Which Of The Following Terms Describes Bringing Two Or More Instruments In Agreement On Pitch

DIPOLEAerial used with wireless microphone systems. A relatively long antenna in two parts, with an insulator at each end, connected in the middle with a coaxial cable, which is then connected to the receiver. MATRIX OUTPUTset outputs on a mixer that allows the user to preset a range of output configurations. e.B. on an 8 x 8 matrix, each of the 8 group outputs of the channels can be routed to one or all of the matrix outputs. INFRASOUNDVery low frequency sound that is normally inaudible by the human ear. Generally describes sound waves below 20 Hz. At sufficiently high volumes (sound pressure level), sound waves can be perceived by some ears up to 12 Hz. If they cannot be perceived as sound, the waves can be felt as pressure in the eardrums or elsewhere on the body. Some scientists have linked the presence of infrasound in buildings (generated by air conditioning or large empty rooms) to feelings of discomfort, nervousness or even perception of supernatural presences by visitors. Infrasound cannot be read through normal speakers (or even bass) and requires large, special speakers and tubes to generate the strong low-frequency waves.

A listener who is confronted with unknown music, i.B. of a culture other than his own or sound music (provided that his previous exhibition was mainly about music based on notes), finds himself in a position of inexperience somewhat related to learning his mother tongue or, more precisely, to learning a second language; especially those learning a tone-based language whose main language is based on stress or vice versa. Such an unknown music listener may more closely portray an adult learning a second language because they may have recognized key characteristics fluently, but at the expense of perceiving contrasting characteristics that are more important to the new type of music. This process in language learning is sometimes referred to as perceptual desensitization [37, 38]. The Acoustical Society of America`s (ASA) definition 12.09 timbre of acoustic terminology describes it as «the attribute of auditory sensation that allows a listener to judge that two non-identical sounds presented in a similar way and having the same volume and pitch are different,» adding: «The timbre depends primarily on the frequency spectrum, although it also depends on the sound pressure and temporal properties of the sound» (Acoustical Society of America Standards Secretariat 1994). Our models of the isolated series of intensity, timbre or rhythm phrases from the three stimuli in which these characteristics were most important were consistent with the models of the «Whole-Phrase» series. In particular, in separate models of the Timbra series and intensity, spectral flatness and intensity remained mutually required predictors, confirming the above observations of their continuous interaction. In addition, it is very likely that listeners sometimes confused them in their descriptors, just as the tables in Appendix S1 show that sometimes timbre and intensity were included in the descriptions of superimposed sentences of different participants. IMPULSE RESPONSE (Sound) Abbreviated IR. An impulse response is a digital recording of a burst of a full range of frequencies (known as a pulse) on the audible spectrum used to create a digital «acoustic autograph» of a room. The recording of the unclean response is analyzed by software, with which the acoustics of the original part can then be reproduced digitally. This allows an exact match with the sound of a recording in the room when you try to recreate it in the studio.

STEREOPHONIC (STEREO)Sound recording that uses two separate channels (left and right) that, in combination and especially when using headphones, can create a feeling of spatial separation of the different parts of the recording. Panoramic control on a digital audio workstation or on a mixer can be used to set the location in the stereo image of a particular sound source. .