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Harmonics (배음)

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ATSC A/85
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Binaural Hearing (양이 μ²­μ·¨)
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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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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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Multiply Echo
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Modulation
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Delay Time (Parameter)
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Note Value (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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Acustic Guitar
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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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Walla
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Sweetener
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Morphing
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Soundscape
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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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Filter
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ISO 226
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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˜

κΈ°λ³Έ
πŸ“„
Frequency - Hz (주파수)
의 μ •μˆ˜λ°°λ‘œ μ‘΄μž¬ν•˜λŠ” 주파수 μ„±λΆ„λ“€μ˜ 집합이닀.

μ„€λͺ…

Harmonics κ°œλ…μ€ κ³ μ „ 음ν–₯ν•™κ³Ό
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Fourier Transform (푸리에 λ³€ν™˜)
ν•΄μ„μ—μ„œ λ°œμ „ν–ˆμœΌλ©°, λͺ¨λ“  주기적 μ‹ ν˜ΈλŠ”
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Fundamental Frequency - F0 (기본 주파수)
와 κ·Έ μ •μˆ˜λ°° μ„±λΆ„μœΌλ‘œ κ΅¬μ„±λœλ‹€λŠ” 이둠적 ν‹€μ—μ„œ λ‚˜μ˜¨λ‹€.
μ•…κΈ° μŒμƒ‰, 인간 μŒμ„±, 전기적 νŒŒν˜•, μ§„λ™μ²΄μ˜ 곡진 ꡬ쑰 λ“± λŒ€λΆ€λΆ„μ˜ 주기적 ν˜„μƒμ€ Harmonic ꡬ쑰λ₯Ό 톡해 νŠΉμ„±μ„ κ·œμ •ν•  수 μžˆλ‹€.
이 성뢄듀은 전체 μ‹ ν˜Έμ˜
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Timbre (μŒμƒ‰)
,
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Resonance (곡진)
, 주기적 νŒ¨ν„΄μ„ κ²°μ •ν•˜λ©°, 음ν–₯학뿐 μ•„λ‹ˆλΌ 기계 진동, μ „λ ₯ μ‹œμŠ€ν…œ, 톡신 κ³΅ν•™μ—μ„œλ„ 핡심 뢄석 μš”μ†Œλ‘œ μ‚¬μš©λœλ‹€.

원리

Harmonics의 μ›λ¦¬λŠ” 주기적 μ‹ ν˜Έκ°€ κΈ°λ³Έ 주파수λ₯Ό μ€‘μ‹¬μœΌλ‘œ μ •μˆ˜λ°°μ˜ 주파수 성뢄을 μžμ—°μŠ€λŸ½κ²Œ μƒμ„±ν•œλ‹€λŠ” νŒŒλ™, 푸리에 이둠에 κΈ°λ°˜ν•œλ‹€.
Β 
  1. 주기적 μ‹ ν˜ΈλŠ” λ°˜λ³΅μ„±(Periodicity)을 κ°€μ§€λ©°, 이 반볡 μ£ΌκΈ° Tκ°€ μ‘΄μž¬ν•˜λŠ” μˆœκ°„ 기본주파수 f0 = 1/Tκ°€ μ •μ˜λœλ‹€.
  1. μ–΄λ–€ μ£ΌκΈ° μ‹ ν˜Έλ„ Fourier Series둜 μ „κ°œν•  수 있으며, κ·Έ μ „κ°œ κ²°κ³Όκ°€ λ°”λ‘œ 기본주파수 f0κ³Ό μ •μˆ˜λ°° 주파수 nΒ·f0둜 이루어진 Harmonic ꡬ쑰닀.
  1. HarmonicsλŠ” μ‹ ν˜Έμ˜ μŒμƒ‰, 곡진, νŒŒν˜•μ˜ λͺ¨μ–‘을 κ²°μ •ν•˜λŠ” κ·Όλ³Έ μš”μ†Œμ΄λ©°, κΈ°λ³Έμ£ΌνŒŒμˆ˜λ³΄λ‹€ 훨씬 κ°•ν•˜κ±°λ‚˜ μ•½ν•  수 μžˆλ‹€.
    1. HarmonicsλŠ” μ •μˆ˜λ°°λΌλŠ” μ μ—μ„œ
      πŸ“„
      Overtone (μƒμŒ)
      κ³Ό κ΅¬λΆ„λ˜λ©°, λ°°μŒμ€ κΈ°λ³Έ 주파수λ₯Ό μ œμ™Έν•œ λͺ¨λ“  μƒμœ„ 주파수둜 κ΅¬μ„±λ˜μ§€λ§Œ 항상 μ •μˆ˜λ°°λŠ” μ•„λ‹ˆλ‹€.
    1. μ „κΈ° μ‹ ν˜Έλ‚˜ 기계 μ§„λ™μ—μ„œλŠ” Harmonicsκ°€ μ‹œμŠ€ν…œμ˜ μ™œκ³‘, λ¦¬ν”Œ, 곡진 문제λ₯Ό μœ λ°œν•˜κΈ° λ•Œλ¬Έμ— μ œμ–΄, ν•„ν„°λ§μ˜ 쀑심 μ§€ν‘œκ°€ λœλ‹€.

    ꡬ쑰

    κΈ°λ³Έ μ •μ˜

    fn = n Β· f0

    Fourier κΈ‰μˆ˜ μ „κ°œ

    x(t) = Ξ£ [ an Β· cos(2Ο€n f0 t) + bn Β· sin(2Ο€n f0 t) ]

    Overtones 관계

    Overtone_k = f_{k+1} = (k+1) Β· f0

    νŒŒν˜•μ— λ”°λ₯Έ Harmonic νŠΉμ„±

    Square Wave: fn = (2nβˆ’1) Β· f0 Triangle Wave: fn = (2nβˆ’1) Β· f0, amplitude ∝ 1/(2nβˆ’1)Β² Sawtooth Wave: fn = n Β· f0, amplitude ∝ 1/n

    μ˜ˆμ‹œ

    μŒμ•…, μ•…κΈ°

    • λ°”μ΄μ˜¬λ¦°, 첼둜, 기타 같은 ν˜„μ•…κΈ°λŠ” κΈ°λ³Έ 주파수 μœ„μ— κ°•ν•œ 2 - 6λ°° Harmonicsκ°€ 풍뢀해 λ”°λœ»ν•œ μŒμƒ‰μ„ λ§Œλ“ λ‹€.
    • κΈˆκ΄€μ•…κΈ° (트럼펫, 트럼본)λŠ” 높은 차수의 Harmonicsκ°€ κ°•ν•˜μ—¬ 밝고 직진성이 큰 νŠΉμ„±μ΄ λ‚˜νƒ€λ‚œλ‹€.
    • ν”Όμ•„λ…Έμ˜ νƒ€ν˜„ κ΅¬μ‘°λŠ”
      πŸ“„
      Inharmonics (λΉ„λ°°μŒ)
      κ°€ μ‘΄μž¬ν•˜μ§€λ§Œ μ—¬μ „νžˆ Harmonic κ·Όμ‚¬λ‘œ 뢄석이 κ°€λŠ₯ν•˜λ‹€.

    인간 μŒμ„±

    • μ„±λŒ€μ˜ κΈ°λ³Έ 진동이 f0을 λ§Œλ“€κ³ , ꡬ강, λΉ„κ°•μ˜ 곡진 ꡬ쑰가 νŠΉμ • Harmonicsλ₯Ό κ°•ν™”ν•˜μ—¬ μŒμƒ‰μ΄ ν˜•μ„±λœλ‹€.
    • πŸ“„
      Formant
      λŠ” Harmonicsκ°€ μ•„λ‹Œ 곡λͺ… λŒ€μ—­μ΄μ§€λ§Œ, Harmonicsκ°€ κ·Έ λŒ€μ—­μ„ ν†΅κ³Όν•˜λ©΄μ„œ κ°•ν•œ μŒμƒ‰ νŠΉμ„±μ„ μ€€λ‹€.

    기계 진동, 곡학

    • λͺ¨ν„°, νšŒμ „μΆ•, 베어링 κ³ μž₯ μ§„λ‹¨μ—μ„œ Harmonics 뢄석은 이상 진동을 νƒμ§€ν•˜λŠ” 핡심 μ§€ν‘œλ‹€.
    • ν„°λΉˆκ³Ό μ—”μ§„μ˜ νšŒμ „μ²΄λŠ” νšŒμ „ μ†λ„μ˜ μ •μˆ˜λ°°μ—μ„œ κ°•ν•œ Harmonic νŒ¨ν„΄μ„ 보인닀.

    μ „λ ₯, μ „μž μ‹œμŠ€ν…œ

    • λΉ„μ„ ν˜• νšŒλ‘œμ—μ„œ λ°œμƒν•˜λŠ” μ™œκ³‘μ€ μ •μˆ˜λ°° Harmonics둜 λ‚˜νƒ€λ‚˜κ³ ,
      πŸ“„
      Total Harmonic Distortion - THD
      으둜 μΈ‘μ •λœλ‹€.
    • 솑전 μ‹œμŠ€ν…œμ—μ„œλŠ” 고쑰파(Harmonics)κ°€ μ „λ ₯ ν’ˆμ§ˆ μ €ν•˜λ₯Ό μΌμœΌν‚€κΈ° λ•Œλ¬Έμ— 필터링과 보상이 ν•„μš”ν•˜λ‹€.

    μ‹ ν˜Έμ²˜λ¦¬

    FFT λΆ„μ„μ—μ„œ Harmonic νŒ¨ν„΄μ€ μ‹ ν˜Έμ˜ μ£ΌκΈ°μ„±κ³Ό ꡬ쑰λ₯Ό μ‹λ³„ν•˜λŠ” κ°€μž₯ λΆ„λͺ…ν•œ λ‹¨μ„œλ‹€.
    μŒμ„± λΆ„μ„μ—μ„œ Pitch Tracking은 f0을 μ°Ύκ³ , Harmonic ꡬ쑰λ₯Ό 톡해 μŒμƒ‰ 및 λ°œν™” νŠΉμ„±μ„ νŒλ³„ν•œλ‹€.

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