#
5>" "P. w v!"P6 L
B We#
l L # We#
l O" Æ #v!" P6 . #`q
K\ 5qPz Ph OK (Crosstalk) #v!" P6 |J"L6 LL2
Guide Track
w LÃ. O"Nz!"L¼ "P. 4X" #
"O ctq L\ c-a O"KP-}q #y
w "L¼
4X" nPÃ L#\ "L¼ . K\ #=" "L¼ K5X" OK
HDCD
Pacific 4wP\ Q" FPe 6O#=6 # (High Definition Compatible digital)
L
"Pq (decoding) #[zRO (encoding) O"NzRO "P. w! Microsonics
#. L
w K#p5X" 24bit \~QO 88.2KHZ V#wPq Q"
{#5=K "L¼
4X" O#zQ#X DAT CD #4Pq
HDTV
4-W w ~#5=K R}6 "P. KO"L#5X" (High Definition Television)
. .#5XK "P. Pixels } K Q" |u"LF 4X" . $ Ep¼ ½PÄ . {e
K\ Pz!P. P6#. 4pw 4q#p\ P_6 P5[. 3#R>
Haas Effect
4> Ã6 L\ L
\ #"L¼ =F Lt6 "R . d."O K> P. w "LL2
ZI2 "O LF" "L¼ w .#[ zL
}. K . A#
B "P. KO"K Lw!'6 #$ L$
Q"
4X" Pl5 L
K PJ'6 O"L q#a" L
w 4t6 "O"K #$ Q" Ç #" L
w
=F #zL
}. Pz!" 4X" 4q#OK |.#u 3#Ç "
K\ K"K Yz #W "}¼#q
K $ . "dt Q" "L¼ LXO Ph .
L
w L~6 Q#q 3O¼ . "O #WÇ "L¼
#6 w LXO Ph .
L\#. {" zL
}. Q" P6L
}. K zL
}. "L¼ Pz!" L$
PJ'6 {" zL
}. . 4-W K zL
}. "L¼ Pz!" L$ K zL
}. Q" "L¼
Q" "L¼ #6 LXO Ph .
L\#. P."P. #. #zL
}. OK "L¼ =F ~ L\#. 5\"K #Q
OK K zL
}. L
\ . O {" zL
}. w 4X" "P. ½Pq
L$ {" zL
}.
"LÅ XL #S"
P:'6 P. "6 K zL
}. OK "L¼ 4t6 "R P. KRq" #. L\#. L
\ PX 4[2
LL2 # P:" L\#. {" zL
}. Q" P6L
}. K zL
}. "L¼ #6 L$ s#q #Q PJ'6
~##w L
B 6¼ #5WX #6 3#hF Q" Ç (Hass Effect) U#
#O#6 OK #XO "L¼ 4t6 5F Surround Sound # (Muhichanrel)
4X" Q#. ##`q
Half-Track
c-a "P. L\#. L\ K#p5X" "L¼ c-a "P. $ #
2 Q" )-Pt6 w We#
l O"
K#p5X" P5X" L Æ #. "L¼ c-a #y5XK Q" Half-Track OK P5X" |Ç\ . "L¼
L
#
K\ c-a "L¼ {##w K O" #
2 Q" OK w ,6P6 L. K\
~Ã "L¼ #4X#w!
Hamster Switch
Pz!" {#9 "P. L
w O" "O OLq KPÇ}Ä w "L¼ #R Q" `Ã. OK ¼#J L}w!
#2 OK K\ ¿du #. OK L}w " KQ #.
|¼ #. OK 4X" ¿du #2 OK OLq
"O (Right) 4X"O (Left) 0B #> PanPot #~ OK
A KKPz |¼
L
w ½Ä
Hard disk Recorder
K\ Ã>"P (digital Audio Workstation) DAW .
Hard disk
O#w . ~#5=K 3#Äe" Q" K#Q O"Lt c-a "P. w P61#w 4IX ÆWK hq#F
KO
Hardware
aPÄ 5WX Æ |Ç\ . w ÇRq Ç#Ç
ÇP5Ç~"
ÇP5Ç~" 3"R=6
L\
Harmonic Distortion
4t6 L
# ÇP5Ç~" 5WX Æ Q" {#
yX Æ O-Ä #y
w x
# ;#>Ä"
KO" 5WX Æ . V#wPq Æ6 {#
yX Æ L
w ½Pq K\ K#=" 6¼ L
w!
KO V#wPq Æ6 {#
yX K> P. Ä 5WX " >PJ OK K\
"LÅ XL #S"
KO {#
yX V#wPq Q" -"Pa w W#wPq #. #" 3#p5 #
"K #. #{#
yX
" . L\#. 5WX $ P¼#
Ä dJPm KPwO#w dX" . L"6 P" " w K\ P#i
BP K\ 5pz }¼" {#
yX #ÆO# # #x
# q#a" #{#
yX
{#F " #. L.# Z#w #$
"K
K\ P5[. ÆO# #{#
yX V#wPq
Q" rq #ÆO#
"K Pz!Q"L" "P. L\#. w Ç LF#6 L#. #$
"K j=
L
w K#p5X" (Total Harmonic Distortion) THD # . P5"O#2
Harmonic Series
Pz!" {#9 "P. L
\#. }¼" V#wPq Q" -Pa Æ P w #V#wPq Q" "Ä=
KHZ
KHZ
KHZ
KHZ #V#wPq
L\#. KHZ }¼" V#wPq
L
\#. KHZ V#wPq #ÆO# Ä=
Harmonizer
6¼ #}>
KO {#
yX #ÆO# 5J#X }X . w "L¼ Py\Q"KP2
KO"K KP.O#w ÆP5Ç~" OL tX OK P5[. L
w K#=" "O ¼#J
Head Set
"P. 4X" L\ 5J#X qPÇ (HeadPhone) \z ,wP6 Q" w "}X
4X#WF KO O#w . PyLÇ #. R}6 ##P. 4J#X |"Ä X K b#-6O"
#. K5X" |J"K |"Ä qPe K ~#Ç #Ç" Headset OK 5qO O#w . qPÇ #.
#P. "L¼ c-a OK }Ç[
|"Ä "L¼ Ç
" L.
KQ#X "Pq "O #Pq r#6"
L# K#="
Headroom
dB ,WFP. w 5WX Æ (Dynamic Range) #2 P5Wz #. b#-6O" OK Fd¼"
#6 5WX Æ |Ä dt . DdX . O#\" headroom KO"L LF" K\ #.
DdX $ OK w 5WX {#9 "P. L\#. 5WX $ OK
"K Q#= DdX P9w!"LF
$ Q" V2 w "L¼ {#
yX P9w!"LF DdX 4X" +4dBu {#P Oe . "L¼ {#
yX
(20-4) 16dB "O"K
4X" +20dBu K\ (clipping) LP. {#
yX
# S#5~ O#Ã w L
w rPq 5WX Æ OK headroom #. "P. 4X" headroom
We#
l c-a ##y5XK KO OK 4X" 4.#: $ O"Lt 4~#F K P OK L\#. "6
"LÅ XL #S"
w EdX #6 (0 VU) KO"L#5X" KPwO#w DdX . n5J" . Headroom Cd¼"
K\ re"
KKPz THD = #. ~#
yX K#=" 8Ä#.
Helmholtz Resonator
¾-t
4X" $ |Ç\ K#Ã." Q" Ã.#6 w W#wPq OK L"6 " $ OK w "hpE
"z . L"6
K\ -Ã6 hpE #K OK "L¼ +M#> "K# A#
B K\ cW-
L
w oÃ`6 (Resonanse) LL[6 V#wPq OK "O "L¼ .#I5"
#~$ "LÇRq
Heinrich Rudolf Hertz # Q" 5qPzP. Hertz
KPw L~6 "O Ä
_ K"O ;"" ~" w 4X"
Hertz
#: Æ OK |#w |ÇX Æ Q" 4X" 3O#-Ä w {#
yX # ; Æ V#wPq LF"
Hexadecimal
OK KPz KJ . "O #6 » PK#t Q" Ç KLÄ P w #
- P. KLÄ 5WX Æ
KLÄ 5WX " uO P L\ K#p5X" F #6 A nPF KLÄ Q" V2 5WX "
K\ #. (binary) K K KLÄ 5WX OK uOO#B KLÄ Æ #. L"6
High-Pass filter
OK L
w nNF "O t. K"K O-Ä KJ Q" "O {#
yX Æ #. #V#wPq w P5}q
K\ oÃ`6 (LL\ $ >PJ
#2 . V#wPq Æ Q" ¿u"
High-Speed duplication
~Ã 4ÄPX Q" P6¿PX 5ÄPX #. "L¼ O" P9Ç6
Holophonic
4X" Holography S~
Ç6 O"L
\ {K#Ã w "L¼ ZI2 c-a S~
Ç6 Ä
K\ "L¼ L\ O"K Lë. 8Ä#.
Howlround
zL
}. 9 Æ5Xw!$ ÇP5Ç~" #PW |#\ "t}F OK O"L#2# 3X
4X" Ç5Xw!$ n6" Q" P6ÈOR. ÇP5Ç~" 4t6 w LK GO #y
qPÇ
K\ j>O (Acoustic Feedback) Feedback . P5[. je" "P.
"LÅ XL #S"
Hybrid Telephone
P. 4[zP. 4qO {#
yX K "O"K w "O
p}6 6¼ {#
yX Æ w #y5XK # O"L
# 4qO {#
yX |#F #$ Q" 4p> P w X 4p> K .
4X" X 4p> Æ O
##y5XK #. p}6 bdJ V"L1" s-d6 8Ä#. " P. Ä L
w |L-6 4X" 4[zP.
K"O LQ ##P. OK ,}m" KKPz "L¼ 4pw Z"Rq" R "L¼ "qPF
K\ K#p5X" t5W
p}6 3#e#-6O" Oh
. R}6
Hypercardioid Microphone
. 4X"O 0B #O#
w Q" w #"L¼ "P. oÃ`6 12dB w 5> Æ6 qPÇ
K#=" "P- 4[2 Q" LXO #"L¼ "P. oÃ`6 dB L
XP. qPÇ "P-
KO$ K> . }¼" OE Q" >OK » "Q OK "O "L¼ nNF P5[. L
w
Hypercardioid Response
LKO#w P2X S" "P. qPÇ #zLQ#X X Q" w suK "L
B Fd¼"
4X" L\ CPd
hdCD
K\ Ã>"P DVD . (High density compact disc)
I/O (Input-Output)
KO #{#
yX |E . O#\" w P61#w ~#5=K 3"R=6 OK Fd¼"
Æ w 4X" I/O }X . KO"K >PJ KO {#
yX 3#Äe" . >PJ
K\ |_5 PyK 3"R=6 . P61#w # ~#5=K 5WX
IC (Integrated Circuit)
Q#J
4#t L
# ÇP5Ç~" ##~" K#Q O#W. K"LÃ6 Q" w ¿5= 3"O"L
"Ãdu OK 5qP[2 S~
Ç6 }X . P¼#
Ä " L"L\ 5J#X O5WR"P6
KK
LA2 z!#z 3"O"L L\ Q#X#> (Chip) \"P6 # . ÆBw O#W.
L\ 5J#X $ Q" K#p5X" #. ÇP5Ç~"
IEC (International Electrotechnical Commission)
,_6 L6
6 . 4X" S P\ OK $ RwP w #2O" #Q#X Æ
KQ"KP2 ÆP5Ç~" rP. QF OK
q #KO"L#5X"
IEEE (Institute of Electrical and Electronic Engineers)
6 \Q$ O" #. )6LÄ w ÆP5Ç~" rP. #XL
"qPF #Q#X P5zOR.
KO"K O#w PX #KO"L#5X"
IIR filter (Infinite Impulse-Response)
{#5=K P5}q Ä
IM,IMD (Intermodulation Distortion)
"P. dJ Pm ##~" cX6 L\ L~6 ;#>Ä" KLÄ Pz!Q"L" "P. Fd¼"
"LÅ XL #S"
f2 f3 f1 f2 L~6 8Ä#. dJ Pm #~" Æ Q" ONz OK f2 f1 V#wPq K {#9
8Ä#. dJPm {#t5" ¿u" OK L\ L "J f6 f1 2f2 f5 f1 2f1 f4 f1
;#>Ä" 8Ä#. P" " w KKPz KO V#wPq K #ÆO# L~6
OK {Ã Oe . K\ (Intermodulation Distortion) # XLP5"
K\ "L> XLP5" ;#>Ä" Q" THD # ÆO# ;#>Ä" 6¼ #5WX
¿> ctq IMD OK w ~#F OK L\ -X#E #ÆO# ;#>Ä" ctq THD OK "PQ
OK X X ; K IMD Pz!Q"L" "P. K\ -X#E #ÆO# sPp6
#y$ 4X" K#Q #[q5J" Ã w L\ {#Ä" 5WX . f2 f1 #V#wPq
;#>Ä" a#O #. K\ Q#m$ #ÆO# }¼" # "K Pz!Q"L"
A f f V#wPq OK }¼" >PJ "K A f rq d."O OK 4X" B XLP5"
sPp6 ¿> {# yX K }¼" >PJ "K A f f V#wPq OK }¼" >PJ "K
5\"K "N~ LO"K #WÇ "K (f f) sPp6 {# yX (f f) ¿> {# yX 4X"
Pz!Q"L" "P. YO P6{"L5 4X" q#w rq d."O OK K#p5X" "P. #$ Q" Ç
{# yX #KO"L#5X" " K P 4X" SMPTE/DIN #KO"L#5X" Q" 3O#-Ä IMD
V#wPq 6 Æ K#Q "K #. #2 V#wPq 6 Æ |#\ X X ; |Ç\ #. 4W6
KO" 6¼ 5WX . L"L\ VÇ dJ Oe . w #2 V#wPq 6 "K #. #.
L w
ISO (International Standards Organization)
#K OK O[w » Q" Z. L\ VX'6 {#X OK w #> #KO"L#5X" #Q#X
#QF OK 6#LJ L~6 #ZI. OK 4pw Q OK ISO L 5W $ `Ä
#KO"L#5X" ## "z ## $ ,_6 L6 6 CPe . 5Ã ¼ o}5I
KQ"KP2 Q
Image
K#=" zL }. K [|u"LF ] }X . w L \ n"Pe" OK 6¼ ¿- Æ Q#= #>
o}5I 6¼ ¿.# Q#= #Ç ~Ã P5X" 5WX Æ OK {#9 "P. K\
K\ K#=" zL }. K cX6 cX 4X"O 0B
tX #Q#X L #
"LÅ XL #S"
Imepedance
# O"L Æ Q" ac #P> Æ O-Ä #y
ttF 4#t j= KLÄ Q"L"
# P#i 4#t
L\#. Q#J p}X
" #4#t "O"K w "Ç-\
d."O Q" L
K #[ Z #. "O V"L1" KO"K # (Impedance) V"L1"
# ttF 4#t O"Lt R d."O " OKL$ 4XL.
Pz!Q"L" LF" 4X" Q#J 4#t O"Lt X C p}X 4#t O"Lt X L
"
4X" "
V"L1"
Incident Sounds
OK #$ . b.P P_6 w K\ re" LÄO
K#.
OK!xQ!A!-#>!#"L¼ .
KO"K!}q!" P>#!!K"LO!O#5J#X!OK!6#F!Zt!#$!K>!#"!KO"L!K> }q Æ
Indigenous Sound
4X" 4O |.#u P_6 OK $ ¿-
w }q OK "L¼ . "qPF Q#W}q
¶ 4Ã
¼ OK
P_6 OK $ LQ" Q#X KJ w #y
OK Q#X Æ " "P. K\ 5pz!
4X" nPÃ (Direct Sound) t5W "L¼ . K\ LK
Indirect Sound
#O"K
CdX Q" Ç5Xw!$ ;"" +#6Q#. }X . w "L¼ t5WPm "L¼
LXO qPÇ # L
\ . O#[5" cE otX
Infrasonic
"
\ V#wPq KLE Q" P5w W#wPq w K\ 5pz >"" . 3¼ K#
Da6 "P.
L
"K subsonic S" {K#Ã "O $ #-5\" . ,}m" L
\#. 5\"K #W"
K\ Ã>"P subsonic . P5[.
Input Module
KO {#
yX 4w 4pw {P5
w "P. #ZI. "O"K w "L¼ R Æ Q" 5Wu
ORw!"
OLq
L
w oÃ`6 Ã (Input Module) KO {S# Æ OK 4X"
¿du L}w
>PJ +#I5" L}w
KO j +#I5" L}w
(PFL) OLq Z2 K
\
" Q" 6##Ç" ONz #. P5}q ]#J #KP.O#w "P. (Aux) Çw bdJ
{#
yX
KO"K K> |-u
"LÅ XL #S"
Input Section
"L¼ #R OK (Input Module) KO #{S# Ä= KO ZI.
Intensity of Sound
|. XK ,WFP. Ã 4X"L¼ "6 Pz!Q"L" "P. X#t w "L¼ 3L\
"P. O"Lt " w K\ Pz!Q"L" R6P »»» V#wPq OK "
\ #5X$ #. ,X#
5
Ç
" |~K . |. XK U#t 4X" ¿.PP55#X P. K »
KLF #W" Yz!
O#w .
L
w K#p5X" 5O#y~ c."O Q" KO"K 5O#y~ HX#2 w #W" Yz A
W#wPq HX#2 "PQ KPw #-5\" (Loudness) "L¼ L
}. #. L#- "O "L¼ 3L\ KO
3¼ O#[5" yyB ¿-
"6 . "L¼ 3L\ L
w Pl6 "L¼ 3L\ #. ,X#
5 Yz!
ÈOR. {#F OK )"K w "Pw |Ç\ . ; L\#. ÆBw }J
¿-
A#
B KO"K y5W.
ÈOR. ¿-
A#
B L.# Z#w }¼#q ¿.P 4-W . 3L\ K\ P[5
4X" L\
4X" #
E" L. n#¼ Ä ; |Ç\
L\#. 5\"K O"Pu K#Q }¼#q OK # L\#.
Q#. #`q "O "L¼ O#[5" cE #=
" OK L
w "L
B Pl6 O#[5" }¼#q #. 3L\
)R~ w KONy. O"# ¿" Q" L#. "L¼ KO" P5[. OK ~ KPw ½Pq ¿# L.
I #. "O 3¼ 3L\ LK 4XK Q" "O KJ SP" Q" [I.
+N> v!#Çd¼" |~K .
d."O OK L
w #. dB ,WFP. "O $ d."O Q" K#p5X" #. L
K #[
"L¼ 3L\ I P55#X P. K »
#. P."P. w 4X" "
\ #5X$ # I rq
o
4X" Ph KO
Interference Tube
#. #5X"O zT
qPÇ {W1w . L\ |¼ #. w ~~
Ç5Xw!$ PW Æ
4q#OK OE . 4-W "" Q #. w #"L¼ ]_I ~~ " OKL[I. $ .
HX#2 =5 OK LKPz nNF # oÃ`6 #[#Q#q n5J" |~K .
L\
KOJP. "P- . P.O Q" w #"L¼ #
6
à K\ 5> #5X"O qPÇ
L\ 4q#OK L
w
Interleaving
Q#XQ#. {#5=K QF OK "L¼ 3#Äe" (rearranging) KL= L
.,6P6 L
"Pq
L
z "O c-a {#t5" #y
. 5qO 4XK Q" #4.
"LÅ XL #S"
Inverse Square law
Q" }¼#q #. 6¼ SP" "P.# . K\ P[5 Pw |Ç\ . #4> OK 3¼
. K\ o_ 6¼ SP" }¼#q L\ P."P. K #. w Oe . KO"K VÇÄ 4-W ¿-
(Sound SPL # 6¼ O#[q Q"P6 "L¼ ¿- Q" }¼#q L\ P."P. K "Q" . PyK 3O#-Ä
Inverse squre law LL2 " . w L.# Z#w dB Pressure Level)
L z
Jitter
w {#5=K #V~#2 Q#q 4p\ {#5=K "L¼ 3"R=6 OK #R LÄ . Z"Pz!
5WX Æ OK Pz!" ¿u" OK 4X" +}d# #w L$ Z2 4X" Ç {#t5" F OK
L \#. 5\"L #R #V~#2 #. |#w #R {#5=K #V~#2 {#5=K "L¼
L$ Z2 Jitter #dJ L \#. L w PyK EdX . S#5~ DdX Æ Q" 4~#F Pl6 OK
KHZ (Kilo Hertz)
4X" #: Æ OK |#w |ÇX Æ #. P."P. R6P P
R6P »»»
Key Sounds
L # L\#. ¼#J #Q #Ç #z L"6 # 6 . w L}w Q "L¼
#[F" "P #2B K> Py#[ L"6 w "L pXz "L¼ "P 5J" "L¼
L\#.
LCD (Liquid Crystal Display)
Q" w vPE5 4.#: P#_6 Ä #|Ç\ K"LÄ" nPF Z# "P. "Ep¼
#+#WF \# Z# 3#Ep¼ {#9 "P. L w K#p5X" ¿# {#5WPw Ä
L"L\ 5J#X LCD Q" (Labtop) pw #P61#w!
LED (Light Emitting Diode)
Q" K"LÃ6 Q" Ã LK O KJ Q" ÇP5Ç~" #P> O-Ä #. w "T K#
L w K#p5X" vu L #
KLÄ Çq"Pz 3#Äe" Z# "P. #$
LEDE
"L¼ #Pq r#6" Ç5Xw!$ F"Pe Ä . w Live-End/Dead-End 3O#-Ä opI
}> OK w [I. KKPz Wt6 ZI. K . #Pq r#6" F"Pe " OK K\ re"
#. }> ZI. OK 4X" ¿u" "L¼ R 4[2 OK w PyK ZI. KO"KO"Pu "L¼ R
#O"K Q" 6¼ ;"" #U#ÇÃ" K#=" Q" Pz}> P. ÃX Ç5Xw!$ F"Pe
K#=" "P. #Pq r#6" -tÄ ZI. OK w ~#F OK L\#. "L¼ R . 4-W otX
4X" P6#. X#ÇÃ" ,Pa #. FdX KP.O#w P. ÃX 6¼ ;"" 5J" Ç
LSB (Least singificant bit)
"R n P̄Ã w L z "O (Digital Word) {#5=K }w Æ OK 4. P6YQO" w!
4X" {#5=K }w OK 4uK
Lape microphone
OK Ç$ "P. R}6 ##P. L~6 OK 4X" ÆBw O#W. w "t qPÇ
"LÅ XL #S"
KJ #="PX K\ K"K O-Ä P= U#-~ PQ Q" $ X
K[ LK P_6
" K\ ,_ T "Pz }X . KPz . ÆKR t O P. qPÇ
KO$ "P . P= "P. "O #P. "P>" OK 4~X Ä ÆBw qPÇ
Laser (Light amplification by stimulated emission of raditaion)
Æ6 O ;"" w "}X 4X" 3#Ã[Ã[6 O#[5" ÆPE6 }X . w O 4t6
K# "O"K DVD CD ZI2 #\# #6 L
w L~6 "O RwP5 xO
L
5W KJ O (Pick up) /$ Æ2 OK OR~ Ã\" L~
Lasy arm
L\ -Ã6 "#2 O K. UÇÃ Q "O"K w . Q" "K#X |Ç\ #6w Q#.
O#w . PyK #Q#X # #2 |9 "L¼ ¿-
O qPÇ 5I$ "P. L"6
KO
Lavalier Microphone
4X" nPÃ KPz qPÇ . K\ 5I$ KPzOK . w qPÇ
Laying Sound
"L¼ O" KP. ,tÄ }> #. "6 }q Z# OK P_6 #. "L¼ #R Oh
.
Laying Sound |Ä " . KPw Æ
X # x
# #. "O K " P_6 . 4-W
OK KPww # "L¼ K. }> 3O¼ OK "L¼ O" OK KPw P5w #. O#w " L
z!
#=" L#. |.K #O5wSP2 # R O P. "L¼ K. ,tÄ 3O¼ OK P_6
KPz
Laying Track
,wP6 "P. w E . Q#W}q 4Ã
¼ OK 6¼ #v!" P6 KPw K#$ L6
L\#. K#$ #
Leader
We#
l #O" ÆÇp6 # O"Nz }¼#q Oh
. w We#
lPm Ç5X2 O"
KO O#w . PyLÇ Q" "L¼
Leakage
# 5[
LXP. PyK tX Q#X qPÇ . tX Q#X Æ Q" w "L¼
KO"K # Leakage
"LÅ XL #S"
Level Setting
ZI2 # c-a 5WX Æ OK KO {#
yX DdX h
6 L
"Pq "L¼ DdX h
6
#y5XK Q" L
z "O ;#>Ä" K#=" L. "L¼ Q#= DdX P6#. . .#5XK "P. "L¼
KPw K#p5X" "6 "L¼ DdX h
6 "P. PPM # P5 vu Pz!Q"L"
Level
Pz!Q"L" dB # "6
S#5~ ,WFP. L"6 w "L¼ {#
yX 3L\ # DdX "R
K\
Leveler
DdX Q" P6#. O" "O 6¼ {#
yX Æ DdX w 6¼ Æ#
K Py\Q"KP2 Æ
}X . w 4X"
Q R DdX K {#
yX Ã KO"K y K {#
yX
"L¼ DdX "O5XO Æ OK {#9 "P. K\ ÇP5Ç~" {#
yX . |L-6 qPÇ
cE . tX 4-W #6 K\ K#Q w "O5XO m}\ #. ,X#
5 tX
L\#. 4.#: O" V#-$
Limiter
. » >PJ . KO 4-W "O"K w 6¼ ##y5XK OK ¼#J ÇP5Ç~" O"L
dt Q" KO {#
yX Z"Rq" #. (Limiter) L
wKLE Æ ¿u" OK 4X" P5[. #
KO"K y 5.#: DdX OK "O >PJ {#
yX (threshold pont) #5X$ h
6 |.#u
. » >PJ . KO 4-W K\ h
6 dBu O #5X$ dt Pz!" {#9 "P.
. Z"Rq" dB #. >PJ {#
yX
LXP. dB . » dB Q" KO {#
yX L\#.
Q" +#
5>" "P. #L
wKLE Q" L# 4.#: DdX $ OK LXO L"J dBu
#. 5-~" K\ K#p5X" #L
5XPq 6¼ 3"R=6 OK (over load) KO#. O"Pq
L#. #Ç"5F "L¼ 4pw O P. #L
wKLE +}d# 3"P:'6 #Ç" . >6
L
wKLE O"L OK (Limiting) zL
wKLE |Ä KPw K#p5X" #$ Q" P5w!
#}u (Clipping) YP. Q" K\ \# L
w 4t6 P. Z#w Q" (Limiter)
~#F OK K\ (Distortion) ;#>Ä" 8Ä#. {#
yX ; #}u YP. ; |Ç\
#}u L
wKLE OK ¿u" OK L
w Pz}> ;#>Ä" K#=" Q" L
wKLE Æ w!
L\ LP. LO"K O`F P5w
"K #. ; |Ç\
"LÅ XL #S"
Line Level
O#t5 >PJ #. "qPF "L¼ 3"R=6 OK w "L¼ {#
yX KO"L#5X" DdX
>PJ #. y#J "L¼ 3"R=6 OK ( dBm) V #. P."P. (Balance)
L\#. ( » dBV) » V #. P."P. O#t5Pm
Line echo Canceller
K\ Ã>"P Echo Canceller .
Linear PCM (Linear Pulse Pide Modulation)
~#5=K Æ Pp¼ #V~#2 . )t5W "O È~#$ {#
yX w XL 5WX Æ
(Processing) YQ"KP2 # (Compressing) Q#X KP[q z @ KPw |L-6
K\ #=" $ O
Linkwitz-Riley Crossover
6¼ 3"R=6 OK w Crossover {#Ãq #P5}q F"Pe "P. }Ä KO"L#5X"
24 #. P."P. -\ w 4X" (4th-Order) >OK P5}q KO"K KP.O#w "qPF
KO"K aPÄ "O dB/Octave
Lip Sync
Q" A$ ¿u" OK L
z "O }q Z# #y
. #y[2P
P_6 O#5pz KPw #R
L\#. #$ #K 3#wPF #. s-d
L#.
K\ L
\ #y[2P
#.Q
Lip-ribbon Microphone
Ca #6 K\ K#p5X" L
z #K Q" ^I[ "}¼#q OK w O" qPÇ Ä
LL. L
z "L¼ #2 V#wPq #p~ . P5[.
Live Recording
LQ c-a "O P_6 OK #y[2P
Zt "P>" #. "P
E¼ OK #R "L¼ c-a
##P. ,}m" 4J#X OK \ " 4X"
E¼PX O"KP."L¼ # ¿u" OK w L
z!
K\ K#p5X" #
X #}q Q" O#W. R}6
Live Studio
"T #K5X" R}6 K"O ##P. LQ ZI2 T K5X"
. "P. R
Q #"L¼ #$ Q" JP. OK K. w!" v!"T2 L~6 ##y5XK "O"K w!
"LÅ XL #S"
L\ c-a #"L¼ K\ c-a "T 3"L6 #. K"O R}6
}q OK KP. O#w!
,wP6 #y
.
Q "L¼ L#. |Ç\ . |E6 c-a }¼" #K5X" . V1X
KKPz q#a" }¼" "L¼ . (mixing) #"L¼
Localization
6¼ Q#=
¶ # Ãu" ¿.#
#Ç Ã6 "P. #W" Yz "
\ 5WX #"6 .
K\ 5pz!
Location Sound
K5X" OK L\ c-a "L¼ #. w K\ c-a O"KP-}q Ãu" |E OK w "L¼
Live . L
z
E¼ PX O"KP."L¼ # |E OK O"KP."L¼ $ . 4X" 3#p5
4X" nPÃ Recording
Loop
. LXO #. w -6P6 . 6¼ #P. Æ {e OK 6¼ Ãdu Æ "L ZI2 t}F
6¼ Ãdu Æ 5J#X 4> "P. L
z "O K\ ZI2 "L5." Q" (KL= Ãdu #5"
$ ZI2 #5" "L5." PX K {#_6" #. We#
l "L¼ #O" OK Loop 3O¼ .
K\ K#=" Loop Æ
Lossy
L
w Ã>"P digital audio data Compression .
Loudness Curves
L
w Ã>"P Fletcher-Munson Curves .
Loudness
KHZ {#
yX Pz!" 4X" (Phone) q $ LF" WF "LL2 w "L¼ L
}.
#V#wPq OK ~ 4X" q 40 #. P."P. $ (Loudness) L
}.
L\#. » SPL "O"K
Æ L
\ #y
. L
\ w O_6 K. L"J 6#p5 L
}. "O"K » SPL PyK
PyK |"Ä O#W. . Ç}.
$ 3L\ . #
6 KO"K $ (Loudness) L
}. Q" "L¼
" L
5W suK Pz!Q"L" |.#uPm
M K#Q LF #6 #$ Q" "O#2 w KO"K y5W.
PhKO "L¼ zT
Q 6¼ R DdX
L
\ n"Pe" cE |#\ |"Ä
"L¼ L
}. 4X" #P. ja Q" L
\ vOK 5F $ Q" LÃ. |-u "L¼ L
}.
"LÅ XL #S"
w #
A
L\#. P5[. L"6
3L\ # #. Ph KO "L¼ Q" +}d# 5X"J#
P:'6 # "L¼ L
}. K\ L
\ P6L
}. ~"5 h
"L¼ Q" u#p6" h
# "L¼
#"L¼
"L¼ 3L\ =F P. KRq" #. KO"K y5W. R V#wPq . "L¼ w!"OK"
M
. P5[. #z!$ "P. L
$ Ph . P6.
. #"L¼ P6PQ
PQ
K\ j>O Fletcher-Munson Curves
Low-pass filter
Æ PyK 3O#-Ä . LK "O Ã W#wPq #6 DC #{#
yX O-Ä Q#>" w P5}q
¿du V#wPq Q" P5w #V#wPq #6 (Low pass filter) ONz#2 P5}q
Anti-aliasing P5}q L
w oÃ`6 #w "O t. LK O-Ä KJ Q" "O (cut off)
4X" ONz #2 P5}q Ä
MLP (Meridian Lossless Packing)
4wP\ cX6 w "L¼ {#
yX (Encoding) O"NzRO "P. 4q" L. \O
{#t5"
DVD-Audio O"NzRO "P. MLP L\ aPÄ Meridian Audio
Q#X KP[q #YO nJP. 4X" L\ F"Pe
\O$ Q#XPJM
"L¼ {#
yX
z @ YO " OK
L
w K#p5X" 3#Äe" Z#w Perceptual Æ
Ç6 Q" w!
re" 4q" L. # Lossless $ . Pe#J L. L$ K> . 3#Äe" OK [#w!
4X" L\
MADI (Multichannel Audio Digital Interconnect)
. dt e#-6O" 5WX "
Ä . )X#X" MADI 4Pq AES3-1993 KO"L#5X" #. s.#d
# R . (Multitrack) {#5=K -~ L
B c-a ##y5XK {#_6" "P. dt
#5WX 4Pq " PyK #KP.O#w L\#. {#5=K "L¼ #Py\Q"KP2
#{#
yX 4X" {#5=K "L¼ #K5X" . b#-6O" {#5=K routing
O#B OK ctq "PQ L
\#. AES/EBU #Pq . |L-6 |.#u #X$ . MADI
"P.#
. L\#. ÄPq Pq "O"K MADI Pq Æ LO"K n5J" {" 4.
|.#w Æ L"6 {#t5" cX" K"K {#t5" $ }X . "6 "O {#5=K "L¼ {##w!
L\#. P5 » Q" Z. "P. OP-q Æ
~ Æ # P5 » #6 {#Ww!"w!
OE!
» "O"K ÄPq Pq P 4X" R6P}w #6 Q" 4Pq " OK O"KP. V#wPq
4X" #: OK 4.#y
4Pq " ~#XO" (bit rate) K"K GP 4.
"LÅ XL #S"
MD (Mini Disc)
3#Äe" Q#XKP[q Q" w {#5=K "L¼ Q#X PJM "P. T KP[q C~ Ä
L
w K#p5X" 3#Äe" =F Z#w "P.
MDM (Modular Digital Multitrack)
c-a 4X#w L O "O "L¼ {##w 4[ w "L¼ ~#5=K We#
l c-a #y5XK
OLt R P5[. {##w K"LÃ6 . .#5XK "P. rq #y5XK L
B {#_6" #Ç" L#
K K\ K#p5X" L#. L
B YO . tX c-a "P. rq ##y5XK Q" 4X"
Oe . Tascam DA-88 Alesis ADAT-XT Q" L
6O#-Ä #y5XK " {L
K\ re" (Multitrack) -~ L
B "L¼ c-a ##y5XK #6 . MDM }w!
MIDI (Musical Instrument Digital Interface)
tX O"R." {P5
w }J"K 3#e#-6O" "P. "T |Ç6P2 (bus) U#. KO"L#5X"
L\ aPÄ K {#X OK O#. ~" w ÇP5Ç~"
MIDI channel
P K\ K#p5X" MIDI #{#
yX 4q#OK {#t5" "P. w #PW Q" Ç
Q" Ç #z!"L> {P5
w "P. {##w P L# |t5
"O {##w #6 L"6 MIDI |.#w!
KO O#w . ÆP5Ç~" tX 3"K"
MMCD (Multimedia Compact disc)
L
w Ã>"P DVD .
MOR (Magneto-Optical Recording)
O#w . T We#
l O KP[q #C~ OK w We#
l O c-a 5WX
KO
MPEG (Moving Picture Experts Group)
O#[5" h
6
6
$ #4~#Ãq Q" w SMPTE K#E6" OK O#w Pz Æ
#YO Q" L\#. {#t5" "P. P_6 "L¼ Q#X KP[q #CPe
q 3#_I[
" L\5qPN2 }Ä #KO"L#5X" "
Ä . MPEG4 #6 MPEG1 Q#X KP[q
KP. # "6 Pz!
"LÅ XL #S"
MPGA (Music Producers Guild of the America)
"Q#Wy $ 4X" "qPF P-5Ã =" Æ w #ÇP" tX #zL w L~6 ="
L 5W $ #`Ä" "L¼ c-a #XL
MSB (Most Signification bit)
~#5=K }w Æ OK 4. P6YQO" #.
Mag-Opt (Magnetic-Optical)
(Optical) O "L¼ ZI2 YO K P .Z2 $ OK w # X #}q IW
L. L\#. L\ z!#z # X #~#X OK O#w "P. (Magnetic) We# l
"O We# l # O #5WX Q" Æ P hE~ P OK "6 Q# . >6 #. ,6P6
KPw K#p5X"
Magnetic Film
"P. K. P5} #}q <"O |Ç\ Q"L" . w We# l c-a O"
4X Æ OK # 6 O" " K\ K#p5X" P_6 #. $ #R }q "L¼ c-a
"L¼ We# l
¶ c-a "P. $LWw!" Q" [\2 $ O P. 4X" "LK # G"OX "O"K
4X" L\ L[w!
Magnetic Recording Tape
DdX O P. $LWw!" L # "T We# l 3"OM Q" w We# l c-a O"
4X" L\ |Ç[6 ¼#J Ç5X2
Magnetic Recording
K" Q" L\ L\2 #O" O P. We# l "L 3"Pl6 P:'6 }X . "L¼ c-a
T #Æ Ç6 #YO }X . We# lPq
Magnetic Sound
K\ c-a We# l #O" O P. w "L¼
Magnetic Stripe Attachment
" #6 K\ ,_ # X #}q L KZ# ##y5XK O P. w "}X
We# l O" O P. #$ "L¼ w L \#. #}q ZI2 Z# . OK#u ##y5XK
4X" L\ c-a }q O# w!
"LÅ XL #S"
Magnetic Stripe
c-a $ O P. "O "L¼ #6 K\ L#-WB }q O#
w -~ P. w We#
l ÆO#. O"
KPw!
Magnetic Tape
PVC V
> Q" Ç5X2 K# Æ {" 4Wu 4X" L\ |Ç[6 4Wu K Q" w O"
KPz O"Pu {" 4Wu O P. w We#
l $LWw!" {}E K 4Wu P5W~2 #
K\ 5J#X "L¼ We#
l O" ,6P6 L.
Magnitude
ÇP5Ç~" ; Æ OK S#5~ # #P>
"K Q"L"
Mask
K\ L
\ oÃa ~" "L¼ w E . PyK "L¼ }X . "L¼ Æ L#\2
LXP. Yz . P5[. 3OLu #. K "L¼
Master Fader
#6 $ }X . w "L¼ #R OK "L¼ {#
yX DdX # }¼" L
w{P5
w!
Master }X . ¿u" OK L\ {P5
w #R x
# Oe . #KO Ä=
KPz #=" ZI2 # c-a Q" |-u "L¼ {#
yX DdX {P5
w L
"Pq PJ$ Fader
Master Tape
K#=" P9Ç6 "P. K\ c-a $ O tX # #P. w "L¼ We#
l O"
KPw K#p5X" $ Q" L#. OPÇ #1w!
Matrix-Mixer
bdJ #6 O P. {#
yX (Processing) YQ"KP2 q#a" 3##Ç" #. Router Æ
>PJ P . "O KO P "6 #
6 Matrix-Mixer #. >PJ KO
KPw K#p5X" R L
w KLE
L
w KP[q
ORw!" Q" "6 Ç}.
KPw {#XO"
>PJ KO "O"K #Matrix-Mixer P5[. K"K Pl6 "O #{#
yX CdX
L
5W
Mega
O#w . (Hertz) R6P
(bit) 4. 3#}w Q" |-u w } Æ #. P."P. -Pa
"LÅ XL #S"
R6P#y Æ »»»»»» R6P 4.#y Æ »»»»»» 4. {#9 "P.KO
MH=Mega Mb = Mega bit L # L K #[ M nPF #. "O Mega
Hertz
Megaphone
5\Nz OK }X " Q" "L¼ . K"K 4> LL[6 "P. |Ç\ pu ÈOR. "}X
L\ K#p5X" # X ÈOR. #}q 4J#X OK "PyQ#. #y[2P 4"L "P.
Micro
»»»»»» #:PÇ Æ {#9 "P. »»»»»»
} Æ #. P."P. -Pa
L K #[ PÇ
P # nPF #. "O Micro #:
Microcontroller
K\ Ã>"P Microprocessor .
Microprocessor
#=" # "O 4XPq Æ #. s.#d "O td 3#}Ä K#Q K"LÃ6 w ¿5= O"L Æ
#P61#wPÇ }¼" 5W Microprocessor # LQ"KP2RO LK
4X" _I\ #P61#w!
Midlift
"L¼ {# yX Æ OK # #V#wPq 4t6
Mike man
L\ Ã6 Z2 Q" |E OK qPÇ DE¼ O"Pt5X" {W w qPÇ L_5
Boom man ^I\ " . 4X" qPÇ (Boom) Q#. O"Ly {W #z!
K\ 5pz
Mix down
# 6¼ v!"P6 Æ KO$4XK. z!#z 6¼ #v!" P6 ,wP6 5I$OK
(Multichannel) ~##w L B tX c-a YO OK {#9 "P. #$ Q" L\ b}I
K\ |L-6 v!"P6 K # Æ . 6¼ v!"P6 #
Mix-Minus
KO cJ R> . #KO Q" (Mixing) -wP6 >PJ P w T Mixer Ä
"LÅ XL #S"
#>PJ #KO K"LÃ6 Mix-Minus ##y5XK OK 4X" >PJ #. O#\!
OK >PJ P \#. 5\"K >PJ 4[ KO 4[ Pz!" {#9 "P.LP."P. #.
Q" -wP6 O#\ >PJ "P.# . 4X" PyK KO 4p Q" -wP6 LO"KP.
O#\ >PJ #6 #KO Q" -wP6 O#\ >PJ #6 #KO
OK 5WX " ~" KP.O#w L \#. PJ$ ~" #6 #KO Q" -wP6
Q" #6 L\#. KO"K O"Pu zL }. Æ qPÇ P ÇKR OK w ÈOR. Z# #~#X
K\ +# 5>" "L¼ Æ.Lq {#5F"
Mixer
L B # Æ 3O¼ . KPw ¿> # ,wP6 #. "O KO {# yX L B w #y5XK
#=" #Ç" z!#z ÇP5Ç~" #O"L }X . Ç " a LK |E6 >PJ
"P. KO"K K> >PJ # KO #{# yX O P. w pw #{P5 w j""
L w j>O Audio Mixer . P5[. je"
Modulation
#YO L\#. |#F ; Æ O P. ;"" KPwO"X Q" 3O#-Ä XL
Pz!" 4X" }¼" ; P."P. #K |#F ; V#wPq KO"K K> XL "P. p}5I
XL 3O¼ $ OK L w Pl6 }¼" ; "K #. ,X# 5 |#F ; V#wPq
Pl6 }¼" ; "K #. ,X# 5 |#F ; "K Pz!" 4\"K "J FM # V#wPq
OK FM AM #L 5XPq Q" K\ K#=" AM # "K XL L w!
K\ K#p5X" R}6 K"O ##y5W"
Modulometer
K\ re" "Pz!# #3¼ c-a OK "L¼ =F P9w!"LF Pz!Q"L" #y5XK .
Monitor Mixer
#P= "P. "L¼ {#XO" ,wP6 Q#X K#$ Y"pi w (Mixer) "L¼ R Ä
K\ re" R foldback Mixer $ . 4X" L "J LQ"
Monitor
cX6 "L¼ 4w 4pw P. 3O#h "P. "L¼ {P5
w r#6" OK w qL # #zL
}.
K\ K#p5X" "L¼ UL
O"KP."L¼
"LÅ XL #S"
Motage
L
z [R Montage] "L¼ #O" (Editing) L6 .
Moving Coil Microphone
Æ We#
l "L OK z!"Pq#K . |_5 @2 X $ OK w vPE5 @2 X qPÇ
j>O Dynamic Microphone . P5[. je" "P. L$OK 4wPF . #.O $
L
w!
Muddy
L\#. w!" Y#[5m"
R #. "P w n#p\Pm "L¼
Multimedia
6"P.#I #XO L
B #. O#w #"6 w KO"K _I\ #P61#w . O#\" }w Oe .
KO"K "O p}6 Vw!#q
Çq"Pz O#5\ 5
P_6
P5X" "L¼ L
#
Multiple Sound Track
# "L¼ O" Æ O P. w O#
w OK "L¼ L#. L
B . #
X 4Ã
¼ OK
#. "L¼ #L#. " L
z ,wP "L¼ L#.
L
\#. O # We#
l P5}
L
"6 "L¼ #L#. " L
5W PyLÇ .#[ #Q Ph Q" #" 5\"K 3#p6 PyLÇ
L
\#. 4Çq"
Q #"L¼ |#\
Multiplex
P OK ¿u" OK L
w {#XO" >PJ Æ . ,6P6 . "O KO {#
yX L
B w Ç
Ç6
"P. 3"P.#I OK Æ
Ç6 " Q" K\ |¼ >PJ .#KO Q" Ç
#Q
K\ K#p5X" 6"P.#I 3#e#-6O" OK 4ÄPX K#=" >qP¼
Coding and Multiplexing)
"P. #. 4pw #. {#5=K "L¼ 4> (bit rate) 4. GP Z#w KO"L#5X" Æ
. L
} Q" Philips #~$ Q" IRT
W"Pq Q" CCETT cX6 w (broadcast) ZI2
4X" L\ aPÄ vP5[ Oe
Multitrack Sound (Multichannel Sound)
Q"
KP-. }q Z# Q" P5[. 3N~
Pz!#\#6 Ç
" "P. #
X #}q 4J#X OK
OK {#9 "P. L
w K#p5X" #}q "L¼ c-a "P. "L¼ {##w!
L#. Æ Q" Z.
"LÅ XL #S"
# L#. K "L¼ c-a "P. 4X"O 0B
"R= {##w K Q" "6 4~#F P6K#X
K#=" P5. E . ÆqP5X" LL2 #{##w K"LÃ6 Z"Rq" #. KP. KX v!"P6 K
ÆqP5X" "L¼ L#. #6 #z P5} » #}q ZI2 OK "P.K\
Pz!#\#6 Yz . z!#z 3#> Q" #
X ~#X OK #"L¼ " K\ 5qPz Ph OK
K\ 4t6 }q Z# #y
. .#4> U#WF" ,6P6 L. LXO
MUSICAM (Masking Pattern Adapted Integrated
Universal Subband Integrated coding and multiplexing)
cX6 w ZI2 "P. #. 4pw #. {#5=K "L¼ 4>
4. GP Z#w KO"L#5X" Æ
4X" L\ aPÄ vP5[ Oe . L
} Q" Philips #~$ Q" IRT
W"Pq Q" CCETT
Mute
# KO PW OK w "L¼ #R L
# 6¼ 3"R=6 Q" `Ã. O ~P5
w L}w Æ
KO"K "O cJ $ OK 3ÇX K#=" {#
yX ¿du pi KPz O"Pu >PJ
milli
#: } {#9 "P.
#: O"R Æ {K#Ã -Pa
»»» »»»
N/M (Newtons Per Square Meter)
P. K }-u LF" Ry#> LF" " 6¼ O#[q Pz!Q"L" LF" ¿.PP5 P. 6
O#[q |u"LF ¿.PP5 P. 6 ¿.PP55#X P. K »
4X" L\ ¿.P P55#X
4X" R6P}w Æ V#wPq OK ¿.PP5 P. 6 »
" \ |.#u 6¼
NAB (National Association of Broadcasters)
LO"K 4~#Ãq R}6 K"O ¿# ¼ OK w #Ww "P. "qPF #Q#X
NARAS (National Academy of Recording Arts & Science)
K\ j>O The Recording Academy .
Nagra
Q" ;O#J OK "L¼ c-a ]_I w #. O#W. 4pw #. "qPF 3¼ c-a #y5XK
Nagra $ {L P6nPÃ KO"K p}5I j"" 4X" L\ 5J#X F"Pe K5X"
"L¼ ,}m" Q L$O#w . # X 4Ã ¼ OK w 4X" 6¼ c-a ~" w 4X" 4.2
L"6 #y5XK " K\ #=" $ cX6 # X #}q OK E¼ PX #O"KP.
LL> #{L Q" LK #=" O"KP-}q #. #R Oe . "O E¼PX "L¼ c-a
O#\" ARES-C ARES-P SN IS {L . "6 Nagra 3¼ c-a #y5XK
LO"K ¼#J KP.O#w Æ P w KPw!
Narration
"P. L z # "O Æ }X . w }q ## L w"P O#5pz . 5"O O#5pz!
L z K\ K"K #[ P_6 OK A$ Da6
"LÅ XL #S"
Narrow-Band Filter
KLF
#. O#W. 4pw ,Pa 5HZ KLF
w O#W. #
2 #. 6¼ #P5}q
O#w . 6¼ Æ.Lq nNF 3"R=6 #P5}q ÆP5" O#2 #ORw!" OK w »»
Q" P5w #P5}q #6 QP" KO
L
# Narrow-band filter "O #5w!"
Near Coincident
OK tq" DdX Æ OK 5> Æ qPÇ K $ OK w P5X" O"Nz qPÇ q ¯
LO"K }¼#q PyLÇ #. @
" L
B Q"L" . LPz O"Pu O#
w!
Near Field Monitoring
O P. cE Ç5Xw!$ 3"P:'6 Q" +#
5>" "P. L
\ ÇKR OK #zL
}. -Ã6
Æ K\ K#p5X" zL
}. 5WX K Q" OL "L¼ {P5
w #r#6" OK "L¼ 4pw!
KPz O"Pu "L¼ c-a UL
ÇKR OK "L¼ R O P. P5X" zL
}. 4p>
3"P:'6 #6 KPz O"Pu P6OK 3#p5 3#¼_J #. P5X" zL
}. 4p> Æ
K\ 5qPz Ph OK R cE Ç5Xw!$
Network
#Ç-\ L
5W b#-6O" OK #. w P61#w L
B Q" |Ç[5 "Ç-\
6"P.#I R}6
Node
5\"L #>.#> w "dt . (Standing Wave) w!#X 6¼ ; Æ OK Pz!
L\#.
Noise Floor
#z w L
B P 4X" L\ L
\ |.#u "L¼ {#
yX $ Q" V2 w "#5X$ P6#2
#Æ
Ç6 #. R (noise floor) R DdX PQ OK ¿u" 6¼ #{#
yX 3#u"
5\"K y #2 P. ÃX O" L#. 6¼ 3"R=6 3"O"L OK L
5W .#5XK |.#u
{#5=K "L¼ 5qP[2 #5WX 3"R=6 OK R DdX K noise floor
4X" È~#$ XP 3"R=6 #5WX Q" P6#2
Noise Gate
KO O"L . R Mp Q" 4Ã# "P. 4X" >PJ {#
yX DdX {P5
w "P. O"L
"LÅ XL #S"
<O Æ#
K # #2 P5Wz L\KLE 8Ä#. O"L " ¿u" OK KO O#w . Ph
dt Q" "L¼ {#
yX DdX Z#w #. w 4X"
B O"L " O#w U#X" KKPz {#
yX
Pp¼ . >PJ {#
yX DdX
4X" h
6 |.#u w (Thershould Point) #5X$
O"L " 4\"K "J "O >PJ {#
yX (KL= {#
yX DdX Z"Rq" #. LXO
KO O#w . {#
yX LL\ Z#w #y
. KO R O-Ä Q" Pz}> "P.
Noise Measurment Filter
L
w Ã>"P Weighting Filters .
Noise Reduction System
6¼ #V#wPq oe 5WX " "L¼ We#
l #O" R Z#w "P. 5WX
P DdX O#wKJ #z!"L> 3O¼ . c-a Q" Z2 V1X L
w Wt6 ZI. L
B . "O
. ZI2 #y
. Z"Rq"
P6#. (S/N) R . {#
yX 4-W . .#5XK "P. "O Æ
LK Z#w
"R #
Noise Shaping
PyK Oversampling . X {#5=K . È~#$ #{ L̄- OK w Ç
Ç6
#6 KO O#w .
L
w |L-6 {#5=K PK#t . "O È~#$ #{#
yX w 6"R=6
R L# #>.#> "O (quantizing error) Q#XO"Lt ##dJ W#wPq KLE
L\ {#Ä" {#5=K P5}q Æ . OR#5"w >PJ Æ
Ç6 " OK L.# Z#w ;#>Ä"
K\ ¿> KO {#
yX #. V1X
Noise
#O"L
c."O #X }X . L"6 w L
\ |.#u 5X"J# #{#
yX
OK R |#w nNF #Ç" K\ \#
+"PJ6¼|#X 3"R=6
##y5XK
4X" $ Z#w P. ÃX [ 4W OLt ÇP5Ç~" #O"L
Nominal Level
OK 6¼ 3"R=6 O#w "P. o}5I #KO"L#5X" cX6 L\ ¼6 {#
yX DdX
. L#. 6¼ {#
yX DdX P9w!"LF
O#5pz "L¼ c-a #y
{#9 "P. K#Ä 4~#F
L
z! Normal Level DdX " . LXP. ovu
"LÅ XL #S"
Non-Destructive Editing
OK KO"K KP.O#w (Digital Audio Workstion) DAW OK w! + P̄IPm L6
4IX ÆWK O L\ c-a 6¼ 3#Ãdu o}5I #4Wu L6 j "
ZI2 |¼ PyLÇ . Py#[ Z}q U# }X . P61#w! (Hard disc)
#{#
yX Ç
" L. 4[zQ#. ~" 4~#F . "6 {-u LÄ 3O¼ OK LKPz
L\ 5qO 4XK Q" # ."PJ O#BK ~"
nano
K"O#q # Æ » K"O#q {#9!"P. » {K#Ã!-Pa
Nondirectional Microphone
qPÇ $ . KO"L ¼#J #5X"O KPz 3#> #6 Q" "O "L¼ w qPÇ
qPÇ " K\ 5pz (Omnidirectional Microphone) 5>
4X" P: O#W. cE }w Ä "L¼ c-a "P.
Notch Filter
O-Ä Q#>"
{#
yX t. . KO {#
yX Q" ÇO#. O#W. L#. #
2 R> . w P5}q
OK ÇO#. O#W. V#wPq KLE P5}q RwP V#wPq Ã6 #. #P5}q " OK LK
" Q" L
w O-Ä P5}q Q" #V#wPq t. L\ nNF #w RwP V#wPq n"Pe"
K\ K#p5X" qPÇ zL
}. . 6¼ Æ.Lq nNF ##y5XK OK #P5}q
Nyquist Frequency
#6 4uK . L"6 {#5=K . È~#$ {#
yX |L-6 L
"Pq w W#wPq P6#.
"P. 4X" O"KP. V#wPq o_ V#wPq " K\ (Sampling) O"KP.
#. P."P. CD OK (frequency sampling) O"KP. V#wPq Ç
" . >6 #. {#9
L\#. R6P}w » $ Nyquist frequency "P.#
.
4X" R6P}w
OP Amp (Operational Amplifier)
>PJ Æ 4-9 p
o~#I -du #. KO K "O"K w È~#$ ¿5= O"L
#X
zL
w 4t6 A qO#_ 4> 6¼ 3"R=6 Q" O#W. OK 4X"
L
w 4t6 op amp . KO"K KP.O#w (Buffer) Pq#.
V"L1" s-d6
Q#X
L
z R 6#}Ä
Octal
L\#. 5\"K "O #6 » . PK#t L"6 uO P $ OK w #
-P. \O#\ 5WX
KO"K Q# (bit) 4. X . (binary) K K 5WX OK Z# "P. octal uO P
L\ K"K Z# 3O¼ . KLÄ » 3O¼ . KLÄ {#9 "P.
Octave
. w tX #5w!" Æ L
# L
\#. 5\"K Æ . K 4-W w W#wPq K . }¼#q
K\ re" # 4 K W#wPq }¼#q
Off Axis
KO"K "O "L¼ 4q#OK P5w w 5> Æ qPÇ }> o~#I b#t
Off-Microphone
qPÇ . PyK #4> Q" L
z "L¼ c-a Q" |-u w 6¼ Ä # ##[ .
KO O#w . #P. "P>" 4> L
z #z!$ "P. #
6 4X" 4pw Lu#q LXO
LKPz nNF L6 #y
. w K\ re" off-Microphone #"L¼
"LÅ XL #S"
Ohm
P1$ Æ ÇP5Ç~" #P> O-Ä #. 4X" P."P.
oPÃ6 s-e w ÇP5Ç~" 4#t LF"
#~$ "LÇRq # Q" 5qPzP. ohm 4~ Æ {K#Ã |W#52 n5J" Q" \#
Pz!Q"L" Æ5Xw!$
Q OK w 4X" George simon ohm
K"K #=" ""Pq 3#ttE6 ÇP5Ç~"
One bit data Converter
Q" # 6 Q#XPJM |L-6 L $Pq OK w ~#5=K . È~#$ #{ L̄- . ue" " Ä
L w K#p5X" ( # ») P #. 4. Æ
One-third octave
^I[ PyK Q" #5w!" ,Pa #. Æ P w #V#wPq KO OK Fd¼"
. KLE . L\#. PyK V#wPq P."P. K V#wPq Æ 4-W Pz!" ¿u" OK L\
4-W w w Wt6 }Ç\ . "O KLE " Pz!" {#F K\ 5pz #5w!" Æ V#wPq K
Æ L .Wt6 j " . #y$ L\#. Ã #5w!" 3O¼ . #V#wPq
#. L#. #V#wPq w #P5}q #ORw!" OK L z (One third octave) #5w!" X
" OK KPw K#p5X" L .Wt6 " Q" "6 L \#. b#-6O" OK #. ¼#J 4-W
KHZ ~" V#wPq Pz!" {#9 "P. 4\"K "J #5w!" ORw!" # P5}q 3O¼
Q" V2 V#wPq K. L"J KHZ LÃ. #5w!" V#wPq L\#.
L"J KHZ LÃ. V#wPq KHZ $
4Wu X . w!" KHZ #6 KHZ #5w!" Æ KLE w K\ L#[ K.
4}Ä 4X" b#-6O" OK }-u V#wPq #. 4-W #. V#wPq P w L\ Wt6 #W
"P. # Yz #"6 #. $ y # OK #5w!" #ORw!" #P5}q Q" K#p5X"
{# yX Æ V#wPq OK Pl6 |u"LF PyK 3O#-Ä . 4X" 3#p5 V#wPq K ^I[6
ISO ANSI KO"L#5X" s-e 4X" #5w!" 4-W #. K\ $ >5 Yz w 6¼
OK O#[Ä" #uO L\ e Q" RP2 #5w!" #4-W Q" K#p5X" 4~X "P.
"P. L"LKPz Ã6 ^I[ L\ KPz 3O¼ . #5w!" #V#wPq 3L-6
V#wPq #> . KHZ V#wPq KHZ V#wPq #> . {#9
T {L> OK #V#wPq " 4X" L\ 5qPz Ph OK »» KHZ V#wPq KHZ
L"L\ ;OK #5w!"
"LÅ XL #S"
Open Tracks
Q
w #v!" P6 # #-~ .
(Multitrack) -~ L
B "L¼ c-a #\# OK
K\ re" L[ c-a #$ O P. {#
yX
Optical Sound
P5} KO"L#5X" #}q \#F OK }¼" #"L¼ c-a "P. w \O \
#{#
yX
YO " OK K\ KP. O#w . (Optical) O |Ç\ . P5}
P. È!"RyQ |Ç\ . KO" JP. OK \O ÆO#6 ÆO#. #O" |Ç\ . 6¼
P. T 0 Æ Q" O Z.#6 #. }q Z# #y
. K\ /#B }q O#
w -~ O
#O" . L\ L#.#6 O w ,6P6 " . KKPz |¼#F L\ /#B "L¼ }q \#F
Æ . ÆO#6 F" Q" +#6Q#. \O F" Q" O-Ä #. ,X#
5
\O ÆO#6
"O pÃa ÇP5Ç~" {#
yX
L\ L.#6 O O"Lt #. ,X#
5 |X5q LXO |X5q
|.#u "L¼ 3O¼ . DE_6 4t6 }FP L
B e Q" V2 {#
yX " L
w K#="
w 4X" |Ç\ L. }q \#F O P. O 3O¼ . "L¼ c-a sPe 4X" L
\
#.P
$ 5W Æ "T O"L Q" O-Ä Q" V2 3¼ Q" |¼#F ÇP5Ç~" #{#
yX
|Ç\ . "QP~ #l6 # Q" ONz Q" V2 O #6 K\ ,-X KO$OK YQP~ . "O
O "L¼ O" Æ 6 "P. #J O" " Q" KKPz |t5
}q #J K" O P. ;"
¯
K\ K#p5X" }¼" }q O P. {#t5" 4>
Out Take
K\ 5pz O"KP."L¼ #y
. K#p5X" |.#uPm #4\"KP. .
Out of sync
"P. KO O#w . 3O#-Ä "
L
5W #R P_6 OK $ ¿-
"L¼ 5u
KO"L s.#d6 " KQ ,~ #.
K\ ;O#J [2P
Æ #K Q" w #nPF 5u
Outboard Device
O#w . "L¼ #{#
yX O P. YQ"KP2 #=" "P. "L¼ R ,
> OK w 6"R=6
6¼ L
w KP[q
Çq"Pz ORw!"
w!" #y5XK L
# KO
Overdubbing
#P= w ~#F OK #v!" P6 # #-~ O P. -~ L
B YO OK "L¼ {#
yX c-a L
"Pq
L
\ \z sPe Q" "O }-u L\ c-a #v!" P6 "L¼
"LÅ XL #S"
Overs
OdBFS Q" {#5=K . È~#$ #{L- KO {#
yX Q#=6 CP\ "P. Fd¼"
(Light Emitting O KK L
B # Æ Q" {#5=K "L¼ O #Py#[ OK
{#5=K . È~#$ {L- KO {#
yX DdX Z"Rq" Z# "P. Diode) LED
L"LKPz ^I[ Overs #. w K\ K#p5X"
Oversampling
Q" P6#. GP #. {#5=K {#
yX . |L-6 "P. È~#$ {#
yX Q" O"KP.
" K\ È~#$ {#
yX Q" P5[. # K#=" 8Ä#. w 4WÇ# O"KP.
L
w w "O aliasing LL2 Z#w "P. È~#$ #P5}q . Q# P"
Overtones
.
L\ q#a" }¼" 4 . 5u w KPp
6¼ #V#wPq ÄPq #
«6
L
w Æw $ tX 4pw L\ 5J#
\
PA (Public Address)
K\ K"K #P. "P>" |E OK "Pa#F T #zL
}. . w Ph KO ¿-
"L¼
PCM (Pulse Code Modulation)
K\ R=6 V~#2 PX Æ . |#F ; {#
yX $ OK w XL 5WX
V~#2 #
2
¿>P V~#2 Æ . 4-W V~#2 4Ãu OK 4X" Ç {#
yX 3#Äe"
PX Æ . |L-6 #. w L\#. 5p V~#2
"K # ¿>P V~#2 #
2 O"Lt . 4-W
OK 5WX " LK #[
4X" L\ s5[ $ Q" w "O > |Ç\
KLÄ PK#t
QF OK 6¼ ##y5XK O#w #
- KO"K K#Q 4#t
;#>Ä" R |.#t
4X" {#5=K "L¼
PFL
K#p5X" "L¼ #R OK Cd¼" " L\#. Pre fader listening 3O#-Ä opI
OLq Q" O-Ä Q" |-u 6¼ {#
yX L
\ . 4X" ^I[ w Od# K\
KO 6¼ #{#
yX O"L
\ 4W6 "P. PFL Q" K\ re" feader
#. ¿u" OK K\ K#p5X" zL
}. # (HeadPhone) \z }X . "L¼ R >PJ
L
\ "O $ . KO {#
yX OLq P KPw Q#. Q" |-u "6 PFL
PPM (Peak Program meter)
#}u Z# Pz!Q"L" #
- P. w 6¼ #{#
yX Pz!Q"L" "P. "}X
Ç}. KO"L K> PPM "P. LF" KO"L#5X" L
w |Ä "L¼ {#
yX (Peak)
KO"L#5X"
PPM "P. KO"L#5X" P6nPÃ 4X" K> $ "P. KO"L#5X" L
B
"LÅ XL #S"
KO V"L1" PPM 3#_I[ Q" K\ 5J#
\ PPM Type IIa # . BBC
{#
yX |#F cJ . )t5W L"6 w ¿-
V"L1" P."P. » Q" P5[.
4X" $ K#Q
Ç#Ç #5J#X KO"Ny. P:'6 {#
yX >PJ DdX OK Ç
" L.
KKPz |¼
O"L Æ 4X" 3#p5 $ .PtÄ 4[zP. 4qO #Q w 4X" "z . PPM
» KLF
Pz{" Py5" #Q KPz {"Py5" Pz!Q"L" KO {#
yX Q" ÇP5Ç~"
P9w!"LF . .PtÄ #6 L[w {e #: } » {#
yX LXO #.
à 4X" #: }
#Q 4X" #: KLF
Pp¼ . .PtÄ 4[zP. #Q
A LXP. KJ O"Lt
LL\ 3"Pl6 "K #Q Q" U#t Æ PPM "P. L\ oPÃ6 PJ'6 # Pz{"Py5"
#. #}u L"6 PPM 4X" tX O#5pz!
#P. # X
X S#5~ Æ OK #z!#
. $ e 4[zP. #Q w ~#F OK
L
w 4-: "O "L¼ {#
yX "K!w ~ K#Q
"K
Q" (Type IIa) IIa j PPM L"I. "O (Peak) }u O"Lt w LK Q#>" O"KP."L¼
j " 4X" dB Py#. #6
$ 3#Wt6 . |¼"q 4X" LKPz ;OL #6
O"Pu KLÄ O "O $ .PtÄ odBu 4.#: 6 Æ w 4X" L\ F"Pe Oe PPM
L#[ "P. K"K L"J O"Pu KLÄ O "O .PtÄ dBu Q"L" . 6 Æ "P.#
. LK
j PPM 4X" LpX xO . $ K"LÄ" .PtÄ #X xO . PPM Ep¼
P5.
(Europearn Broadcasting union) EBU YPN2 KO w (Type IIb) IIb
PPM O OK KLÄ #. $ O OK » KLÄ 4X" LKPz ;OL #6 Q"
4X"
Q" L
6O#-Ä LO"K KP.O#w P5w w PPM PyK j""4X" P."P. (Type IIa) IIa j
"O"K ,6P6 . (Nordic) MXP-3000 (DIN) MXP-3000 BVW-75P
L
\#. #6 #6 » » #6 » L
.>OK
PWM (Pulse Width modulation)
#V~#2 #
2 $ OK w {#5=K #V~#2 . È~#$ #{#
yX |L-6 "P. \O
L
w Pl6 È~#$ {#
yX
"K #. ,X#
5
Pan (Panoramic) Control
. KO {#
yX {#t5" "P. w "L¼ #R O ¼#J ~P5
w ~ "P. Fd¼"
{#
yX
L\#. 0B 4X 4# OK ~ " Pz!" KO O#w . 4X"O 0B #>PJ
>PJ . KO {#
yX
L\#. 4X"O 4X 4# OK Pz!" 0B >PJ . KO
"LÅ XL #S"
K . P."P. Oe . KO {#
yX
L\#. # OK ~ Pz!" K\ {#XO" 4X"O
0B #{##w OK {#
yX 4~#F " OK 5-~"K\ Wt6 4X"O 0B >PJ
L#. 4.#: # >PJ "L¼ DdX #6 L
w 4q" 3dB 4X"O
Panpot
. 6¼ 4Çq" Æ Q" "6 P5X" tPe . #
X #}q O"Nz!"L¼ OK
KP2 4X"O 4X Q" }-6"
}q Q" # Æ OK Pz!" "P. KP. P.P5X" E
|-6" 4wPF 4Çq" "L¼ Æ 5\"K #. "6
L
w 4wPF 0B 4X . Z#
. <OL6 . L\#. 4X"O zL
}. OK "L¼ "L5." w KPw |Ä Oe Panpot Q" K#p5X"
O6 "L¼ w LXO Ph . Oe " L
qP6 " #. K\ {#Ä" 0B 4X zL
}.
#. L\ L
}. "O$ . KP2 4X"O 4X Q"
L\ L#[ P_6 #. x
# |-6"
0B 4X . 5qO L\ OK #. V1X LXO KJ LF P6#. .
# . LXO
. LXO Yz . Z# ~#X 0B 4X zL
}. Q" DdX Z#w a "L¼
L
w j>O Pan (Panoramic) Control
Parabolic Reflector
X #w!
dt Æ OK "O Ã 4> OK OK #"L¼ w |Ç\X "L
.#6Q#.
KO"K "O#w YPdu Q" P6#6w #; {e OK #
6 KQ#X RwP5
Parametric Equalizer
" KO"K "O #P5"O#2 #6 h
6 {P5
w #Ç" w L#. L
B h
6 |.#u ORw!"
Q#>" P.O#w . #
6 P" " 4X" L#. #
2 RwP V#wPq
"K |#\ #P5"O#2
V#wPq Pl6 L#. #
2 {P5
w #Ç" Ç}.
LK "O W#wPq L#. P
"K {P5
w!
L
w "Pq R "O P5}q RwP
Pascal
Pa nPF #. w ¿.PP5 P. 6 Æ 6¼ O#[q #. P."P. 3¼ O#[q LF"
W"Pq "La#O nW}q # Q" 5qPzP. Pascal K\ K"K Z#
L\#. Blaise Pascal
Passband
b#t OK w ONz #2 ONz #.
ONz# #P5}q Q" O-Ä #V#wPq KLE
"LÅ XL #S"
Æ W#wPq HX#2 E O OK dB b#t K\ Ã6 Pz!Q"L" dB
Z#w ~" "K . 4-W |. XK V#wPq $ OK {# yX "K w 4X" e#t P5}q
w KO"K K> #2 #. dB dt K # V#wPq K ONz # P5}q Æ "P. L.#
{# yX 3OLu dB V#wPq OK L w Ã6 "O P5}q L#. # 2 V#wPq K " }¼#q
K\ o_ ~" {# yX 3OLu . 4-W
Passive Crossover
#L#. . 6¼ {# yX #V#wPq ÆÇp6 "P. zL }. #-Ã> OK w P5}q Ä
Nl6 . ;#5F" P5}q " K\ 5qPz O#w . L#. P T #zL }. . {#Ä" o}5I
4J#X "P. 4#t o}X Q#J L # (Passive) {#ÃqPm ##~" Q" 5\"L
K\ K#p5X" $ #O"L
Passive equalizer
zL }. #-Ã> OK Ã KO"L Nl6 ¿- . ;#5F" KPwO#w "P. w ORw!" Ä
zL }. Q" L\ ZI2 W#wPq HX#2 L"6 L \ ORw!" " }X . KO O#w .
o}X Q#J
{#ÃqPm ##~" Q" ORw!" " LK Pl6 KJ t}X #. s.#d "O
R K#=" LÄ ZI2 |.#u <O Æ# K K. #. 8Ä#. w L w K#p5X" 4#t
8Ä#. #ORw!" " |.#t OK L\ F"R K"O ;"" P:'6 LÄ {# yX O
#2 V#wPq #{# yX O-Ä #. #$ OK 5qO O#w . #o}X L\ {# yX oÃ`6
L\ ;#>Ä" K#=" 8Ä#.
Patch Bay
L w #y patch Panel .
Patch Cord
K#p5X" PyLÇ . Patch Panel o}5I b#t {#_6" "P. w #6w c."O |.#w!
K\
Period
$ .#[ dt #6 X X ; L # +# 5 ; Æ Q" dt Æ #Q }¼#q P5w!
V#wPq #. w L K Z# T nPF #. "O KP2 L # ; |Ç\ Q" KP2 Æ "O
4X" #: KP2 LF" (T = 1F) KO"K VÇÄ 4-W
"LÅ XL #S"
Periodic Noise
OK OK L\ ,wP6 "L¼ }¼" {#
yX #. w "5X"J# #"L¼ PX Y#[5m"
. ÆKR Q#X#X ¿.#
L"6 $ '[
w L\ O"PÇ6 )-6P #Q Q" #6w!
L\#. 6¼ ##y5XK
Perspective
Sound # "L¼ LÃ.
« "O L
\ . 4-W 6¼ z!#z ¿.#
"L¼ ÇKR OK
"L¼ . 6¼ ¿-
Æ t5W "L¼ 4-W Pz!" ¿u" OK L
z Prespective
" Pz!" 4X" ÆKR Perspective #. L\ L
\ "L¼
L\#. K#Q ¿-
$ X#ÇÃ"
4X" OK Perspective "O"K L\ L
\ "L¼
L\#. w 4-W
Phantom Power
"P. V#. "L¼ |.#w }¼" X K Q" w Q#J #qPÇ Nl6 Æ
Ç6 Ä
}¼" {#
yX O P:'6 Ç
" L.
K\ K#p5X" qPÇ . DC S#5~ {#t5"
+48V +24V +12V S#5~ X IEC 268-15 }}~" . KO"L#5X" KO"Ny. "L¼
K> #. "P V#. |.#w Q" K#p5X" #Ç" 4X" KPw Ã6 Phantom Power "P.
Q#J #qPÇ #. Æ#
K #qPÇ 4> $ O P. 5#q Nl6
L$ Z2 #$ "P. }Ç[ Ç
" L.
KO"K K> R 3P5Ç~"
Phase Cancelltion, Phase interferenc
Æ ¿> #y
w {#
yX Æ W#wPq #p~ Q" JP. nNF Q#q Y#[5m"
Æ "L¼ qPÇ K Pz!" {#9 "P. K\ K#=" YKJ 5q# PJ'6 #. {#
yX
#Ç"
L\ ¿> #. #$ #{#
yX L
w 4q#OK 3#p5 |¼"q #. "O 6¼ ¿-
L$ K> . rq LL2 K#="
Phase Linear
LK O-Ä KJ Q" Q#q Pl6 L. "O {#
yX Æ #V#wPq #6 w 5WX _I[
Phase Lock Loop
$ "P. L\ Ã6 V#wPq #. Q#X #X Æ >PJ {#
yX #R "P. w O"L
Q" V2 Q#X#X >PJ {#
yX Q#q w 4X"
B O"L " O#w QPe KO O#w .
#dJ S#5~ Æ
W#t " |¼#F L\ W#t "I~K KO Q#q V#wPq #. Q#XO#Ç\$
K\ {#Ä" Q#X#X O"L . Q#q DE_6 "P. w K. L"J
"LÅ XL #S"
Phase delay
{#
yX OK Q#q 4p\ K#=" 8Ä#. w O"L Æ Q" O-Ä #y
{#
yX Æ Q#q PJ'6
K\
Phaser
O#w . "L¼ {#
yX O P. flanging -\ 5Çq" K#=" "P. w ÇP5Ç~" O"L
Q#q Pl6 K#=" #. KO O#w . "L¼ {#
yX YQ"KP2 ##y5XK OK O"L " KO
phasing . P5[. je" "P. LK $ . T "}> "L¼ {#
yX OK +#
5
L
w Ã>"P
Phasing
. LO"K #Q 3#p6 wL" PyLÇ #. .#[ {#
yX K $ OK w 6¼ }> Ä
#V#wPq PyK OK 4t6 "O PyLÇ #V#wPq `Ã. OK {#
yX K w "z!
L
# 6¼ "}>
L\#. Pl5 #Q 3#p6 "R A#
B L
w nNF "O PyL
LXO Yz . "L¼ L$ Z w¶ !
Phon
|. XK ,WFP. "L¼ 3L\ #. P."P. w (Loudness) "L¼ L
}. Z=
X "P. LF"
"L¼ 3L\
#. #2 #V#wPq OK ¿u" OK 4X" KHZ V#wPq OK (dB)
4X" Q KHZ V#wPq OK q O"Lt #. P."P. "P. P5[.
Phonograph
VÇÄP. Ç#Ç 3#\#Ã6O" . 6¼ ;"" |L-6 tPe . "L¼ ZI2 c-a #y5XK
Pickup
j"" L
w |L-6 ÇP5Ç~" {#
yX . "O Ç#Ç 3#\#Ã6O" w ÇP5Ç~"R2 {L-
KO"K KP.O#w 6¼ 3"R=6 tX 3"K" Q" `Ã. OK $ o}5I
Pico
K"O#q »
K"O#qÇ2 Æ {#9 "P. »
}P6 Æ {K#Ã -Pa
Piezo Elecvric Effect
4X" ~#5WPw qPÇ Æ |Ä U#X" w ÆP5Ç~"R2 LL2
"LÅ XL #S"
Pinch Roller
c-a #\# We#
l "L¼ #O" 4wPF PW OK w Ç5X ""5X"
#y5XK L |.#t Q" O" 4wPF 8Ä#. capstan Æw . KO O#w . "L¼ ZI2
K\
Pink noise
# Pink noise 4X" 6¼ W#wPq L#. Q" #5w!" P OK 4.#: "
"K "O"K w R
#. ONz #2 P5}q Æ Q" (White noise) LpX R O-Ä }X . 6O¼ R
P6u 6O¼ R OK #2 #V#wPq K\ K#=" #5w!" P OK dB ,\
. Pe#J L. 6O¼ Cd¼"L
\#. LpX R OK #2 #V#wPq Q" P6n#p\
O-Ä #. 4X" 4O |.#u #; {e #6 "O"K LpX O w Od# w KO O#w!
Pz!" KKPz P6L
}. #; {e O-Ä 8Ä#. RPu P5}q # . ]_I P5}q Q" $
$ #2 #V#wPq
L
}. #; {e
KPw O-Ä ÇP5Ç~" P5}q Q" LpX R
R " L
z 6O¼ R $ . w K\ P6u P6ÆBw #; {e . 4-W
KO O#w . 6¼ ##y5XK Z#Q$ "P.
Pitch
. PQ Ph Q" tX 3"¼" P#X . 4-W tX 3¼ P 4Ãu "L¼ x"K
#$ V#wPq n5J" #
Playback
}¼" c-a #y
L\ c-a -u w R}6 # K"O #P. Æ Q" 5Wu
Q" P6Z2 w P_6 # 6¼ #O" ZI2 K\ K#p5X" $ Q" #P.
OK w R}6 #P. c-a Q" }Ç\ L\ c-a R}6 K"O #L
5XPq
#. L
"J # PyQ#. L\ ZI2 K5X" |J"K #zL
}. sPe Q" O" "L¼ $
P_6 "P . L\ ZI2 O" "L¼ #y
" OK L
w O"PÇ6 "O $ "J,~
K\ c-a #R |Ç\ . L O" O P. L
"J
Polar Characteristic, Polar diagram, Polar response
Py#. L\ K# #S" #6 -du HX#2 -du O"K -du _I[
Q" 4X" $ . 6¼ ;"" KOJP. "Q . 4-W qPÇ Æ HX#2 Pl6 yyB
"LÅ XL #S"
#V#wPq Q" "Ä= "P.
L
w Pl6 6¼ ;""
V#wPq . >6 #. w #=$
O#t6 OE OK qPÇ HX#2 #V#wPq Q" Æ P "P. K\ K"K #[ ^I[
OK HX#2 K\ 5qPz Ph OK LF" "
Ä . z!" Pq#K RwP P. KÄ cJ
}¼"
K\ XO $ . 4-W PyK #" Q
Post Recording
Post O"KP-}q #6" Q" V2
}q #"L¼ #y5pz c-a . #
X 4Ã
¼ OK
,X#
#4Çq" +#I5" L
z Post Synchronization # Recording
Q"
LK #[ P_6 w A$ #. "I "P. 4XOK Zz
A ÆQ
4X" O"Nz!"L¼ 3#Ç P5
Post synchronization
K\ Ã>"P Post Recording .
Power
ÇP5Ç~" ÇP5Ç~" 3"O"L OK #P> S#5~ +Pa |¼#F w ÇP5Ç~" "6
Py#[ V
"6Py#[ P c."O " OK 4X" PQ |Ç\ . $ a#O c."O 4X"
4X" ÇP5Ç~" #P> Py#[ I 4#t Py#[ R
S#5~
2 2
P = V !I V
P = P = R !I
R
Pre - Scoring
tX # "L¼ $ U#X"P. w R}6 ##P. L~6 # }q 4J#X OK Ç
Ç6
O"KP.P_6 # O"KP-}q #y
. L\ c-a O"KP-}q jP\ Q" |-u Ph KO
\ " Q" L
w "J,~ "O $ P= # [2P
ZI2 O" "
R}6
K\ K#p5X" {#ÇQ ##P. #}q L~6 "P. P5[.
Pre-Mix
##P. #}q "L¼ # L#. L~6 "P. K5X" O"KP."L¼ OK \O
#. 4W#. w #"L¼ K"LÃ6 w K\ K#p5X" #Q YO " R}6 K"O
OK 4W#. w #"L¼ Q" Pz "L5." 3O¼ " OK L\#. K#Q
L\ ,wP6 PyLÇ
v!"P6 Æ O P. =5 #="PX LKPz ,wP6 #. L\ +#I5"
L\ #mK"
PyLÇ #. ,6P6 . R PyK #v!" P6 Ç$ Q" V2 K\ |t5
"L¼ L#. #
K\ K#$ #P. # "L¼ L#. #6 5[z ,wP6 #. |¼#F #v!" P6
LL\ ,wP6
"LÅ XL #S"
Pre-echo
K\ Ã>"P Print-through .
Pre-emphasis
à c-a #y
. 6¼ {#
yX Æ #. #V#wPq 4t6 Lw!'6 Z2
#V#wPq oÃ`6 ¿u" OK w! de emphasis
Lw!'6 V2 #=" #. ZI2 #y
~" {#
yX L
# # {#
yX 5[z 9
J Lw!'6 Z2 |Ä
4X" {#
yX #.
K#p5X" R Z#w R . {#
yX 4-W Z"Rq" "P. Æ
Ç6 " Q" K\ dJ
K\
Pre-hear
L
w j>O PFL .
Preamplifier
{#
yX DdX ~#
yX
¶ 4t6 pi w 6¼ #5WX OK L
w 4t6 t-e ~"
KO"K LÄP. "O (Line) cJ "L¼ DdX #6 qPÇ >PJ
Precedence effect
K\ Ã>"P Hass effect .
Presence filter
O#5pz #+X w #> R6P}w #6 W#wPq KLE OK Ã w P5}q
}w W#wPq HX#2 OK R6 }u Æ |Ç\ . ["Rq" L
K 4XK Q" "O KJ Ca
L[I. P5[. O`F 4q#p\
ÇKR "L¼ . L
w K#=" O#5pz!
Presence
#. # W#wPq #p~ 4t6 |¼#F w 4q#p\ #. "P "
\ U#WF"
L\#.
Pressure gradient
6¼ ; Æ OK ~"5 dt K . 6¼ O#[q 3#p6 O#[q #K"Pz # |a#p6
5> Æ6 IX#2
L=
X z!" Pq#K |.#t X K OK
"O O#[q #K"Pz w qPÇ
. KPw Pz!Q"L" dt Æ OK #
6 "O O#[q w qPÇ w ~#F OK 4\"K L"J
KO"K 5> IX#2
L
w |L-6 ÇP5Ç~" {#
yX
"LÅ XL #S"
Print-through
3O¼ . w O LA2 #y
6¼ #O" # We#
l P:'6 LL2
. ,-X P" " K\ O#= O L\ c-a 3"¼" oÃa O`F 8Ä#. #t~"
ZI2 #y
¿u" OK L
z R Pre-echo $ . w K\ rq LL2 L$ K>
V1X K\ L
\ oÃa 3O¼ . PyK Q" L\ #t~" "L¼ "L5." #O" z "
4X" 3ÇX |¼"q "O"K w #O" OK LL2 " LXO Yz . }¼" "L¼
L
5W rq LL2 PyK ## transfer Crosstalk 4X" K[ P5[.
Print
ÆWK # We#
l O" O c-a
Prompt Cut
{#
yX ¿du "P. KO"K K> "L¼ #R Q" JP. OK w "zK #XO 5 ¿du
K#p5X" R}6 # K"O LQ ##P. OK K5X" #qPÇ >PJ
K\ #=" "PyQ#. #P= . Q ##
" O #6 K\
Psychoacoustic
# Audio masking LL2 KQ"KP2 #W" OK "L¼ "O WF 3"P:'6 . w }Ä
OK oÃa "L¼ Æ ^I[6 . #W" Yz #"6 LÄ w 6¼ zL
#\2
4X" (Psychoacoustic) Æ5Xw!$Ç#X }Ä {¼" Q"
4X" u "L¼ 3O#=
Punch in/out
ÇBw 4Wu O P. 6¼ Ãdu Æ c-a 4> -~ L
B c-a ##y5XK OK #Ç"
|Ä "hE~ 3O¼ . Punch in/out }X . ¿u" OK L\ c-a -u w O" Q"
KPz #=" "L¼ c-a
Pure Tone
K\ |#\ "O 6¼ V#wPq Æ #
6 w ~#
yX # "L¼ V#wPq Æ6
^~#J 6
pop filter
#6 "O pop P:" KPz O"Pu qPÇ O P. w Ç5X2 =
pX" # ]#J "KP2
LK Z#w K#Q LF
"LÅ XL #S"
pop
L
z cX6 + 3
/ L
# qPF "K" #y
OK w "5X"J# "L¼
qPÇ (Diaphragm) "P- . " t5W KOJP. $ 4}Ä K\ K#="
L
W2 #Ä tX 4X" nPÃ KQ / . L\#.
Q (Quality factor)
(BW) L#. #
2 P. (f) P5}q RwP V#wPq Wt6 Q" w ONz # P5}q 4pw ,Pa
4X" P6ÆO#. P5}q W#wPq HX#2
L\#. P5[. B P Q L$ 4XL.
QuadraPhonic
{##w O#B $ OK w tX ZI2 c-a #
X #}q O"KP."L¼ OK \O
4X OK "L¼ {##w K 5WX " OK LKPz K#p5X" ZI2 c-a "P. "L¼ |t5W
O"Pu L
\ PX 4[2 4X"O 0B 4X OK PyK {##w K L
\ |.#t 4X"O 0B
}q \#F OK We#
l 3O¼ . rq {##w O#B "L¼ #
X 4Ã
¼ OK 4qPz
ZI2 c-a o~" 4\"K K> $ "P. LÄ YOK tX c-a OK L\ c-a
K . {##w O#B |L-6 + "L¼ We#
l #O" O P. Q" |t5W {##wO#B
#y
. T {##w K $ Q" ~" {##w O#B . .#5XK ]#J Æ
Ç6 #. T {##w!
"O $ #> Surround Sound
dE "L¼ LL> #5WX QP" ZI2
L"5qPz!
Quantization error
\~QO B P {#5=K {#
yX . È~#$ "L¼ #{#
yX |L-6 Q" |¼#F #dJ
4X" P5w #dJ " O"Lt
L\#. P5[. {#5=K . È~#$ {L-
Quantization
{#5=K . È~#$ {#
yX K uO # |L-6 L
"Pq
R-DAT,DAT (Rotary Head Digital Audio Tape recorder)
4X#w O" L c-a 5WX -\ "KPz L Q" w {#5=K "L¼ c-a 5WX
4X" DAT PyK # ¿u" OK R-DAT L
w K#p5X" "T We#
l
RCA jact (Radio Corporation of America)
K » K OK ~#_6" #Æ> 4X" 6¼ 3"R=6 OK 5qO O#w . Æ> Ä
L\ K#p5X" R}6 K"O #K5X" 6¼ 3"R=6 }J"K 3#e#-6O" "P.
Æ>
w!" 4qO O#w . y#J 6¼ 3"R=6 ,}m" OK Æ> "
$ Q" V2
4X" L$OK KO"L#5X" 3O¼ . "L¼ line
bdJ "P. RCA
Rack
o}5I 3"R=6 ,_ "P. w @
" KO"L#5X" ½PÄ #. R}q # .B "hpE
K\ K#p5X" 6¼
Radio Microphone
K"O ÆBw L
5XPq Æ . |_5 qPÇ Æ Q" w X. # K"O qPÇ
# K"O ]_I LPz Q" L#. $ "L¼ 4q#OK "P. 4X" L\ |Ç[6
K\ K#p5X" qPÇ
Raido Frequency Interference
3"P:'6
6¼ 3"R=6 # "L¼ #|.#w O P. w F"R We#
lP5Ç~" ;""
K\ "L¼ {#
yX O P. R K#=" 8Ä#. 5\"Nz +}d#
"LÅ XL #S"
Random Noise
O P. L\ P#i u#p6" Oe . #y#z . w "5X"J# "L¼ PX Y#[5m"
P#i K"O #LPz OK ,}m" Y#[5m" " KO"Nz P:" "L¼ }¼" {#
yX
K\
Recording Room
|.#t OK "[\ K Z\2 #. "L¼ c-a K5X" Æ Q" [I. c-a r#6"
L# Mp #P. "P>" |E # K5X" OK . r#6" " "L¼ Ç$ L.
O"KP."L¼
"O r#6" " 4X" p$ L
# 6¼ 5WX sPe Q" K5X" |J"K #. r#6" " b#-6O"
. [\ 4[2 Q" K5X" OK Q" L
"5. #P. #zL
w "P>" w LQ#X Oe
#$ . KPw >6 O"KP."L¼ c-a Pi#
"KPzO#w
L
w!6 #4Ä #O#\"
K\ 5pz R (Control Room) #Pq r#6" c-a r#6" . L
w |Ä
Recordist
OK "L¼ c-a 5qP[2 ##y5XK #. O#w #"6 "O"K w "L¼ UL
# O"KP."L¼
4pw #. "O "L¼ ZI2 c-a O#w
A ^I\ " 4X" O"KP."L¼ #K5X"
#
X }q
R}6 # K"O #P. Æ "L¼
4# OK 5\"K LÄ . ,X#
4X" O#w . 5W." tX "Ãdu #
Removable Hard Drive
L
# ##y5XK OK "L¼ c-a "P. w wPE5 4IX ÆWK
hq#F
4qPi |Ç6 #. KO"K KP.O#w! (Digital Audio Workstation) DAW
4X" ¾Ã6 |.#u $
Resonance
6¼ ÇP5Ç~" #{#
yX # 6¼ ;"" 4t6 LL[6
Reverberation Time
|E OK K> CdX #. KOJP. Pe#J . 6¼ ;"" w #Q 3L "$ V2 #Q
#Q Q" 4X" 3O#-Ä cE P OK "$ V2 #Q L
# u#. cE OK Q
O#[5"
Q" P[5
6¼ O#[q } Æ . 6¼ O#[q #6 L[w {e 3¼ O#[5" Q" V2 w!
RT 60 #. "O "$ V2 #Q
4X" 60dB #. P."P. } Æ w #=$ Q" LXP. ¿-
L
K Z#
"LÅ XL #S"
Rewind
,tÄ . ¿PX 4[zP. "P. "L¼ ZI2 c-a ##y5XK OK KPÇ}Ä
Ribbon Microphone
. w L\#. O"K B vQ# O#W. R}q Æ Q" ÇO#. O" qPÇ "
z!"Pq#K ÇF w K# W> 4X" L\ L[w ÇE 5qPz O"Pu #.P
$ Æ #,du
5\"K "O Q Z[w |E6 L\ vQ# 4}.#u #6 K\ +#I5" e Q" Ã
KO"K "O
" K\ K#=" #t~" wPE P L\ ZÃ6P z!"Pq#K
3¼ O#[q P:" P. L\#.
3O¼ " . L
5W O#[q #K"Pz # O#[q |a#p6 |¼" Q" QO#. #qPÇ j
; K . Q#q n5J" |~K .
K\ K#=" z!"Pq#K nPe K OK 3¼ O#[q 5u w!
. Q#q n5J" " L\ L"J K#=" P5[. O#[q 4> OK O#[q n5J" hE~ P OK
OK w
à L. KO"K y5W. "L¼ ; {e qPÇ " OK 5qO O#w . O" K#Ã."
#; {e OK w 6O¼ OK KPw Ph nP¼ "P- K#Ã." Q" "6 L
}. #; {e
HX#2 #
2 "P.#
.4W \2 [B |.#u ; {e . 4-W z!"Pq#K K#Ã." #6w!
j " K\ 4q" O#BK #. #V#wPq OK KPÇ |Ä 4J"
Ç Oe . W#wPq
qPÇ ¼#J jL
w gpF "O dJ 4~#F #2 #V#wPq OK qPÇ
KO ¿#
LO"K Ç5Xw!$ 4#t w K" K"KO"Pu }X . w KO"K K> O"
"O z!"Pq#K 4[2 #`q
J"OX -Ã6 }X . a OK K\ z!"Pq#K 4[2 . "L¼
4[2 #`q . Q Q#q n5J" #. "L¼
Ç5Xw!$ Æ.Lq #. K |_5 ;O#J .
Q#q Oe . z!"Pq#K nPe K P OK 3¼ O#[q "P.#
.K\ K"K 4[zP. z!"Pq#K
Q" "O R6P »»»» #6 » dJ W#wPq HX#2
Q#q n5J" K- |~K . L
w |Ä
K# W> K. vQ# |~K . #qPÇ j " 4#t O"K O#h5" qPÇ
>PJ {#
yX
K[ K#p5X" O6#OpW"P6 Q" A#
B 4X" w O#W. e O"
# 5ÄPX qPÇ )Fd¼" qPÇ " . 4X" K#p5X" |.#uPm qPÇ
,~ qPÇ # . qPÇ " Q" Ä K\ 5pz O" 5ÄPX qPÇ
3#t.#W Py\O"Rz "P. 5\Nz OK (Lip - ribbon Microphone) O"
L\ K#p5X" \QO
"LÅ XL #S"
Ride Gain
6¼ ¿-
"L¼ DdX Z"Rq" #y
qPÇ Q" 5q#OK "L¼ DdX Z#w!
"P. 6¼ ¿-
"L¼ DdX Z#w #y
qPÇ Q" 5q#OK "L¼ DdX Z"Rq"
KLE OK {#
yX DdX O"Ly PyK 3O#-Ä . L
z "O {#
yX Q#= DdX 5\"K
L\#. O"KP."L¼ cX6 Q#=
Rotary Equalizer
"K h
6 "P. [JPB #L
w {P5
w Q" w L#. L
B h
6 |.#u ORw!" Ä
4J#X OK O5WR"P6 KK
o}X
4#t
Q#J Q" L
w K#p5X" #V#wPq
L#. #
2
W#wPq L#. P "P. ORw!" j " OKLP. P. [JPB ORw!"
4X" 4.#: RwP V#wPq
Router
. "O KO P w 4X"O"K "O 4}.#u " KO"K >PJ KO K"LÃ6 w #y5XK
"O #KO 5F #>PJ #6 . "O KO Æ # L# |¼ >PJ P
. #KO {#_6" Q" -wP6 j P PyK 3O#-Ä . LK {#_6" ]#J >PJ Æ .
n w 4X" VP6# Æ Router P RwP 5W 4X" PN2#Ç" $ OK #>PJ
Rw!"P OK RwP {P5
w #r#6"
#y5XK " KP.O#w KO" Q" KO"K >PJ m KO
4X" R}6 K"O
Rumble
qPÇ L. #. 4XK U#6 # qPÇ ##2 sPe Q" w
#2 V#wPq R
K\ K#="
S/H (Sample and Hold)
OK L
w O"Ly O"KP. "O È~#$ {#
yX KLE #Q "P. w O"L
KO"K KP.O#w {#5=K . È~#$ {#
yX #{L-
S/PDIF (Sony / Philips digital interface format)
cX" 4Pq # SPDIF K\ KP. O#w . L.
SPDIF 3O¼ . ,}m"
"P. w 4X" AES/EBU VqP5
" 4Pq y#J j X V1}q {#5=K
{#Ww!"w #|.#w Q" K\ K#p5X" {#5=K "L¼ y#J 3"R=6 3#_6"
KP. P. RCA ~#_6" #Æ> (Coaxial)
SACD (Super Audio CD)
#. OK (High density) HD # . {" 4X" K (Disc) C~ Æ SACD
Q" K P KO"K O"Pu {" PQ OK (standard density) SD # . K
3O¼ . "O "L¼ "6 SACD OK L\ L"J OR~ 6P2 cX6 C~ nPe Æ
q#a" 3#Äe" c-a #Ç"
A KPw c-a ~##w Z\ # ~##w K P5X"
tuK c-a #Ç" SACD P O P. KO"K K> SACD O P. 4.#: P#_6
4X" DVD-Audio L> ,uO SACD 4X" "Pq 3¼
SDDS (Sony Dynamic Digital Sound)
L\ aPÄ X 4wP\ cX6 w (multichanel) ~##w L
B "L¼ c-a 5WX
KP.O#w "P. (P_E
5WX " L\#. DTS Dolbly Digital #5WX ,uO
(Optical) O 3O¼ . $ #zL
B #{##w "L¼ 4X" 5[z F"Pe #
X OK
K\ /#B #}q qPe #G"OX ÆKR #
X #}q \#F OK
"LÅ XL #S"
SDIF (Sony Digital Interface Format)
#V#wPq OK ~##w Æ6 #Æ ~ {#_6" "P. VqP5 "
cX" 4Pq "
"qPF "L¼ ZI2 c-a ##y5XK OK K\ KP. O#w . R6P}w
Ph OK 6¼ O"Lt "P. {" 4. » 4Pq " OK K\ K#p5X" $ Q" "qPF
4. X KO O#w . {P5 w 3#}w KPw 4XOK "P. LÃ. 4. 4X" L\ 5qPz!
4X" 4. "O"K 4Pq " "P.# . K\ |#\ "O #R 3#Äe" L#u#.
K"K GP K. " (Coaxial) {#Ww!"w |.#w Æ 4Pq " OK {#t5" cX"
. dt {#_6" 5WX Æ 4Pq " 4X" #: OK 4.#y #. P."P. (bit rate)
4X"O {##w 0B {##w 3#Äe" {#XO" "P. {#Ww!"w |.#w X Q" K. dt
4Pq " OK L\ K#p5X" #Æ> j K\ K#p5X" 4Ä#X V~#2 #{# yX
4X" X 4wP\ {_E 4X"L2 $ # Q" w Od# L\#. BNC
SMPTE Time Code
\# L B # K 4wPF #R "P. w R6P »» V#wPq #. Ã.P {# yX Æ
Society of Motion Picture 3O#-Ä opI SMPTE K\ K#p5X" "L¼ ZI2
vPE5 P_6 R}6 #XL K#E6" `Ã. and Television Engineers
L\#. rq 5WX L w j"L." C"Pe w 4X"
SNR, S/N (Signal to Noise Ratio)
. {# yX 4-W "O 5WX OK K> R DdX P5[. . Q#= {# yX P9w!"LF 4-W
L#. ¿>P DdX {# yX 5-~" K\ #. dB #. Ã SNR L z SNR # R
P6#. "P. » dBu # dBu "qPF "L¼ DdX "P. L\#. L\ Ã6
P: O"Lt w P5 4~ Æ Q" R DdX Pz!Q"L" "P. K\ +#I5" Q#= {# yX
Q" #z 5-~" L w K#p5X" LK #[ ^I[ L#. # 2 Æ OK "O {# yX
LP. P. R (weighting filter) L\ K Q #P5}q
SPARS (Society of Professional Audio Recording Services)
L KVPX #4wP\ "L¼ c-a 3"R=6 LQ#X 3#=#JO#w Q" |Ç[5 #Q#X
#Q#X " nL L\ VX'6 K {#X OK w "L¼ "qPF "P.O#w 6¼
rq 3"R=6 #zL w K#p5X" . K VPX YQ$ 3#e#-6O" #> ÃX6
4X"
"LÅ XL #S"
SPL (Sound Pressure Level)
¿>P 6¼ O#[q DdX K\ #. dB ,WFP. w 6¼ O#[q (RMS) P: O"Lt
" OK 4X" R6P}w Æ V#wPq OK " \ LF P6#2 w 4X" {#ÇX#2PÇ »
4X" dB Pp¼ #. P."P. SPL ¿>P DdX
#W" Yz . PN2# "P-> d~ L\#. » dB #. P."P. SPL Pz!" w 4X" ~#F OK "
L$ KO"
Safety Copy
$ . XP5XK LÄ 3O¼ OK w (Master) }¼" "L¼ O" Q" "IW # 1w!
K\ K#p5X"
Sample Rate Conversion
Æ P w {#5=K "L¼ #y5XK L B Q" K#p5X" #y w O"KP. GP |L-6
KO"KKP.O#w L\ c-6P PyLÇ #. L "I. L \#. ¼#J O"KP. GP "O"K
R6P}w O"KP. GP #. DAT 6¼ #y5XK y # "P. {#9 "P.
KPz #=" |L-6 " 4X" Q R6P}w O"KP. GP #. CD ZI2 #y5XK
Sample Rate
V#wPq . w {#5=K {# yX . |L-6 "P. È~#$ #{# yX Q" O"KP. GP
Q" L 6O#-Ä {Ã O"KP. #GP K\ 5J# \ O"KP.
L w j>O Sampling Frequency . P5[. 3#Äe" "P. R6P}w
Sampling (Nyquist) Theorem
#{L- O"KP. V#wPq "R . w (Nyquist) 4WÇ# O"KP. O6
O"KP. V#wPq O6 " U#X"P. KO"K O#\" {#5=K . È~#$ "L¼
L\#. È~#$ {# yX OK K> V#wPq P6#. P."P. K |u"LF 4W#.
Sampling frequency
K\ |L-6 ~#5=K 3#Äe" . $ }X . È~#$ {# yX w JP # V#wPq
(Compact disc) CD O"KP. V#wPq {#9 "P. 4X" R6P $ LF"
KO"K K> Æ # Pp¼ 6¼ »» #: P OK Ã 4X" R6P
"LÅ XL #S"
Saturation
#. 4~#F " OK c-a #y
We#
l "L¼ O" Æ (Overload) KO#."Pq
K#=" ,-X Ç}.
K\ K#Q We#
l L#W2 #
6 We#
l P Z"Rq"
KKPz "L¼ c-a \# >PJ {#
yX OK (Distortion) ;#>Ä"
Screen
#`q OK K5X" Æ5Xw!$ Pl6 "P. w "L¼ L
w +N> # L
.#6Q#. K"Q$ Ep¼
KO O#w . K5X" }J"K
Scrub
"L2 "P. "L¼ ZI2 c-a #\# L |.#t Q" ,tÄ }> . "L¼ O" 5XK 4wPF
"L¼ L6 #O"Rq"P Q" JP. L
z "O L6 4> O" Q" ]#J dt Æ KPw!
L
5W Scrub -\ 5}.#u "O"K R {#5=K
Sensitivity
6 P. 4~ Æ #
- . 4-W |. XK ,WFP. w qPÇ >PJ 4X#WF
K\ L=
X ¿.PP5 P.
Separarion
"R= {#Ä" Oh
. z!#z 6¼ ¿.#
#{#
yX L\5\"Ky"L> "R
#$ O {P5
w o}5I #L
"Pq
Shelving Equalizer
#. #V#wPq #6 oÃ`6 # 4t6 "P. "O Pl6 |.#u O"Lt w ORw!" Ä
KP. O#w . L\ Ã6 V#wPq #2
Shock Mount
Oh
. "L¼ . #2 Q" qPÇ Ç#Ç Q#X"L> "P. s¯}Ã 5WX Æ
K\ L# Pz QP~ w Ç#Ç 3#\#Ã6O" {#t5" Q" Pz}>
Sibilance
Q" \# w R6P}w » #6 #V#wPq
"K LF Q" Z. Z"Rq"
O#5pz c-a #y
(Sibilance) Pp¼ "L¼ K#=" 8Ä#.
L\#. Y # U L
# qPF "K"
4X" 5qPz # KQ Y # U )Fd¼" w K\
"LÅ XL #S"
Signal
L
z "O ÇP5Ç~" #P> # 6¼ "L Æ OK Ph KO 3#Äe" "5E
Signaling
#Pq r#6" Q" K5X" |J"K P= . ]_I #0 }X . K"K4Ä
Slate
#P. #-e#I #. L
"I. "KPzO#w O"KP."L¼
L
w 6 L
# Q#X #P. |"Ä Pz!"
Slate L}w KP.O#w }X . L
w K#p5X" slate zK Q"
L
\#. 5\"K 6¼ b#-6O"
K#p5X" talkback "P. w "L¼ R O L\ -Ã6 qPÇ >PJ {#
yX
KKPz K#p5X" 5$ Q" ZI2 # O" O c-a 4>
K\
Solo
P:'6 L. KO {##w Æ "L¼ L
\ "P. w "qPF "L¼ #R OK L}w!
Q" O-Ä Q" V2 "O {#
yX "6 Solo #. KO O#w . R }¼" #>PJ OK
L
B . Q" OLq Æ {#
yX solo }X . ¿u" OK L
\ |t5W Oe . KO bdJ
6#Lt h
6 Q" V2 w 4X" KO" OK solo KP.O#w K\ +#I5" L
\ "P. OLq
Ç
" L.
L
[. "O 6¼ ¿.#
Q" Ç L
"I. z!#z 6¼ ¿.#
"P. #Lq #Ç
L\ 5W. #OLq t.
Son
#. logS = »» (P » ) d."O }X . w "L¼ L
}. Pz!Q"L" "P. LF"
Q" K#p5X" 4}Ä 4X" X Py#[ S q Py#[ P #. d."O OK 4X" c-6P q LF"
#5J#X 4Ã-e #. q U#t KO" ,}m" OK w 4X" " q #> . X LF"
L\#. ¿-
K Q" |¼#F w 6¼ DdX "6 son LF" Q" K#p5X" #. KO"L s-d6 Yz!
3#-X#E Pz!Q"L" OK P5[. #X$ "P. O " Q" KO$ 4XK . K#X ¿> Æ #.
LP. O#w . (ISO) #> KO"L#5X" WX ¼6 U#X"P. "O "son" X U#t
Sound Card
È~#$ 6¼ ÇP5Ç~" #{#
yX |L-6 "P. KO O#w . #P61#w OK w 6O#w!
K\ K#p5X" P61#w hq#F OK PJM 4> Æ Pp¼ ~#5=K #{#
yX .
|L-6 È~#$ #{#
yX . "O ~#5=K #{#
yX L
"6
A "L¼ #3O#w!
"LÅ XL #S"
Wavetable FM Synthesis L # p}5I #YO Q" "L¼ #3O#w OK L #
Q" "L¼ #3O#w B K\ K#p5X" 6¼ ;"" L~6 "P. Synthesis
P9w!" L 5W O#zQ#X #$ #. "L¼ #O"Rq" P ,}m" L w P2 ¼#J #KO"L#5X"
R KJ #$ Q" `Ã. ~ L w K#p5X" P61#w }¼" hq#F Q" "L¼ #3O#w!
-Ã> 4[2 OK w "L¼ 3O#w Q" [I.LO"K 4#. #y KLF 9
hq#F O"Lt
O KO"K o}5I 3"R=6 "P. {#_6" |E K"LÃ6 K\ P#i (Case) P61#w!
|E 4X" K> o}5I |#X 3#Ãdu "P. {#_6" |E K"LÃ6 R 3O#w KJ
{#_6" |E (Line out) >PJ (Line in) KO (Speaker) zL }. {#_6"
L 5W ¿u" 3O#w O SPDIF CD.ROM
Sound Effect
¿a 4Ãu #t~" "P. }¼" "L¼ "P w Q # 4Ã-e OK K> #"L¼
L # L\ KP.O#w . R}6 K"O #Z# # X #}q OK cE
Q . \ K#5q" rP. LÄO P6-w KQ {#. #2 "L¼
Sound Pressure
O#[q #LF" 6¼ ; Æ cX6 " O#[q ¿PX Pl6 O"Lt 6¼ O#[q
|.#u y w 4X" (dyne) K (microbar) O#.PÇ (Pascal) {#ÇX#2 6¼
KO"K KP.O#w P5[. {#ÇX#2 LF" ~ LPyLÇ . |L-6
Sound Stage
KO Q" Pz}> "P. O"KP."L¼ K5X" Æ #O"K ~R" L .s#Ä
$ OK . 5X"J# #"L¼
Sound
#>.#> 4wPF 8Ä#. w #Q#z # ¿# L#> K" sPe Q" L\ |t5 3#\#Ã6O"
Yz K\ sound
"L¼ K#=" 8Ä#. L"6 KKPz #$ L\ KP[q " #{Ç~
8Ä#. "L¼ K> K \ "O R6P #6 » W#wPq KLE -Pt6 Oe . #W"
VF 3¼ 3O¼ . "O PpW6" O#[q Pl6 " Yz KP2 5[z PpW6" O#[q Pl6
L w
"LÅ XL #S"
Spill
Ph KO qPÇ R=. qPÇ Q" L\ 4q#OK "L¼
Splice
]_I ,WB O" }X . PyLÇ . OL~ O" # "L¼ O" PX K {#_6"
Splitter
"O KO Æ Ã
>PJ L
B # K . "O KO {#
yX Æ w 6¼ "}X
"L¼ DdX {P5
w #Ç"
#>PJ Q" Æ P O P. L
w |¼ >PJ #6 .
L
w K#p5X" (unbalance) O#t5Pm bdJ Q" ,}m" KO"K K> R
Spotting
#Q#X Q" Pz # Æ P. Lw!'6 Oh
. tX c-a #y
q#a" qPÇ -Ã6
"L¼ OK Ph KO (Balance) Q"6 K#=" 4> tX
Springs
OK L
w "$V2 K#=" KO {#
yX OK "T #P
q Q" K#p5X" #. w #y5XK
#W[w 4¼#J Q" KPw 4wPF O#. L
B P
q K"L5" OK KO {#
yX #y5XK "
K\ O"KP. P. "$V2 K#=" "P. P
q
Stand
qPÇ #2
Standing Wave Stationary Wave
L
w 4wPF nJ 4> OK w {K#Ã ; K ¿> |¼#F K#5W" # w!#X ;
~~ Æ #5" OK # r#6" Æ Q" #O"K Q" +#6Q#. OK L"6 LL2 "
#w Ç\ (node) Q" Ç 4X" Pz! L
B "O"K w!#X ; P L5p. r#p6" 6¼
"P. CdX PzO#w . LÄ
"L¼ #K5X" F"Pe {¼" (Antinode) Q"
4X" +}d# LL2 " Q" +#
5>"
Straight Orchestra
Æw L. "6 w 4X" "z . $ tX 3"K" PzO"Pu ,6P6 w P5WwO"
KPw c-a $ Q" ~-u |.#u {K#Ã5 "L¼
KLÃ5 #qPÇ
"LÅ XL #S"
Subcode
" K\ c-a CD O L\ Lw 3O¼ . w 6¼Pm ~#5=K 3#Äe"
L
\#. 1w ¿
4"O 1w #Ç"
#Q
6¼ #v!" P6 O#\ |#\ 3#Äe"
Subsonic
3¼ 4ÄPX Q" P5w 4ÄPX #. >""
Super Cardioide
5> qPÇ . 4-W P65W. "Q w 5> Æ6 qPÇ "P. Fd¼"
KO"K (Cardioide) ~Ã
Supersonic
3¼ 4ÄPX Q" P5[. 4ÄPX #. >""
Sweepable Equalizer
$ oÃ`6 # 4t6 "R RwP V#wPq 5X2 {P5
w #Ç" #. ORw!" Ä
4X" ÆP5" O#2 ORw!" -\ ORw!" j " ¿u" OK (Q) 4pw ,Pa Pl6 L.
4X" 4.#: Q $ OK w 3#p6 " #.
Sync Track
#. ~#
yX c-a "P. -~ L
B "L¼ c-a #\# OK 5q#]#_5J" v!"P6 # -~ Æ
K\ K#p5X" #-~ #R "P. w SMPTE #Q RO # ^I[ V#wPq
Synthesizer
#w . -\ #w LA2 ÇP5Ç~" 3"O"L Q" w tX O"R." Ä
KO"K "O L\ K#=" 3"¼" OK o}5I 3"Pl6 K#=" 4}.#u O"R." " L
w K#p5X" #2
TDIF (Teac Digital Interface Format)
OK 4X" (Teac) Tascam #JO#w ^5I w ~##w 4[ {#5=K "L¼ VqP5
"
TDIF OK {#
yX {#t5" K\ K#p5X" DA-88 -~ L
B {#5=K "L¼ c-a #y5XK
L
w K#p5X" DB-25 ~#_6" Æ> Q" 4X" (Unbalance) O#t5Pm 3O¼ .
THD+N (Total Harmonic Distorttion + Noise)
"P. 6¼ #5WX OK R ;#>Ä" Pz!Q"L" "P. KP.O#w nO#Ã5 P5"O#2
5WX .
4X" R6P}w Æ Ä w "O V#wPq Æ6 ; Æ THD+N Pz!Q"L"
K> 3#\#[5m" P#X V#wPq $ #ÆO#
"K KPw {#Ä" Z#Q$ 4E6
"K Ç
" . >6 #. L
w Pz!Q"L" suK |#X #. "O L\ K#=" # R L
#
{" ÆO# <
2 #6 X Ã
4X" t. Q" P6Py[B "L5." #ÆO#
O"Lt {Pq Q" K#p5X" #. L\ Pz!Q"L"
. ~#Ä" ~" {#
yX
"K . THD+N
"K 4-W L
w "L2 "O THD+N
K\ #. L¼OK 3O¼ . 5WX
3 Pin Connector
2 4X" 2 "O"K w (Balance) O#t5 "L¼ #|.#w "qPF L
K {#_6"
" K\ |¼ p
X . O#\ 2 4-9 X . O#\ 2
L}\ . O#\
Cold hot ,6P6 . O#\ #2 4X" nPÃ R XLR -3 . L
K{#_6"
L\ L#
"LÅ XL #S"
3D Sound
P5X" LÃ. Æ6 "O "L¼ Pz!" KO"K O#\" 6¼ LÃ «. X "L Æ . w "S"
PyK LÃ. w 4X" 5WX LÃ. X 6¼ 5WX Æ
# . LÃ .« K "O ~##w K
,}m" K\ "L¼ "P. P5[. 5Ç1XP2 K#=" 8Ä#. P" " w L
w q#a" "L¼ . "O
X 6¼ "L "O"K DTS 5.1 {#5=K -~"K L
# ~##w L
B 6¼ #5WX
#5WX . }w Oe . L
5W (3D sound) 3 dimensional sound # LÃ.
L\ 5J#
\ R (Surround sound) dE "L¼
THD (Total Hainonic Distortion)
THD oPÃ6 s-e 6¼ z!#z #5WX OK ;#>Ä" Pz!Q"L" "P. P5"O#2
#. |.#t {Pq #. }¼" ; Æ #ÆO#
"K j= Q" 4X" 3O#-Ä
A {" ÆO# A K\
PJ$ L#. Ã THD Pz!Q"L" "P. X ÆO# A K ÆO#
5[ ÆO# |#\ THD {#9 "P. K\ Lu Pz!Q"L" KO ÆO#
THX (Tamlison Holmans experiment)
4#ÄO O#.OK w Lucas Film Q#W}q 4wP\ ,#> Q" 6O#=6 L\ 4-: 4Ä
L\#. #
X OK }q Z# #5WX "L¼ 3"R=6 OK
q ]#J #KO"L#5X"
Lucas Film 4wP\ Q" L"6
L
w 4#ÄO "O #KO"L#5X" " w #
X ~#X P
L
w K#p5X" "O THX 4Ä 5qPz #
"z!
Take up Reel
Q#. "L¼ O" K ¿> pi w }O "L¼ c-a #\# OK 4X"O 4X t}F
KO"K "O (Supply Reel) 0B 4X t}F O Q" L\
Take
4\"KP. L
B 6¼ Ãdu P Q" {Ã Oe . 6¼ Ãdu Æ L\ c-a 4\"KP.
K\ 5qPN2 4\"KP. P5. 4# OK K\ c-a
Talkback
|"Ä . #P. "O#wOL"4XK # O"KP."L¼ "L¼ {#t5" "P. "L¼ #R OK 5}.#u
L
5W Pt5W K5X" |J"K OK w 4X" #P. "P>"
"LÅ XL #S"
Tape Recorder
O" O #6 L
w |L-6 We#
l {#
yX . "O 6¼ ÇP5Ç~" {#y
X w #y5XK
We#
l #L ¶
ÇP5Ç~" 3"O"L "O"K #y5XK " KKPz c-a "L¼ We#
l
4X" ÇP5Ç~" #O6 L |.#t Q" O" 4J"
Ç 4wPF 5WX
Tape
L\ 5J#X (Coting) We#
l Z\2 (Base) #2 4Wu K Q" w T O"
Q" R We#
l Z\2 P5X" }2 Ä Q" #2 V
> K\ K#p5X" "L¼ c-a "P.
P#X 4X#WF
Q"L"
|Ç\ Ph Q" "L¼ We#
l #O" 4X" $LWw!"
L
5W j
5 O#W.
q 3#_I[
Third Octave
#5w!"
2KHZ V#wPq 1KHZ V#wPq {" #5w!" {#9 "P. V#wPq P X #5w!"
4X" 8KHZ V#wPq X #5w!" 4KHZ V#wPq $ K
Three-To-One rule
qPÇ L
B Q" K#p5X" #y
4X" CP\ L. w #qPÇ KP.O#w OK "LÄ#u
|u"LF
Q" #qPÇ }¼#q L#.
PyLÇ #. #$ {#
yX ,wP6 "L¼ c-a "P.
Q#q Y#[5m" K#=" LÄ 8Ä#. P" " L\#. "L¼ ¿-
#6 qPÇ P }¼#q P."P. X
L\ L"J
Tie
O#w E~ }X . ÇP5Ç~" O"L Æ Q" dt K ÇP5Ç~" {#_6"
Timbre
3L\ V#wPq # #. PyK "L¼ Q" "L¼ Æ R#6 8Ä#. w 3¼ Q" ]#J 5pw!
K\
Tone Control
W#wPq KLE X # K "O"K w ORw!" Æ W#wPq HX#2 {P5
w "P. #Ç"
#2 #V#wPq "6 Tone Control }X . ¿u" OK 4X#. #
#2
KPw oÃ`6 # 4t6 "O #. #
"LÅ XL #S"
Tone
4.#: W#wPq 4pw
3L #. 6¼
Tonsil Test
. }q O#5pz # zL
z "P. c"P\ L>" K"Pq" Q" K5X" "O"KP. "L¼ w [#Q$
O"KP."L¼ KPw "P>" "O 5 Æ Q" ZI. L
B L
z
Z#Q$ " OK LO$ |Ä
.#QO" XOP. "O #$ V1X KPw c-a "O L
z "L¼
q 4pw DE_6 L.
L
w
Track
Q" Pz Æ "L¼ {##w Æ c-a "P. "L¼ We#
l O" O P. PW Æ
P Ã CD ÆWKKO#
We#
l O" O {#5=K {#
yX Æ OK #4#.
K\ K#p5X" tX Q#X Æ "L¼ c-a "P. v!"P6
Tracking
6¼ #v!" P6 # -~ YO " OK 2 OK 2 v!"P6 . v!"P6 YO . "L¼ c-a
OK ,}m" YO " Q" LKPz c-a
L"L\ c-a -u w #v!" P6 ZI2 #. x
#
K\ K#p5X" tX c-a
Transducer
;"" w qPÇ PyK |Ç\ . }Ç\ Q" SP" |L-6 "P. "}X P { L̄-
|L-6 6¼ ;"" . "O ÇP5Ç~" {#
yX w zL
}. # ÇP5Ç~" {#
yX . "O 6¼
L
5W Transducer Ä
L
w
Transient Response
¿PX |Ã~"VÇÄ "P. zL
}. # qPÇ L
#
6¼ O"R." Æ #"6 "ONz HX#2
6¼ ;"" |L-6 OK qPÇ Æ KHX#2 4ÄPX {#9 "P. 5q#OK {#
yX .
4X" P5[. $ "ONz HX#2
L\#. P5[. B P ÇP5Ç~" {#
yX . |-e Æ Q" |¼#F
Transport
c-a #y
. #y5XK #L |.#t Q" We#
l #O" 4wPF Ç#Ç 5WX
Q" O" 4wPF 4ÄPX 3#-: 4" |~K . L
z "O ,tÄ # }> . ¿PX 4wPF ZI2
K\ K#p5X" 5WX OK tuK #Æ
Ç6 Q" L |.#t
"LÅ XL #S"
Transversal equalizer
Q" Q#J o}X Ph ## ¶~"¶ KP.O#w #> . w h
6 |.#u L#. L
B ORw!" Ä
Transversal KP. P. V#wPq +#I5" ## ¶~ "¶ "
Ä . ]#J #L
K PJ'6
KPw #-5\" {#5=K #P5}q #. L#- "O Ãe#t6 ORw!" # equalizer
Trim
4X" KLE |Ä QF #. "L¼ ~ Ä w L
z "O {#
yX DdX R> suK {P5
w!
K\ {#
yX DdX OK ÆBw 3"Pl6 K#=" 8Ä#. Trim
PyK 3O#-Ä .
Tube
O#w L\ K#p5X" ÇP5Ç~" #{#
yX 4t6 "P. 5\Nz OK w
¨ J 0
Q" JP. K"K #=" "O }Ãq #L
w4t6 OK ¿5= 3"O"L #O5WR"P6
P5. (Tube) 1 #L
w 4t6 Q" |¼#F "L¼ LLt5Ã tX "L
uÄ
4X" O5WR" P6 #L
w 4t6 Q" |¼#F "L¼ Q" P6[
~K
Turntablist
ZI2 ¿.#
"
Ä . (Turntable) q#"Pz L
B # K Q" K#p5X" #. w L
P
Zt #p" tX Pz Æ OK P5WwO" }¼" "L¼ #. #$ "L¼ sp}6 tX
L
w
Tweeter
w L
z "O <O #6 zL
}. 5WX Æ OK #. #V#wPq ZI2 T zL
}.
4X" ÆBw K#Ã." "O"K
Twisted-Pair
cJ Æ "
Ä . w ÇP5Ç~" {#
yX zP {#t5" "P. K# X 4p> Æ #. }.#w!
L\#. L\ L}\ 4X" Ç K\ K#p5X" $ Q" O#t5
Ultrasonic
-Pt6 Oe . w #W" Yz "
\ W#wPq KLE Q" P6#. V#wPq #. 6¼ ;""
K\ R6P »»»» Q" P6#. #V#wPq |#\
Unbalanced Line
K# "
Ä . Rl X Æ Q" w O#t5Pm ÇP5Ç~" #{#
yX {#t5" |.#w!
5J#X
4X" nPÃ L}\ . w $ n"Pe" OK L\ 5q#. X Æ ÇP5Ç~" {#
yX
O"Lt O#t5 Pm #|.#w OK KO"K K> rq K# K . OK s#Ä Æ K\
K\ L=
X L}\ . 4-W [ {#
yX "hE~
Unidirectional Response
6¼ ;"" KJ 4X Æ Q" #
6 w K\ re" qPÇ . w 5> Æ6 HX#2
5pz Cardioide Response $ . L# ÇP5Ç~" {#
yX . |L-6 4q#OK "O
K\
VCA (Voltage Controled Amplifier)
L\ |Ç[6 {P5
w LF" >PJ
KO 4Wu X Q" w ÇP5Ç~" L
w 4t6
P. 4X" {P5
w 4Wu KO 4Wu S#5~ Q" Ã.#6 >PJ 4Wu S#5~ 4X"
Q" L\#. ~#5=K Lw # #P>
S#5~ Ã w ~P5
w {#
yX }X . L
w 4t6
>PJ S#5~ h
6 8Ä#. P" " K\ Ã6
4X" L\ |¼#F >PJ 4Wu
"L¼ Ç#
K #L
w {P5
w OK VCA Q" K\ $ +}dPm Z"Rq" Q" Pz}>
YP5Wz (Limiters) #L
w KLE
(Compressors) #L
w KP[q L
#
K\ K#p5X" (Noise gates) R #AOK (Expanders) #L
K
VU (Volume Unit meter)
KLE OK ÇP5Ç~" #{#
yX
"K K ^I[ "P. "T Pz!Q"L" #y5XK
w 4X" P54~ VU meter Æ ¿u" OK R6P »»»» #6 » 6¼ #V#wPq
P: Q"L" 4X" L\ KO"L#5X" h
6 dB U#X"P. 6¼ CdX Pz!Q"L" "P.
^I[ #W" Yz "
\
E
. >6 #. "O 6¼ #{#
yX =F cX5
VU 4X" ,X#
O#W.
w cX5
"K DdX Z# "P. }X " KQ#X
j"P5J" {#X OK NBC CBS #Ç-\ |. O"6"P. cX6 )wP5[ meter
KHZ X
X ; Æ Q" +4dBu Py#. VU meter Ep¼ O 0 KLÄ L\
#Q 4X" w )5-W #{#
yX . VU K HX#2 4ÄPX (odBu=0.775V) 4X"
$ K HX#2 4ÄPX P
" Q" 4X" #: } KJ LF P6#. . .PtÄ LXO
{#
yX (Peak) ;" Z# "P. #" 4X" Yz zT . -\ "L¼ DdX Z# "P.
4W ,X#
"L¼
"LÅ XL #S"
Velocity Microphone
re" (ribbon Microphone) O" qPÇ . )Fd¼" w 5ÄPX qPÇ
L
w Ã>"P ribbon Microphone . P5[. #z!$ "P. K\
Vibrato
R6P #6 #V#wPq KLF OK "L¼ . PQ ¿PX +#
5 3"Pl6
Vocoder (Voice Coder)
W#wPq #L#. . $ ÆÇp6 #W" "L¼ |}E6 R=6 "P. "}X # 5WX
Q" ÇP5Ç~" #O"L }X . $ O#.K Q#XQ#. "P. "Lu" ÆO#. O#W.
w ,6P6 L. K\ K#p5X" ÆP5Ç~" tX L
# z!#z KO" OK Vocoder
PyK KO L
"J "L¼ KO Æ
K\ |¼ Vocoder . KO K
L
"J w #. ,X#
5 Vocoder 4~#F " OK 4X" ÇP5Ç~" Q#X Æ >PJ
LL2 L\ K#=" w -\ "L¼ w LK ÇP5Ç~" Q#X "L¼ OK 6"Pl6
KO$ K> . "O "T 6¼
Voice Over
Yz . Z"L¼ #" 4W # OK [2P
P_6 w #y
Q#W}q 4Ã
¼ OK
w c-a T #K5X" . 4X" Voice Over "L¼ L
z )Fd¼"
LXO
K\ 5pz Voice Over Studio #z R O#5pz
Volt
K ÇP5Ç~" |W#52 3#p6 #. P."P. w ÇP5Ç~" |W#52 n5J" }}~" . LF"
"6 3" Æ "R .
K\ O#> dt K " . P1$ Æ #. P."P. #P> Pz!" w dt
L# K#=" ÇP5Ç~"
Wave Length
LÃ. dt #6 X
X ; Æ Q" ^I[ dt Æ . }¼#q {#
yX ; {e
F
3¼ 4ÄPX V $ OK w 4X" O = VF |Ç\ . V#wPq ; {e d."O .#[
4X" P5 ; {e LF" L\#. ; {e "L
O V#wPq
Weighting filters
Q #P5}q Q" L\ K#p5X" "L¼ L
}. Pz!Q"L" "P. w "T #P5}q
dE #R "L¼ L
}. Pz!Q"L" OK Ã (Weighting filters) L\ K
#. P5}q ¿u" OK #P5}q j " KKPz O"KP.P. P5X # . #y5XK }X .
B ¿u" OK L
\#. #W" Yz "
\
E
#. ,X#
5 w 4X" KLE L#. #
2
Pz!Q"L"!L#.!V2!
4W!#WÇ!6¼!o}5I!#V#wPq!.!4-W!Yz!yIX#2
K> 5W>P. L\ K Q P5}q j O#B L\#. $ #. s-d
R cE R L
}.
R6P}w # V#wPq #.
2 ONz #
E
"O"K A-Weighting LO"K
R6P}w » V#wPq OK oÃ`6 » dB KLF R6P »» V#wPq OK oÃ`6 » dB
Fletcher-Munson "
\ #
E
OK q »
E
O"
E
" L\#.
A P5}q Q" P5[. B L\KQ P5}q W#wPq KLE B-Weighting 4X"
A P5}q -\ #. #V#wPq OK ~ KO"K oÃ`6 » dB R6P » V#wPq OK 4X"
E
C-Weighting K\ K#p5X" L
}. #"L¼ Z=
X "P. B P5}q 4X"
dB Q"L" . R6P »»» #V#wPq OK ctq 4X" 4I6 )5-W C P5}q
O#W. Yz "
\
E
O" )-Pt6 D P5}q D-Weighting KO"K 4q"!
4X" A
E
. -\
"LÅ XL #S"
White Noise
R
4X" L#[ |.#u #;{e #6 Q" #W PK#t |#\ LpX O w Od#
4X" L
\ |.#u #V#wPq #6 Q" #W PK#t |#\ R (White Noise) LpX
P6#. LF #6 6¼ #KP.O#w "P. w 4X" KLE# $ L#. #
2
PyK 3O#-Ä .
#6 OK LpX R {#
yX SP" 4X" 5[z KLE R6P}w »
L
\ |.#u V#wPq
#5w!" P OK 4.#: SP" "O"K Pink noise w ~#F OK
4X" 4.#: #V#wPq
6¼ ##y5XK h
6 L
#
z!#z #K#p5X" LpX R Q" 4X" W#wPq
K\
Windscreen
"L¼ #K5X" OK Q#J #qPÇ z!"Pq#K |.#t OK w ]_I "Ep¼
5qPz "O F"R " #P> }> 3
/ L
# qPF "K" #y
#6 KPz O"Pu
4X" nPÃ popscreen . K[ K#=" ;#>Ä"
Windshield
R}q O6 #. L\ L\2 #5F" P <
pX" V
> Q" Ã
"}X PzK#.
#P> # K#. |.#t OK $ Q" KPzP.OK ÇE "O qPÇ PX 4Wu w Æ-[
L
w 4hq#E
. PX P. 4wPF 9
" OK qPÇ ¿PX 4wPF Q" \# "
ÆBw #PzK#. Q" L\#. ÈOR. q#w Q"L" . L#. K#. #. }.#t "P. #PzK#. K#Ã."
|.#t 4-E¼ Vp
6 Q" \# " #P> #. }.#t "P. ÆKR O#5pz ]_I
K\ K#p5X" qPÇ
Wireless Microphone
L
w Ã>"P Radio Microphone Da6 . X. qPÇ
Woofer
Pdu L
z "O <O #6 zL
}. 5WX Æ OK #2 #V#wPq ZI2 T zL
}.
ÈOR. #2 #V#wPq
ÈOR. #;{e ZI2 #Ç" ,-X . zL
}. " #K
4X"
Word
{#5=K 6¼ 3#Äe" LO"KP.OK w ~#5=K Æ Pp¼ #4. Q" "Ä=
"LÅ XL #S"
"O #$ P61#w }X . "6
A K"K {#t5" # KPw PJM "O $ "6 4X"
K\ K#p5X" 4. # 4. (word) }w Q" Ã KPw YQ"KP2
Word Clock
#[ {#5=K "L¼ VqP5
" Æ OK "O O"KP. V#wPq w #R {#
yX
LK
Word Length
(Digital Word) {#5=K }w Æ OK #4. K"LÃ6
Wow
#. c-a #y
OK 4ÄPX Ç#Ç Pl6 Q" \# "L¼ x"K
. PQ +#
5 3"Pl6
R6P Q" P5w W#wPq
XLR
. w O#t5 bdJ ~#_6" #Æ> "P. ITT 4wP\ 6O#=6 L\ 4-: 4Ä
L
5W nPÃ Cannon #Æ>
"qPF "L¼ QF OK KO"L#5X" #Æ> 3O¼ . Æ
" #Æ> j "
L"L$OK
Y
ÇP5Ç~" V"L1" VÇÄ w (admittance) ÇP5Ç~" 4"L "P. .#I5" |-X
4X"
Z
4X" V#5K" VÇÄ w (Impedsnce) ÇP5Ç~" V"L1" "P. .#I5" |-X
Zero Level Tone
L~6 Q#X#X }X . ÇP5Ç~" 3O¼ . w KO"L#5X" ¿>P DdX #. "L¼
"
#> #KO"L#5X" s-e KO O#w . 6¼ ##y5XK h
6 "P. K\
" V#wPq 4X" 4~ » # " »» 4#t O 3OLu 3" } Æ DdX
4X" nPÃ R R6P | . L\#. R6P »»» ^~#J 6
Z-transform
|F "P. $ Q" 4X" nPÃ Z |L-6 . w LA2 |#W |F "P. a#O \O
HX#2 XOP. L"6 |#W " K\ K#p5X" R {#5=K #P5}q . b.P |#W
L\#. $ O"L#2 P5}q W#wPq
NJ% ¿.#
- Laspiving and Empowering Creativity. [Homepage]. [Online]:
<Http://www.dv.com>.[July 2002]
- Povilin, Michel. (2000). Digital Television Fundamental . London: MC
Graw Hill.
- Professional Audio Products . [Homepage]. [Online].
<Http://www.Rane.com>.[July 2002].
- R.Sinclair, Ian. (2000). Audio & Hifi Handbook . London: Newnes
- Tolbot, Micheal. (2001). Audio Engineer`s Refrence Book. London: Focal
prees.
YPX "P6 L JPB LLE >P6
"L¼ ZI2 c-a
}z Ç~$
}Ä "P6 R}6 # X q x Pq
\O L¼
#y[T2 "P6 #X#u FO >P6
}q |#w x Pq
"P$ ÈP.Ry w
X" P x Pq
}Ç"Pq "P6 }[wP.L >P6
Æ5Xw!$ #- »
R w VP~
#y["K P[ "P6 KP.O#w Æ5Xw!$P5Ç~"
}Ãm 5u#~
YPX "P6 L JPB LLE >P6
O"KP."L¼ q
Æ~$ 4-W
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