πŸ“„

Measurement Microphone

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πŸ“„
2-way Speaker
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A/B Spaced Pair
πŸ“„
Additive Synthesis
πŸ“„
Aliasing
πŸ“„
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
πŸ“„
Measurement Microphone
πŸ“„
Mic Level
πŸ“„
Line Level
πŸ“„
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
πŸ“„
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™)
πŸ“„
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
πŸ“„
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
πŸ“„
Dialog
πŸ“„
Ducking
πŸ“„
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
πŸ“„
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
πŸ“„
Recording
πŸ“„
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
πŸ“„
Linear (μ„ ν˜•)
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Timbre (μŒμƒ‰)
πŸ“„
Resonance (곡진)
πŸ“„
Formant
πŸ“„
phon
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Transister
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Fundamental RMS
πŸ“„
Oscillator
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Oversampling
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Filter
πŸ“„
Limiter
πŸ“„
Sample Peak
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Jitter
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ISO 226
πŸ“„
Convolution Reverb
πŸ“„
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„±)
πŸ“„
Super Cardioid (μ΄ˆμ§€ν–₯μ„±)
πŸ“„
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
πŸ“„
Uni-Directional (단일지ν–₯μ„±)
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Bi-Directional (μ–‘μ§€ν–₯μ„±)
πŸ“„
Proximity Effect (κ·Όμ ‘ 효과)
πŸ“„
Off-axis Coloration (μ˜€ν”„μΆ• 착색)
πŸ“„
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
πŸ“„
De-noiser
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Hall (Parameter)
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Plate (Parameter)
πŸ“„
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)
πŸ“„
Diffusion (Parameter)
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Wet/Dry (Parameter)
πŸ“„
Doubling
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Echo
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Introduction
Β 

μ •μ˜

음ν–₯ μ‹ ν˜Έλ₯Ό μƒ‰μ±„λ‚˜ λ―Έν™” 없이 물리적으둜 μ •ν™•ν•˜κ²Œ μˆ˜μŒν•΄ μΈ‘μ •κ³Ό 뢄석에 μ‚¬μš©ν•˜λ„λ‘ μ„€κ³„λœ
πŸ“„
Microphone
이닀.

μ„€λͺ…

μΈ‘μ •μš© λ§ˆμ΄ν¬λŠ” μ’‹κ²Œ λ“€λ¦¬λŠ” μ†Œλ¦¬κ°€ μ•„λ‹ˆλΌ μžˆλŠ” κ·ΈλŒ€λ‘œμ˜ μ†Œλ¦¬λ₯Ό κΈ°λ‘ν•˜λŠ” 것을 λͺ©ν‘œλ‘œ ν•œλ‹€. 일반적인 λ…ΉμŒμš© λ§ˆμ΄ν¬κ°€ μŒμƒ‰, 캐릭터, μ‘΄μž¬κ°μ„ κ³ λ €ν•˜λŠ” 반면, μΈ‘μ •μš© λ§ˆμ΄ν¬λŠ”
πŸ“„
Frequency - Hz (주파수)
μ‘λ‹΅μ˜ 평탄성, μž¬ν˜„μ„±, μ•ˆμ •μ„±μ„ μš°μ„ ν•œλ‹€.
Β 
이 κ°œλ…μ€ 음ν–₯ μΈ‘μ •κ³Ό 톡신 연ꡬ가 λ³Έκ²©ν™”λœ 20μ„ΈκΈ° μ€‘λ°˜μ— μ •λ¦½λ˜μ—ˆλ‹€. κ³΅κ°„μ˜ 응닡, μž₯λΉ„μ˜ νŠΉμ„±, μ‹œμŠ€ν…œμ˜ λ³€ν™”λ₯Ό 수치둜 λΉ„κ΅ν•˜κΈ° μœ„ν•΄μ„œλŠ” μž…λ ₯ μž₯치 μžμ²΄κ°€ 결과에 영ν–₯을 μ£Όμ§€ μ•Šμ•„μ•Ό ν–ˆλ‹€. κ·Έλž˜μ„œ μΈ‘μ •μš© λ§ˆμ΄ν¬λŠ” μž‘μ€ λ‹€μ΄μ–΄ν”„λž¨,
πŸ“„
Omni-Directional (무지ν–₯μ„±)
, μ—„κ²©ν•œ 곡차 관리 같은 섀계 νŠΉμ§•μ„ κ°–λŠ”λ‹€.
Β 
μΈ‘μ •μš© λ§ˆμ΄ν¬λŠ” μ ˆλŒ€μ μΈ 정확도뿐 μ•„λ‹ˆλΌ 일관성이 μ€‘μš”ν•˜λ‹€. λ™μΌν•œ ν™˜κ²½μ—μ„œ 반볡 μΈ‘μ • ν–ˆμ„ λ•Œ κ²°κ³Όκ°€ λ³€ν•˜μ§€ μ•Šμ•„μ•Ό ν•˜λ©°, μ˜¨λ„, μŠ΅λ„, μ‹œκ°„ 변화에 λ”°λ₯Έ νŽΈμ°¨λ„ 예츑 κ°€λŠ₯ν•΄μ•Ό ν•œλ‹€. 이런 이유둜 κ°œλ³„ μ œν’ˆμ—λŠ” 보정 데이터가 μ œκ³΅λ˜λŠ” κ²½μš°κ°€ λ§Žλ‹€.

원리

Measurement Microphone의 μ›λ¦¬λŠ” 마이크 자체의 영ν–₯ μš”μ†Œλ₯Ό μ΅œμ†Œν™”ν•΄ μ™ΈλΆ€ 음ν–₯ ν˜„μƒλ§Œμ„ λ“œλŸ¬λ‚Έλ‹€λŠ” 접근에 κΈ°λ°˜ν•œλ‹€.
Β 
  1. ν‰νƒ„ν•œ 주파수 응닡
    1. κ°€μ²­ λŒ€μ—­ μ „λ°˜μ—μ„œ μ¦ν­μ΄λ‚˜ 감쇠가 거의 μ—†λŠ” 응닡을 μœ μ§€ν•΄, νŠΉμ • λŒ€μ—­μ΄ κ°•μ‘°λ˜μ§€ μ•Šλ„λ‘ ν•œλ‹€.
  1. 무지ν–₯μ„± 수음 ꡬ쑰
    1. μ†Œλ¦¬κ°€ λ“€μ–΄μ˜€λŠ” λ°©ν–₯에 λ”°λ₯Έ 편차λ₯Ό 쀄여, 곡간 μ „μ²΄μ˜ 평균적 μŒμ••μ„ μΈ‘μ •ν•  수 있게 ν•œλ‹€.
  1. μ„ ν˜• λ™μž‘ λ²”μœ„ 확보
    1. μž‘μ€ μ‹ ν˜ΈλΆ€ν„° 큰 μ‹ ν˜ΈκΉŒμ§€ μž…λ ₯ λŒ€λΉ„ 좜λ ₯이 λΉ„λ‘€ν•˜λ„λ‘ μ„€κ³„λ˜μ–΄ 레벨
      πŸ“„
      Distortion (μ™œκ³‘)
      을 μ–΅μ œν•œλ‹€.
  1. 보정 κ°€λŠ₯μ„±
    1. κ°œλ³„ 마이크의 λ―Έμ„Έν•œ 편차λ₯Ό 보정 파일둜 보완해, μΈ‘μ • 결과의 신뒰성을 높인닀.
  1. ν™˜κ²½ μ•ˆμ •μ„±
    1. μ˜¨λ„, μŠ΅λ„, μž₯μ‹œκ°„ μ‚¬μš©μ— λ”°λ₯Έ νŠΉμ„± λ³€ν™”κ°€ μž‘λ„λ‘ μ„€κ³„λœλ‹€.

ꡬ쑰

Β 

μ˜ˆμ‹œ

곡간 음ν–₯ μΈ‘μ •

  • μ‹€λ‚΄μ˜ 주파수 응닡, μž”ν–₯ μ‹œκ°„, λ°˜μ‚¬ νŠΉμ„±μ„ μΈ‘μ •ν•  λ•Œ, 마이크의 색채가 κ°œμž…ν•˜λ©΄ κ²°κ³Ό 해석이 μ™œκ³‘λœλ‹€. μΈ‘μ •μš© λ§ˆμ΄ν¬λŠ” 곡간 자체의 νŠΉμ„±λ§Œμ„ λ“œλŸ¬λ‚Έλ‹€.

μ‹œμŠ€ν…œ μΊ˜λ¦¬λΈŒλ ˆμ΄μ…˜

  • μŠ€ν”Όμ»€λ‚˜ 음ν–₯ μ‹œμŠ€ν…œμ˜ 응닡을 보정할 λ•Œ κΈ°μ€€ μž…λ ₯ μž₯치둜 μ‚¬μš©λœλ‹€. λ§ˆμ΄ν¬κ°€ μ€‘λ¦½μ μΌμˆ˜λ‘ 보정 결과의 신뒰도가 λ†’μ•„μ§„λ‹€.

ν‘œμ€€ 기반 비ꡐ

  • μ„œλ‘œ λ‹€λ₯Έ μž₯μ†Œλ‚˜ μ‹œμ μ˜ 데이터λ₯Ό λΉ„κ΅ν•˜λ €λ©΄ λ™μΌν•œ μΈ‘μ • 쑰건이 ν•„μš”ν•˜λ‹€. μΈ‘μ •μš© λ§ˆμ΄ν¬λŠ” 이 λΉ„κ΅μ˜ κΈ°μ€€ μ’Œν‘œ 역할을 ν•œλ‹€.

연ꡬ 및 계츑 ν™˜κ²½

  • 음ν–₯ μ‹€ν—˜, μ œν’ˆ ν…ŒμŠ€νŠΈ, 규격 인증 κ³Όμ •μ—μ„œ μž¬ν˜„ κ°€λŠ₯ν•œ 츑정이 μš”κ΅¬λ  λ•Œ μ‚¬μš©λœλ‹€.

λ…ΉμŒμš© λ§ˆμ΄ν¬μ™€μ˜ ꡬ뢄

  • μΈ‘μ •μš© λ§ˆμ΄ν¬λŠ” κ²°κ³Όλ₯Ό λ§Œλ“€μ§€ μ•ŠλŠ”λ‹€. λ“£κΈ° 쒋은 결과보닀 뢄석 κ°€λŠ₯ν•œ κ²°κ³Όκ°€ λͺ©μ μ΄λ‹€.

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