Search results
Results from the WOW.Com Content Network
In recorded and live music, compression parameters may be adjusted to change the way they affect sounds. Compression and limiting are identical in process but different in degree and perceived effect. A limiter is a compressor with a high ratio and, generally, a short attack time.
A music box (American English) or musical box (British English) is an automatic musical instrument in a box that produces musical notes by using a set of pins placed on a revolving cylinder or disc to pluck the tuned teeth (or lamellae) of a steel comb.
The distinctive sound of an instrument with a sound box owes a lot to the alteration made to the tone. A sound box is found in most string instruments. [2] The most notable exceptions are some electrically amplified instruments like the solid body electric guitar or the electric violin, and the piano which uses only a sound board instead.
Parallel compression, also known as New York compression, is a dynamic range compression technique used in sound recording and mixing. Parallel compression, a form of upward compression , is achieved by mixing an unprocessed 'dry', or lightly compressed signal with a heavily compressed version of the same signal.
Audio compression may refer to: Audio compression (data) , a type of lossy or lossless compression in which the amount of data in a recorded waveform is reduced to differing extents for transmission respectively with or without some loss of quality, used in CD and MP3 encoding, Internet radio, and the like
In a closed-box loudspeaker, the air inside the box acts as a spring, returning the cone to the zero position in the absence of a signal. A significant increase in the effective volume of a closed-box loudspeaker can be achieved by a filling of fibrous material, typically fiberglass, bonded acetate fiber (BAF) or long-fiber wool.
This is used in sound cards that support both audio in and out, for instance. Hardware audio codecs send and receive digital data using buses such as AC-Link , I²S , SPI , I²C , etc. Most commonly the digital data is linear PCM , and this is the only format that most codecs support, but some legacy codecs support other formats such as G.711 ...
Another type of normalization is based on a measure of loudness, wherein the gain is changed to bring the average loudness to a target level. This average may be approximate, such as a simple measurement of average power (e.g. RMS), or more accurate, such as a measure that addresses human perception e.g. that defined by EBU R128 and offered by ReplayGain, Sound Check and GoldWave.