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Binaural Hearing (양이 μ²­μ·¨)

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2-way Speaker
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A/B Spaced Pair
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Additive Synthesis
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Aliasing
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Ambience
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Ampere - A (μ „λ₯˜)
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Amplitude (진폭)
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Analog-to-Digital Converter - ADC
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Anti-Aliasing
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ATSC A/85
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Auditory Illusion (청각 μ°©μ‹œ)
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Binaural Hearing (양이 μ²­μ·¨)
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Bit
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Bit Depth
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Bit Error Rate - BER
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Brown Noise
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Chiptune
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Clipping
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Clock
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Cocktail Party Effect (μΉ΅ν…ŒμΌ νŒŒν‹° 효과)
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Comb Filtering
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Convolution
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Crest Factor
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Damping (감쇠)
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dBm
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dBu
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dBV
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dBW
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Decibel - dB
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Diaphragm (μ§„λ™νŒ)
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Diegetic
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Digital Audio Interface
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Digital Audio Workstation - DAW
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Digital-to-Analog Converter - DAC
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Dipole Gain - dBd
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Distortion (μ™œκ³‘)
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Dithering
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Downsampling
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Dynamic Range - DR
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EBU R128
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Loudness - LU
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Frequency - Hz (주파수)
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Pitch
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Fundamental Frequency - F0 (기본 주파수)
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Harmonics (배음)
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Inharmonics (λΉ„λ°°μŒ)
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Overtone (μƒμŒ)
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Fourier Transform (푸리에 λ³€ν™˜)
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Period - T (μ£ΌκΈ°)
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Phase - Ο† (μœ„μƒ)
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In-Phase (동상)
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Out-of-Phase (역상)
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Polarity (κ·Ήμ„±)
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Wavelength - Ξ» (파μž₯)
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Envelope - ENV
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Transient - TR
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Power - W (μ „λ ₯)
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Unity Gain
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Relative Average Loudness - RAL
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Gain
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Sound Pressure Level - dB SPL
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Full Scale - dBFS
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True Peak - dBTP
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Hearing Level - dB HL
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Weighting Filters - A / B / C Weighting
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Loudness Units relative to Full Scale - LUFS
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Loudness K-weighted relative to Full Scale - LKFS
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Loudness Range - LRA
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Isotropic Gain - dBi
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Sound Power, Acustic Power (음ν–₯ νŒŒμ›Œ)
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Signal-to-Noise Ratio - SNR (μ‹ ν˜Έ λŒ€ μž‘μŒλΉ„)
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Total Harmonic Distortion - THD
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Root Mean Square - RMS
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Threshold (Parameter)
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Resistance - R (μ €ν•­)
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Sine Wave (μ •ν˜„νŒŒ)
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Mode of Vibration (λΉ„μ‘°ν™” λͺ¨λ“œ)
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Fletcher-Munson Curve
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ITU-R BS.1770
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Equal Loudness Contour (등청감곑선)
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Headroom
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Noise Floor
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Noise (작음)
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Nyquist Theorem (λ‚˜μ΄ν€΄μŠ€νŠΈ 이둠)
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Effective Number of Bits - ENOB
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Sampling
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Quantization (μ–‘μžν™”)
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Compressor
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Reverb
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Delay
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Equalizer
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Tape
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Parameter (Parameter)
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Unit
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Amplifier (증폭기)
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Speaker
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Hi-Fi
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Hyper Cardioid
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Lobar
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Gooseneck Microphone
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Boom Microphone
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Headset Microphone
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Earset Microphone
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Boundary / PZM Microphone
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Parabolic Microphone
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Wireless Microphone
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USB Microphone
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Measurement Microphone
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Mic Level
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Line Level
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Speaker Level
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Level
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Auditory Masking (청각 λ§ˆμŠ€ν‚Ή)
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Precedence Effect, Haas Effect (μ„ ν–‰ 효과)
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Auditory Scene Analysis (청각 μž₯λ©΄ 뢄석)
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Temporal Integration (μ‹œκ°„μ  적뢄)
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Missing Fundamental (결손 기본주파수)
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Recorder (λ…ΉμŒκΈ°)
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Mixing Console
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Direct Box
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Cue System
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Audio Cable
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Connector
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Rack
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Patch Bay
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Mixdown
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Signal Flow
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Phantom Power
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Slap Echo
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Multiply Echo
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Modulation
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Flanger
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Phaser
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Pitch Shifter
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Chorus
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Tremolo
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Auto-Tune
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Pitch Correction
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Vibration
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Delay Time (Parameter)
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Sync (Parameter)
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Note Value (Parameter)
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Offset (Parameter)
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Feedback (Parameter)
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Mix (Parameter)
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Damping (Parameter)
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Stereo Width (Parameter)
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Pan (Parameter)
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Ping-pong (Parameter)
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Cross Feedback (Parameter)
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Transmission Medium (맀질)
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Wave (νŒŒλ™)
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Outer Ear (외이)
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Middle Ear (쀑이)
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Inner Ear (내이)
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Ear Drum (고막)
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Ossicles (μ΄μ†Œκ³¨)
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Cochlear Duct (λ‹¬νŒ½μ΄κ΄€)
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Phase Distortion
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Electric Guitar
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Overdrive
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Effector
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Bitrate
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Block Noise
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Digital Artifact
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Synthesizer
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Hiss
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Hum
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Clipping Point
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Norminal Level
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S/PDIF
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ASIO
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Core Audio
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Latency
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Word Clock
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Preamplifier
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Acustic Guitar
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Plug-In
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Studio
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Low Frequency Oscillator - LFO
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Subtractive Synthesis
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Arpeggio
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Polyphony
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Pure Tone
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Non-Destructive Editing (λΉ„νŒŒκ΄΄ νŽΈμ§‘)
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Foley
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Sound Effects - SFX
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One-shot
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Layering
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Sidechain
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Dialog
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Ducking
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Asset
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Non-diegetic
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On-screen
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Off-screen
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Extra-diegetic
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Mickey Mousing
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Audio Bridge
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L-Cut
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J-Cut
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Leitmotif
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Walla
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Granular Synthesis
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Sweetener
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Drone
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Braam
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Riser
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Morphing
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Soundscape
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Whoosh
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Impact
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Squelch
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Stinger
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Rumble
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Glitch
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Filter Sweep
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Reverse
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Room Tone
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Background Noise
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Post Production
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XLR
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Sub Woofer
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Driver
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Unit
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Enclosure
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Capacitor
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Dynamic Speaker
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Woofer
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Recording
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Mixing
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Mastering
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Dynamic Audio Processor - DSP
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Fast Fourier Transform - FFT
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Bit Crusher
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Buffer
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Ambisonics
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Dolby Atmos
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Spherical Harmonics
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Mono
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Stereo
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SoundField
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Envelope Tracker
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Envelope Follower
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Semitone
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Peak Programme Meter - dBPPM
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Speech Interference Level - SIL
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Voltage - V (μ „μ••)
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Impedance - Ξ©
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Peak
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Linear (μ„ ν˜•)
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Timbre (μŒμƒ‰)
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Resonance (곡진)
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Formant
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phon
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Transister
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Fundamental RMS
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Oscillator
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Oversampling
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Filter
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Limiter
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Sample Peak
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Jitter
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ISO 226
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Convolution Reverb
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Gate
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Expander
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De-Esser
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Ratio (Parameter)
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Knee (Parameter)
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Attack (Parameter)
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Decay (Parameter)
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Sustain (Parameter)
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Release (Parameter)
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Square Wave (μ‚¬κ°νŒŒ)
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Saw Wave (ν†±λ‹ˆνŒŒ)
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Triangle Wave (μ‚Όκ°νŒŒ)
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Pulse Wave
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White Noise (백색 작음)
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Pink Noise
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Frequency Response
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Brownian Motion (브라운 μš΄λ™)
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Octave
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Cent
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Digital Signal Process
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Saturation
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Vibrato
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Intonation
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Drift
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Format
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Sample Rate
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Microphone
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Dynamic Microphone
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Condenser Microphone
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Ribbon Microphone
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Omni-Directional (무지ν–₯μ„±)
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Super Cardioid (μ΄ˆμ§€ν–₯μ„±)
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Shotgun Microphone
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Lavalier Microphone
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High-pass Filter
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Low-pass Filter
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Band-pass Filter
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Band-stop Filter
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Notch Filter
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Shelving Filter
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Peak Filter
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Bell Filter
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Q Factor
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Cutoff Frequency
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Center Frequency
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Pad
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Uni-Directional (단일지ν–₯μ„±)
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Bi-Directional (μ–‘μ§€ν–₯μ„±)
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Proximity Effect (κ·Όμ ‘ 효과)
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Off-axis Coloration (μ˜€ν”„μΆ• 착색)
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Inverse-square Law (μ—­μ œκ³± 법칙)
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Polar Pattern (μ§€ν–₯μ„± νŒ¨ν„΄)
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Head-related Transfer Function
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Distance Attenuation
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Room Modes
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Boundary Effect
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Doppler Effect
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Lombard Effect
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Transient Reponse
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Sensitivity
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Electret Condenser Microphone
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Dummy Head
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Stereo Microphone
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Shock Mount
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Pop Filter
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Windscreen
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3:1 Microphone Rule
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X/Y Coincident Pair
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M/S Mid Side Technique
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Electrodynamic Speaker Drive
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Crossover
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Loudspeaker Enclosure
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Loudspeaker
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Nearfield Speaker
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Headphone
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Full Range Speaker
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3-way Speaker
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Graphic Equalizer
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Parametric Equalizer
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Dynamic Equalizer
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Enhancer
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Variable-Mu Compressor
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VCA Compressor
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FET Compressor
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Optical Compressor
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Digital Compressor
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Hold (Parameter)
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Gain Reduction Meter - GR
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Make-up Gain (Parameter)
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Stereo Compressor
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Multiband Compressor
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Sidechain
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De-noiser
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Hall (Parameter)
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Plate (Parameter)
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Room (Parameter)
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Ambience (Parameter)
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Chamber (Parameter)
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Spring (Parameter)
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Gate (Parameter)
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Size (Parameter)
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Pre-Delay (Parameter)
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Early Reflection (Parameter)
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Diffusion (Parameter)
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Wet/Dry (Parameter)
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Doubling
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Echo
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Introduction
Β 

μ •μ˜

인간이 쒌우 두 개의 κ·€λ₯Ό μ‚¬μš©ν•˜μ—¬ μ†Œλ¦¬κ°€ λ°œμƒν•˜λŠ” 물리적인 μœ„μΉ˜μ™€ 거리 곡간감을 3μ°¨μ›μ μœΌλ‘œ μΈμ§€ν•˜λŠ” 청각 μ‹œμŠ€ν…œμ˜ 근본적인 λ©”μ»€λ‹ˆμ¦˜μ΄λ‹€.

μ„€λͺ…

μ†Œλ¦¬μ˜ λ°©ν–₯κ³Ό 거리λ₯Ό μ°ΎλŠ” 근본적인 μ›λ¦¬λŠ” 1907λ…„ 영ꡭ의 λ¬Όλ¦¬ν•™μž 레일리 경이 λ°œν‘œν•œ 이쀑 μ΄λ‘ μ—μ„œ 처음 과학적인 체계λ₯Ό κ°–μΆ”μ–΄ μ •λ¦½λ˜μ—ˆλ‹€. κ·ΈλŠ” μ†Œλ¦¬κ°€ 두 귀에 λ„λ‹¬ν•˜λŠ” μ‹œκ°„μ˜ 차이와 μŒμ•• μ—λ„ˆμ§€μ˜ 차이가 λ°©ν–₯을 κ²°μ •ν•˜λŠ” 핡심적인 두 κ°€μ§€ 물리 μš”μ†Œμž„μ„ 증λͺ…ν•΄λƒˆλ‹€.
κ³Όκ±° λͺ¨λ…Έ μ‹œλŒ€μ˜ 음ν–₯ ν™˜κ²½μ—μ„œλŠ” λ‹¨μˆœνžˆ μ†Œλ¦¬μ˜ 크기 자체만 μ‘΄μž¬ν–ˆμ§€λ§Œ 2채널 μŠ€ν…Œλ ˆμ˜€ μ‹œμŠ€ν…œμ΄ λ°œλ‹¬ν•˜λ©΄μ„œ μΈκ°„μ˜ 청각적 νŠΉμ„±μ„ μ „μžμ μœΌλ‘œ λͺ¨λ°©ν•˜μ—¬ 쒌우 μŠ€ν”Όμ»€ 사이에 κ°€μƒμ˜ 넓은 곡간을 κ΅¬μΆ•ν•˜κ²Œ λ˜μ—ˆλ‹€.
ν˜„λŒ€ μ˜€λ””μ˜€ νŒŒμ΄ν”„λΌμΈκ³Ό κ²Œμž„ μ‚¬μš΄λ“œ λ””μžμΈμ—μ„œλŠ” 주둜
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Headphone
μ²­μ·¨ ν™˜κ²½μ„ νƒ€κ²ŸμœΌλ‘œ ν•˜μ—¬ 평면적인 μŠ€ν…Œλ ˆμ˜€ μ†ŒμŠ€λ₯Ό 360도 μž…μ²΄ 음ν–₯으둜 λ³€ν™˜ν•˜λŠ” 곡간 음ν–₯ 기술의 κ°€μž₯ 근본적인 바탕이 λœλ‹€.

원리

  1. μ‹œκ°„μ°¨ 인지 원리
    1. μ†Œλ¦¬κ°€ λ°œμƒν•˜λŠ” 물리적 μœ„μΉ˜κ°€ 정쀑앙이 아닐 경우 ν•œμͺ½ 귀에 μ†Œλ¦¬κ°€ λ¨Όμ € λ„λ‹¬ν•˜κ³  λ‹€λ₯Έ μͺ½ κ·€μ—λŠ” λ‘κ°œκ³¨μ˜ 크기만큼 λ―Έμ„Έν•˜κ²Œ 늦게 λ„μ°©ν•˜λŠ” μ‹œκ°„μ˜ 격차가 ν•„μ—°μ μœΌλ‘œ λ°œμƒν•œλ‹€. λ‡ŒλŠ” 이 μˆ˜μ‹­μ—μ„œ 수백 마이크둜초 λ‹¨μœ„μ˜ 짧은 μ§€μ—° μ‹œκ°„μ„ μ‹€μ‹œκ°„μœΌλ‘œ λΆ„μ„ν•˜μ—¬ 쒌우 λ°©ν–₯을 맀우 μ •λ°€ν•˜κ²Œ νŒλ³„ν•œλ‹€.
  1. μŒμ••μ°¨ 인지 원리
    1. μΈκ°„μ˜ 머리 ν˜•νƒœ μžμ²΄κ°€ ν•˜λ‚˜μ˜ 물리적인 μž₯μ• λ¬Όλ‘œ μž‘μš©ν•˜μ—¬ μ†Œλ¦¬κ°€ λ°˜λŒ€μͺ½ κ·€λ‘œ νšŒμ ˆν•˜μ—¬ λ„˜μ–΄κ°ˆ λ•Œ 파μž₯이 짧은 고주파 λŒ€μ—­μ˜ μ—λ„ˆμ§€κ°€ ν‘μˆ˜λ˜κ±°λ‚˜ 크게 κ°μ†Œν•˜λŠ” ν˜„μƒμ΄ μΌμ–΄λ‚œλ‹€. μ–‘μͺ½ 귀에 λ„λ‹¬ν•˜λŠ” μ‹ ν˜Έμ˜ 진폭 크기 차이λ₯Ό 톡해 μ†Œλ¦¬μ˜ 쒌우 편ν–₯ 정도λ₯Ό μ •ν™•νžˆ κ³„μ‚°ν•œλ‹€.
  1. 머리 전달 ν•¨μˆ˜ μ—°μ‚°
    1. 어깨와 귓바퀴 그리고 머리톡 전체 λ“± μΈκ°„μ˜ λ³΅μž‘ν•œ 신체 ꡬ쑰 ν‘œλ©΄μ— μ†Œλ¦¬κ°€ λ°˜μ‚¬λ˜κ³  κ΅΄μ ˆλ˜λ©΄μ„œ λ°œμƒν•˜λŠ” 고유의 주파수 μ™œκ³‘ νŒ¨ν„΄μ„ μˆ˜ν•™μ μœΌλ‘œ λͺ¨λΈλ§ν•œ μˆ˜μΉ˜λ‹€. 이λ₯Ό 톡해 λ‹¨μˆœν•œ 쒌우 λ°©ν–₯뿐만 μ•„λ‹ˆλΌ μƒν•˜μ˜ 높이와 μ•žλ’€μ˜ 거리감을 μž…μ²΄μ μœΌλ‘œ μΈμ§€ν•˜κ²Œ λ§Œλ“ λ‹€.
  1. μŠ€νŽ™νŠΈλŸΌ λ‹¨μ„œ 해독
    1. νŠΉμ • λ°©ν–₯μ—μ„œ λ‚ μ•„μ˜¨ μ‚¬μš΄λ“œκ°€ κ·“λ°”ν€΄μ˜ λ³΅μž‘ν•˜κ³  ꡴곑진 연골 ꡬ쑰에 λΆ€λ”ͺ히며 μƒμ„±λ˜λŠ” λ―Έμ„Έν•œ
      πŸ“„
      Frequency - Hz (주파수)
      πŸ“„
      Peak
      와 λ”₯ ν˜„μƒμ„ λ‡Œκ°€ μ‹ κ²½ν•™μ μœΌλ‘œ ν•΄λ…ν•˜μ—¬ μ†Œλ¦¬μ˜ μ •ν™•ν•œ 앙각과 고도 λ³€ν™”λ₯Ό μ„Έλ°€ν•˜κ²Œ νŒŒμ•…ν•œλ‹€.

ꡬ쑰

양이기간 μ‹œκ°„μ°¨ μ‚°μΆœ 물리적 λͺ¨λΈ
ITD=rc(θ+sin⁑θ)\text{ITD} = \frac{r}{c} (\theta + \sin\theta)

μ˜ˆμ‹œ

3D Spatialization (3차원 곡간화)

μ˜€λ””μ˜€ λ―Έλ“€μ›¨μ–΄λ‚˜ κ²Œμž„ μ—”μ§„ λ‚΄λΆ€μ—μ„œ κ°œλ³„ μ‚¬μš΄λ“œ μ†ŒμŠ€μ— 거리 감쇠 곑선과 곡간화
πŸ“„
Plug-In
을 μ μš©ν•œλ‹€. ν”Œλ ˆμ΄μ–΄μ˜ 메인 카메라 λ·°λ₯Ό κΈ°μ€€μœΌλ‘œ 적 μΊλ¦­ν„°μ˜ λ°œμ†Œλ¦¬κ°€ 쒌우 κ·€λ₯Ό 거쳐 λ“€μ–΄μ˜€λŠ” 물리적 μ§€μ—° ν˜„μƒμ„ μ—°μ‚°ν•˜μ—¬ μ‹œμ•Όμ— 보이지 μ•ŠλŠ” νƒ€κΉƒμ˜ μ •ν™•ν•œ μœ„μΉ˜λ₯Ό 청각적으둜 μ œμ‹œν•œλ‹€. 이 κ³Όμ •μ—μ„œ 각 였브젝트의 λ°©μœ„κ° 데이터λ₯Ό μ˜€λ””μ˜€ 엔진이 쉴 μƒˆ 없이 κ°±μ‹ ν•œλ‹€.

Dummy Head Recording (더미 ν—€λ“œ λ ˆμ½”λ”©)

μ‹€μ œ μΈκ°„μ˜ 머리와 귓바퀴 ꡬ쑰λ₯Ό λ˜‘κ°™μ΄ λͺ¨λ°©ν•˜κ³  내뢀에 κ³ μ„±λŠ₯
πŸ“„
Microphone
을 μž₯μ°©ν•œ ν•˜λ“œμ›¨μ–΄ μ‹œμŠ€ν…œμ„ μ‚¬μš©ν•˜μ—¬ ν˜„μž₯ μ†ŒμŒμ„ μˆ˜μŒν•œλ‹€. λ―Ήμ‹± λ‹¨κ³„μ—μ„œ λ³„λ„μ˜ νŒ¨λ‹μ΄λ‚˜ 곡간계 ν”ŒλŸ¬κ·ΈμΈμ„ κ±°μΉ˜μ§€ μ•Šκ³  λ…ΉμŒλœ 원본 μ˜€λ””μ˜€ 파일 μžμ²΄λ§ŒμœΌλ‘œλ„ ν—€λ“œν° μ²­μ·¨ μ‹œ μ™„λ²½ν•œ μ•žλ’€ 거리감과 κ³ λ„μ˜ μž…μ²΄μ μΈ μœ„μƒμ΄ 청취자의 λ‡Œλ¦¬μ— λ§ΊνžŒλ‹€.

VR Audio Integration (κ°€μƒν˜„μ‹€ μ˜€λ””μ˜€ 연동)

μ‚¬μš©μžμ˜ ν—€λ“œ 마운트 λ””μŠ€ν”Œλ ˆμ΄ νŠΈλž˜ν‚Ή μ„Όμ„œ 데이터와 μ˜€λ””μ˜€ 엔진을 μ‹€μ‹œκ°„μœΌλ‘œ μ—°κ²°ν•˜μ—¬ λ°©λŒ€ν•œ 연산을 μˆ˜ν–‰ν•œλ‹€. 고개λ₯Ό 돌릴 λ•Œλ§ˆλ‹€ μ–‘μͺ½ 귀에 λ§ΊνžˆλŠ” μœ„μƒμ°¨μ™€ λ³Όλ₯¨μ°¨λ₯Ό μ΄ˆλ‹Ή μˆ˜μ‹­ λ²ˆμ”© μž¬κ³„μ‚°ν•˜μ—¬ μ‹œκ°μ  λ Œλ”λ§ 객체와 청각적 객체의 μœ„μΉ˜λ₯Ό μ™„λ²½ν•˜κ²Œ μΌμΉ˜μ‹œν‚¨λ‹€. 단 10λ°€λ¦¬μ΄ˆμ˜ μ§€μ—°λ§Œ λ°œμƒν•΄λ„ λ©€λ―Έλ₯Ό μœ λ°œν•˜λ―€λ‘œ μ‹œμŠ€ν…œμ˜ μ΅œμ ν™”κ°€ ν•„μˆ˜μ μ΄λ‹€.

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