Các bác ơi, em không hiểu mấy cái từ này có nghĩa tiếng VNAV là gì , các bác giúp em với ! :cry: 1. Live audience presence 2. Involvement 3. Definition 4. Soundstage 5. Emotion 6. Musicality 7. Dynamic contrast 8. Bass extention 9. Naturalness 10. Articulation 11. Nuance 12. Depth 13. Ambiance 14. Transience 15. Harmonics 16. Bass resolution 17. Imaging 18. Atmosphere 19. Mass string tone 20. Double bass revolution ...... Nhân tiệnca1c bác phán cho mấy cái ni thích hợp với thể loại nhạc và nhạc cụ nào luôn dùm ! :lol: Xin cám ơn thật to !
Em thêm mấy từ nữa, em đọc hiểu đại khái nhưng không biết dịch thế nào 21. Attack 22. Decay Em đoán: 4=17, 13=18
:cry: :cry: Chắc hổng phải rồi , Chả là vợ em nó mâm mê cái đĩa "Audiophile Reference II", thấy cái dòng " Các bác muốn test Harmonics, Imaging & Soundstage thì play bài số 8 với tên gọi The Moon Represents My Heart " -> suy ra 4 và 17 khác nhau nha :roll: 2 cái 13 và 18 chắc cũng khác vì nếu giống thì nó viết làm gì :lol: :lol:
Em đoán thì cả imaging và soundstage đều dịch là âm hình, là cái không gian âm nhạc do bộ giàn tạo ra.
Em có thấy cái này, không biết có giúp được bác gì không. Decay time The time it takes for a sound and its reverb "tail" to drop 60 dB below its initial level, or the rate of decay of sound. In physical terms, this refers to the amount of time it takes for sound energy to bounce around a room before it is absorbed by the materials and air. For example, imagine the sound made by clapping your hands in a large empty room as compared with making the same sound in a small storage closet. The first environment, the large empty room, would have a long decay time. The smaller room filled with sound-absorbing material would have a short decay time. Long reverb times Enclosed space with hard walls that do not have materials that absorb sound (such as concrete arenas, big water tanks) will have long reverb times. Longer reverberation time adds to the tone and loudness of music, giving youthe listenera sense of being enveloped by the music. You can hear an example in the Concert Hall audio effect. Short Reverb Times An example is the Living Room audio effect. Short reverb times of less than 1/2 second are ideal for speech, giving full sound to the voice without reducing its intelligibility. The following table shows the typical decay time for several types of music: Music type Time (in seconds) Baroque 1.6 (or even shorter) Classical 1.8 Romantic 2 (or longer) Since most halls must host all types of music, a value of 1.8 seconds when fully occupied is an acceptable compromise. Early Reflections Early reflections are the sound that the listener hears immediately after the direct sound. Imagine the sound is being reflected off walls or objects close to the sound source. Early reflections are needed to give the feeling that there are nearby walls. The more walls or objects (closer to the listener) present, the greater the percentage of early reflections. Among the audio effects, a Hallway has 50% early reflection. In contrast, a Forest has 10% early reflection. Late Reflections/Reverberations After the early reflections of the direct sound, other reflections occur as a result of the sound reflecting again and again off the walls. The extent of reflections depends on whether the walls or objects absorb or reflect the sounds, its thickness, the shape of the room, and so on. High Frequency Decay Refers to how long high frequency sounds take to fade-out relative to low frequencies. Its decay time depends on material of the room or environment and its reflectivity. For example, if a room is hard and reflective, the high frequency decay will be longer. Materials like concrete, tiled floor and brick walls have relatively longer high-frequency decay .On the other hand, if a room uses absorbent materials such as curtains or carpets, the high frequencies decay much faster than the lower ones do. Size Adjusting the size controls the length of the reflections, simulating the effect of being in either a larger or smaller room. High Frequency Cutoff This sets the frequency above which walls fail to reflect energy. The Audio Effects Processor also allows high frequency cut-off, enabling the simulation of environments with materials of varying reflectivity. For example, a high frequency cutoff of 16000 Hz simulates the reflectivity of a bathroom, which usually has a marbled wall. Diffusion Diffusion refers to the extent sound waves are scattered and decorrelated. The more diffused the sound, the smoother the feel and the less likely the sound will be hard or glary. The diffusion effect is determined by the shape and material of the environment. A good example of diffused sound effects is one achieved by introducing irregularities into a hall. A hall greatly admired for this effect is the Grosser Musikvereinssaal, in Vienna, which has irregularities everywhere in the form of statutes, coffered ceilings and irregular balcony fronts. Walls with rough textures also have high diffusion. Density Density refers to how "crowded" the environment is. The greater the density, the more quickly the reflections will bloom into a reverberation. In simple visual terms, a value of "0" approximates an environment with 2 walls. A value of "1" behaves like an environment with 4 walls. A value of 2 sounds like a room with 4 walls, a floor and a ceiling. Detuning Rate/Depth Detuning refers to the detuning of the sound. In environments such as underwater or places with strong winds, setting the detuning level adds realism by simulating the effect of sound reflections off moving surfaces. Detuning rate describes the motion of the surface. Detuning depth refers to the amount of the detuning applied to the sound. Reverb Reverb is used to model the acoustics of different environments. When a sound is generated inside a room, you first hear the original sound, followed by a quick succession of echoes. These echoes are the early reflections. Then, as the echoes accumulate, you hear of thousands of echoes combined into a smoothly decaying reverberation. Chorus Chorusing is an effect created by combining a signal with a modulating delayed copy of itself. This effect creates the illusion of multiple sources creating the same sound. Auto Wah The Auto Wah effect is a special version of the popular "Wah-wah" effect used by many electric guitarists. It is used to make the input sound like a baby crying "waaaah, waaaah". With a regular "Wah-wah" pedal, the user pushes a foot pedal up and down to change the center frequency of a sharp bandpass filter. With the Auto Wah effect, the center frequency is changed automatically according to the amplitude of the input signal. Distortion Distortion uses a technique called "soft clipping" to add additional harmonics to the signal .As the level increases, the top of a smoothly changing waveform becomes somewhat squared off or clipped. As the distortion level increases further, the smoothly changing wave transforms into a true square wave. Flanger A flanger consists of a short audio delay line whose output is mixed together with the original signal. Mixing the delayed and original signals results in multiple frequency cancellations called a comb filter. Since the flanger is a type of filter, it works best with harmonically rich sounds. Pitch Shifter Changes the pitch of the original signal to a key higher or lower than the original. Useful for applications like harmonizing with yourself or changing music to a key you prefer. Frequency Shifter When the Frequency Shifter parameter for Shift Frequency is set to a small frequency, say between 1 to 10 Hz, and the mix amount is set to about 50%, then the processed sound takes on a wonderful swirling phasing sound. The sound is similar to that of hearing music from the outside of a distant marching band that is being shifted around by the wind, or the sound of a pan of water swirling around and being bumped while swirled. When the shift frequency is increased to 20 Hz to 20 kHz, the sound is transformed into an inharmonic clangorous sound like a bell sound or a metallic sound. Voices turn into quacking sounds like ducks or movie robots. Our Frequency Shifter is very different from our Pitch Shifter. In Pitch-shifting, harmonic relationships in the signal are maintained. Applications of Pitch Shifter include self-accompaniment in harmonizing with yourself when singing, and karaoke. The Frequency Shifter, on the other hand, translates all the component frequencies of the input signal by an equal amount, disrupting the harmonic relationships and radically altering the sonic qualities of the signal. Applications of the Frequency Shifter include the creation of bizarre distortions, phaser, and rotating speaker effects. Ring Modulator The ring modulator is a good example of using electronics to alter audio in ways that sound almost mathematical. That is because the sound is literally multiplied by another sound or signal, producing a wide range of changes from clangorous metallic rapping sounds to strangely altered vocal sounds. Echo (2 tap) Echo provides a few short repetitions or copies of the original sound. In physical terms, imagine a sound in a steep canyon or between two buildings standing opposite one another. Any sound will be followed by the same sound bouncing back at you after a short period of time from the nearest wall. Then another echo would follow from the next nearest wall and so on. Copyright © 1998-2001 Creative Technology, Ltd.
