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Mixing consoles are the heart of a sound reinforcement system. This is where the sound engineer can adjust the volume and tone of each input, whether it is a vocalist's microphone or the signal from an electric bass, and mix, equalize and add effects to these sound sources. Doing the mixing for a live show requires a mix of technical and ...
The first heart sound, or S 1, forms the "lub" of "lub-dub" and is composed of components M 1 (mitral valve closure) and T 1 (tricuspid valve closure). Normally M 1 precedes T 1 slightly. It is caused by the closure of the atrioventricular valves , i.e. tricuspid and mitral (bicuspid), at the beginning of ventricular contraction, or systole .
While one might expect speeding up to reduce comprehension, Herb Friedman says that "Experiments have shown that the brain works most efficiently if the information rate through the ears—via speech—is the 'average' reading rate, which is about 200–300 wpm (words per minute), yet the average rate of speech is in the neighborhood of 100 ...
Most modern quality amplifiers have >110 dB dynamic range, [6] which approaches that of the human ear, usually taken as around 130 dB. See Programme levels. Phase distortion, Group delay, and Phase delay A perfect audio component will maintain the phase coherency of a signal over the full range of frequencies. Phase distortion can be extremely ...
For the left and right bands of the sound content, there are a series of vertical faders, which can be used to boost or cut specific frequency ranges. This equalizer is set to a smiley face curve, in which the mid-range sound frequencies are cut. Equalizers are also made in compact pedal-style effect units for use by electric guitarists.
EBU R 128 is a recommendation for loudness normalisation and maximum level of audio signals. It is primarily followed during audio mixing of television and radio programmes and adopted by broadcasters to measure and control programme loudness. [1]
This is because 'top-down' influences mean that the subject expects to hear the sound and is, therefore, more motivated with higher levels of concentration. The 'bottom-up' theory explains that unwanted external (from the environment) and internal (e.g., heartbeat) noise results in the subject only responding to the sound if the signal-to-noise ...
The sound of a bullet entering a person from a close distance may sound nothing like the sound designed in the above example, but since very few people are aware of how such a thing actually sounds, the job of designing the effect is mainly an issue of creating a conjectural sound which feeds the audience's expectations while still suspending ...