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staudio [Аудиоспектр и субъективное ощущение звука]
+++ 9diff:termin [2020/12/15 09:51]
95.173.128.202 [Словарик Джастина Гордона Холта - основателя "Stereophile"]
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 ===== Аудиофильская терминология =====
+{{tag>статьи}}
 https://soundex.ru/stati/analitika/audio-termins/\\
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+<WRAP third column>
 ++++ Тональный баланс | – это слышимое соотношение между звуками разных частот. Описывается обычно такими словами, как тёмный или светлый звук. Первое означает, что в звуке превалируют низкие частоты, а второе – высокие.
@@ Строка 20: / Строка 21: @@
 ++++Эшелонирование |– способность системы строить сцену в глубину. Чем выше эшелонирование, тем точнее определяется расстояние до инструментов и тем глубже они прорисовываются. Факторы, влияющие на эшелонирование те же, что и на сцену в целом.
 ++++
+</WRAP>
+<WRAP third column>
 ++++Телесность |– тут могут быть различные трактовки. Я склонен считать телесностью способность системы создавать трёхмерный образ инструмента в пространстве, сходный с натуральным. В восприятии телесности есть прямая зависимость от качества сцены, тонального баланса и атаки.
 ++++
@@ Строка 28: / Строка 32: @@
 ++++Микродинамика |в отличие от макродинамики – это тонкие нюансы изменения громкости звучания инструментов и голосов. Зависит она как от динамических свойств системы, так и от разрешения.
 ++++
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 ++++Прозрачность |– термин описывающий способность к субъективному выделению отдельных музыкальных образов в музыкальном полотне. Зависит от разрешения системы, от качества сцены и от телесности.
 ++++
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 ++++Ясность |трудно отделить от прозрачности, но я бы сказал, что это хорошая прозрачность на фоне ровного или чуть светлого тонального баланса.
 ++++
+</WRAP>
+<WRAP third column>
 ++++Слитность |– способность системы создавать музыкальный образ как единый поток. Термин слитность явно происходит от музыкального термина legato (в музыке — приём игры на музыкальном инструменте, или в пении, связное исполнение звуков, при котором имеет место плавный переход одного звука в другой, пауза между звуками отсутствует. Легато показывает, что ноты играются или поются гладко и связно). Слитность проистекает из качества микро и макродинамики системы.
 ++++
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 ++++Бриллианс |– подчёркивание системой акцентов звука на медных ударных и других высокочастотных звуках. Возникает как незначительный подъём АЧХ в области выше 5 кГц.
 ++++
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 ==== Аудиоспектр и субъективное ощущение звука ====
-Как на практике работает аудиофильская терминология\\
+//Статья, которая демонстрирует, как на практике работает аудиофильская терминология\\
-https://www.teachmeaudio.com/mixing/techniques/audio-spectrum\\
+Перевод на русский данной статьи - https://www.teachmeaudio.com/mixing/techniques/audio-spectrum\\
+Терминология и деление по полосам - авторов статьи.//
-The audio spectrum is the audible frequency range at which humans can hear.
+Звуковой диапазон - это слышимая человеческим ухом полоса звуковых частот.
-The audio spectrum range spans from 20 Hz to 20,000 Hz and can be effectively broken down into seven different frequency bands, with each having a different impact on the total sound.
+Звуковой диапазон простирается от 20 Гц до 20000 Гц, и может быть эффективно разбит на семь частотных диапазонов, каждый из которых по-разному влияет на конечный звук:
-The seven frequency bands are:
+суббас > бас > нижние СЧ > СЧ > верхние СЧ > "присутствие" > "яркость"
-Sub-bass > Bass > Low midrange > Midrange > Upper midrange > Presence > Brilliance
+**Суббас**: 20 to 60 Гц
-Sub Bass: 20 to 60 Hz
 {{:9diff:subbass.png?direct|}}
-subbassThe sub bass provides the first usable low frequencies on most recordings. The deep bass produced in this range is usually felt more than it is heard, providing a sense of power. Many instruments struggle to enter this frequency range, with the exception of a few bass heavy instruments, such as the bass guitar which has a lowest achievable pitch of 41 Hz. It is difficult to hear any sound at low volume level around the sub bass range due to the Fletcher Munson curves (Equal Loudness Curves).
+Суб бас дает первые пригодные для использования низкие частоты на большинстве записей. Глубокий бас, производимый в этом диапазоне, обычно больше ощущается, чем слышится, создавая ощущение силы. Многим инструментам сложно зайти в этот диапазон, за исключением нескольких действительно басовых инструментов, таких как бас-гитара, которая имеет нижнюю достижимую границу в 41 Гц.
+На кривых Флетчера Мансона (кривых равной громкости) видно, что услышать звук на низкой громкости в суббасовом диапазоне сложнее.
-It is recommended that no or very little equalization boost is applied to this region without the use of very high quality monitor speakers.
+Повышать уровень в этом диапазоне не рекомендуется, а если и повышать, то немного и с использованием высококачественной мониторной акустической системы.
-Too much boost in the sub-bass range can make the sound overly powerful, whereas too much cut will weaken and thin out the sound.
+Слишком большое усиление в суббасовом диапазоне может сделать звук чрезмерно мощным, в то время как слишком большое уменьшение ослабит звук и сделает его немощным.
-Bass: 60 to 250 Hz
+**Бас**: 60 to 250 Гц
 {{:9diff:bass.png?direct|}}
-bassThe bass range determines how fat or thin the sound is. The fundamental notes of rhythm are centered on this area. Most bass signals in modern music tracks lie around the 90-200 Hz area. The frequencies around 250 Hz can add a feeling of warmth to the bass without loss of definition.
+Диапазон низких частот определяет, насколько жирным или тощим будет звук. Опорные ноты ритма сосредоточены в этой области. Большинство басовых сигналов в современных музыкальных треках находятся в области 90-200 Гц. Частоты около 250 Гц могут добавить ощущение теплоты к басу без потери четкости.
-Too much boost in the bass region tends to make the music sound boomy.
+Слишком большое усиление в этом диапазоне сделает музыку бубнящий.
-Low Midrange: 250 to 500 Hz
+**Нижние СЧ**: 250 to 500 Гц
 {{:9diff:lower-midrange.png?direct|}}
-lower-midrangeThe low midrange contains the low order harmonics of most instruments and is generally viewed as the bass presence range.
+Нижние СЧ содержат низкоуровневые обертоны большинства инструментов и, как правило, рассматриваются в качестве басового диапазона присутствия.
-Boosting a signal around 300 Hz adds clarity to the bass and lower-stringed instruments. Too much boost around 500 Hz can make higher-frequency instruments sound muffled.
+Усиление сигнала на частоте около 300 Гц добавляет ясности басам и басовым струнным инструментам. Слишком большое усиление в районе 500 Гц может сделать звучание более высокочастотных инструментов приглушенным.
-Beware that many songs can sound muddy due to excess energy in this region.
+Помните, что из-за избытка энергии в этом диапазоне многие композиции могут показаться грязноватыми.
-Midrange: 500 Hz to 2 kHz
+**СЧ**: 500 Гц to 2 кГц
 {{:9diff:midrange.png?direct|}}
-midrangeThe midrange determines how prominent an instrument is in the mix. Boosting around 1000 Hz can give instruments a horn like quality. Excess output at this range can sound tinny and may cause ear fatigue. If boosting in this area, be very cautious, especially on vocals. The ear is particularly sensitive to how the human voice sounds and its frequency coverage.
+Средние частоты определяют, насколько инструмент будет выделяться в миксе. Повышение частоты около 1000 Гц может придать звуку инструментов рупорное качество. Чрезмерное повышение сигнала в этом диапазоне может придать жесткость и может вызвать утомление. Будьте очень осторожны делая буст в этой области, особенно в вокале. Ухо наиболее чувствительно к тому, как звучит человеческий голос и его частотному охвату.
-Upper Midrange: 2 to 4 kHz
+**Верхние СЧ**: 2 to 4 кГц
 {{:9diff:upper-midrange.png?direct|}}
-upper-midrangeHuman hearing is extremely sensitive at the high midrange frequencies, with the slightest boost around here resulting in a huge change in the sound timbre.
+Человеческое ухо чрезвычайно чувствительно на верхних средних частотах, и даже небольшое повышение уровня здесь приводит к существенному изменению тембра звука.
-The high midrange is responsible for the attack on percussive and rhythm instruments. If boosted, this range can add presence. However, too much boost around the 3 kHz range can cause listening fatigue.
+Верхние СЧ ответственны за атаку ударных и ритм-инструментов. Повышение в этом районе добавит "присутствия". Однако слишком большой буст в районе 3 кГц может вызвать усталость от прослушивания.
-Vocals are most prominent at this range so as with the midrange, be cautious when boosting.
+Вокал наиболее заметен в этом диапазоне, поэтому, как и в среднем диапазоне, будьте осторожны при повышении здесь уровня.
-Presence: 4 kHz to 6 kHz
+**"Присутствие"**: 4 kHz to 6 кГц
 {{:9diff:presence.png?direct|}}
-presenceThe presence range is responsible for clarity and definition of a sound. It is the range at which most home stereos center their treble control on.
+Диапазон "присутствия" отвечает за ясность и четкость звука. В этом диапазоне в большинстве домашних стерео-систем регулировка ВЧ.
-Over-boosting can cause an irritating, harsh sound. Cutting in this range makes the sound more distant and transparent.
+Излишнее повышение уровня здесь даст раздражающий резкий звук. Уменьшение в этом диапазоне сделает звук более отдаленным и прозрачным.
-Brilliance: 6 kHz to 20 kHz
+**"Яркость"**: 6 kHz to 20 кГц
 {{:9diff:brilliance.png?direct|}}
-brillianceThe brilliance range is composed entirely of harmonics and is responsible for sparkle and air of a sound. Boost around 12 kHz make a recording sound more Hi Fi.
+Этот диапазон полностью состоит из гармоник и ответственен на "искристость" и "воздух" в звуке.
+Буст в районе 12 кГц сделает запись более Hi-Fi-ной.
+Будьте осторожны, повышая уровень в этом диапазоне, он может усилить шипение или вызвать утомление.
+\\
+==== Словарик Джастина Гордона Холта - основателя "Stereophile" ====
+https://www.stereophile.com/reference/50/index.html
+\\
+++++ A |
+https://www.stereophile.com/content/sounds-audio-glossary-glossary\\
+**A**\\
+\\
+**absolute phase, absolute polarity** Refers to the preservation of the initial acoustic waveform all the way through the recording and reproducing system so that a compression that reaches the original microphone will be reproduced in the listener's system as a compression reaching his or her ears. Some listeners appear to be more sensitive to this being correct than others, often referring to the inverted state as "muffled."
+accuracy The degree to which the output signal from a component or system is perceived as replicating the sonic qualities of its input signal. An accurate device reproduces what is on the recording, which may or may not be an accurate representation of the original sound.
+**acoustical space** 1) A large performing or recording hall. 2) All the spatial and reverberant characteristics of the performing hall or location in which a recording was made.
+**acuity** 1) The sensitivity of the ears to very soft sounds. 2) The acquired ability of an audiophile to hear and to assess the subtle qualitative attributes of reproduced sound.
+**aggressive** Reproduced sound that is excessively forward and bright.
+**"ah"** (rhymes with "rah") A vowel coloration caused by a frequency-response peak centered around 1000Hz.
+**airy** Pertaining to treble which sounds light, delicate, open, and seemingly unrestricted in upper extension. A quality of reproducing systems having very smooth and very extended HF response.
+**aliveness** A quality of sound reproduction which gives an impression that the performers are present, in person, in the listening room.
+**ambiance** (pronounced "ambee-onts") The feeling or mood evoked by an environment.
+**ambience** (pronounced "ambee-ints") The aurally perceived impression of an acoustical space, such as the performing hall in which a recording was made.
+**analytical** Very detailed, almost to the point of excess.
+**articulation** 1) Clarity and intelligibility, usually of voice reproduction. 2) The reproduction of inner detail in complex sounds, which makes it easy to follow an individual musical voice among many.
+**attack** 1) The buildup of sound when an instrument is bowed, blown, struck, or plucked. 2) The ability of a system to reproduce the attack transients in musical sound. Poor attack makes a system sound slow.
+**attack transient** The initial energy pulse of a percussive sound, such as from a piano string, triangle, or drum head.
+**audibility** The measure of the severity of a sonic imperfection. The scale of audibility, from least audible to most audible, is: inaudible, subtle, slight, moderate, obvious, conspicuous, and Arrggh!!
+**auronihilist** (pronounced "auro-nigh-illist") A person who believes that all components that measure the same, sound the same. A meter man.
+**autohype** Suggestive self-deception; hearing something that isn't there, because you expect it to be. A rich source of audio mythology.
+**"aw"** (rhymes with "paw") A vowel coloration caused by a frequency-response peak centered around 450Hz. An "aw" coloration tends to emphasize and glamorize the sound of large brass instruments (trombone, tuba).
+++++
+++++ B-C |
+https://www.stereophile.com/content/sounds-audio-glossary-glossary-b-c\\
+**B**\\
+\\
+**balance** 1) The subjective relationship between the relative loudness of the upper and lower halves of the audio spectrum; "tonal balance." 2) The relative loudness of the instruments in a performing group. 3) Equality of signal level between the left and right stereo channels, which centers the soundstage and allows mono program material to image at the center. Also called channel balance.
+**ballsy** Describes a system which is stentorian, punchy, and visceral.
+**banger** A very loud LP surface-noise pop.
+**bass** The range of frequencies below 160Hz, characterized by low pitch.
+**beyond-the-speakers imaging** The placement of phantom images or spatial (stage boundary) information beyond the positional limits of the loudspeakers.
+**billowing**, billowy Excessively reverberant.
+**binaural** Literally hearing with "two ears," refers to a recording/playback system which presents the listener's ears with the acoustic waveforms they would have received at the original event. Only currently achievable with a "dummy-head" microphone and playback via headphones.
+**bloated** 1) When describing a phantom image: excessively wide. 2) When describing sound in general: overly rich, warm, and reverberant.
+**bloom** A quality of expansive richness and warmth, like the live body sound of a cello.
+**body** A quality of roundness and robustness in reproduced sound. "Gutsiness."
+**body sound Of a musical instrument**: the characteristic sound of the material of which the instrument is made, due to resonances of that material. The wooden quality of a viola, the "signature" by which a brass flute is distinguishable from a wooden or platinum one.
+**boomy** Characterized by pronounced exaggeration of the midbass and, often, dominance of a narrow range of bass frequencies. ("One-note bass.")
+**boxy** 1) Characterized by an "oh" vowel coloration, as when speaking with one's head inside a box. 2) Used to describe the upper-bass/lower-midrange sound of a loudspeaker with excessive cabinet-wall resonances.
+**breakup** The sound of severe analog-disc mistracking.
+**breathing** From a dynamic noise-reduction system: audible changes in the level of background hiss in accordance with changes in signal volume. See "pumping."
+**bright**, brilliant The most often misused terms in audio, these describe the degree to which reproduced sound has a hard, crisp edge to it. Brightness relates to the energy content in the 4kHz-8kHz band. It is not related to output in the extreme-high-frequency range. All live sound has brightness; it is a problem only when it is excessive.
+**bunching** 1) In double-mono repro~duction, the imaging of all sounds from a small area between the loudspeakers. Tight (narrow) bunching in A+B mode is essential for good imaging specificity in stereo. 2) In stereo reproduction, excessive center fill with inadequate spread. Compare with stereo spread.
+**buzz** A low-frequency sound having a spiky or fuzzy character.
+**bypass test** Directly comparing the output signal from a device with the input signal being fed to it, by putting the device into and then out of the signal path and observing the difference.
+**C**\\
+\\
+**center fill** Correct image placement between the loudspeakers of sound sources which were originally located at or near center-stage. See "localization," "stereo spread."
+**center stage** That part of the soundstage that is midway between the loudspeakers.
+**chalky** Describes a texturing of sound that is finer than grainy but coarser than dry. See "texture."
+**characteristic** One of the basic constituents of reproduced sound, which contributes to its perceived quality. Frequency response, loudness, extension, soundstaging, and resolution are sonic characteristics.
+**chesty** A pronounced thickness or heaviness from reproduced male voice, due to excessive energy in the upper bass or lower midrange.
+**chocolatey** Like "syrupy," but darker and more full-bodied.
+**circularity** The paradox of subjectivity: "You can't judge a recording without reproducing it, and you can't judge a reproducer without listening to a recording."
+**clean** Free from audible distortion.
+**click** A small, sharp impulse that sounds like the word "click."
+**clinical** Sound that is pristinely clean but wholly uninvolving.
+**closed-in** Lacking in openness, delicacy, air, and fine detail. A closed-in sound is usually caused by HF rolloff above 10kHz. Compare with "open," "airy."
+**coarse** A large-grained texturing of reproduced sound; very gritty. The continuum of reproduced sound seems to be comprised of large particles. See "texture."
+**cocktail-party effect** The auditory system's controllable ability to separate-out, on the basis of direction alone, one sound source from many coming from different directions. It allows you to follow one voice among the others at a noisy cocktail party.
+**cognitive dissonance** A conflict between observations, as when a sound has the timbre of a close listening seat but the perspective of a distant one.
+**coherent** 1) Pertaining to a multi-way loudspeaker's sound: seamless from top to bottom; showing no audible evidence of a crossover or of different driver colorations in different frequency ranges. 2) Pertaining to the soundstage: Phantom imaging that reproduces within the stereo stage the original lateral positions of the performers. See "bunching," "hole-in-the-middle."
+**cold** The same as "cool," only more so. Having somewhat excessive upper-range output and weak lower-range output.
+**coloration** An audible "signature" with which a reproducing system imbues all signals passing through it.
+**comb filtering** A hollow coloration that, once recognized, is unmistakable. Caused by a regularly spaced series of frequency-response peaks and dips, most often due to interference between two identical signals spaced in time. If that time difference is continually changed, the comb-filter peaks and dips move accordingly, giving rise to the familiar "phasing," "flanging," or "jet plane" effect used in modern rock music.
+**congested** Smeared, confused, muddy, and flat. Totally devoid of transparency.
+**consonant** Agreeable to the ear; pleasant-sounding. Compare "dissonant."
+**conspicuous** Very audible. See "audibility."
+**continuity** 1) Of the soundstage: the reproduction of the original lateral positions of the stereo images. See "bunching," "hole-in-the-middle," "stereo spread." 2) Of a multi-way loudspeaker: uniformity of coloration from the operating range of one driver to that of the other(s).
+**control** The extent to which a loudspeaker sounds as if it is "tracking" the signal being fed to it. The sound is tight, detailed, and focused. See "damping."
+**cool** Moderately deficient in body and warmth, due to progressive attenuation of frequencies below about 150Hz.
+**crackle** Intermittent medium-sized clicks. The usual background noise from much-played vinyl discs.
+**crisp** In reproduced sound: sharply focused and detailed, sometimes excessively so because of a peak in the mid-treble region.
+**cupped-hands** A coloration reminiscent of someone speaking through cupped hands or, if extreme, a megaphone.
+++++
+++++ D-E |
+https://www.stereophile.com/content/sounds-audio-glossary-glossary-d-e\\
+\\
+**D**\\
+\\
+**damping** The amount of control an amplifier seems to impose on a woofer. Underdamping causes loose, heavy bass; overdamping yields very tight but lean bass.
+dark A warm, mellow, excessively rich quality in reproduced sound. The audible effect of a frequency response which is clockwise-tilted across the entire range, so that output diminishes with increasing frequency. Compare "light."
+**dead** Dull and lifeless.
+**decay** The reverberant fadeout of a musical sound after it has ceased. Compare "attack."
+**deep bass** Frequencies below 40Hz.
+**definition** (also resolution) That quality of sound reproduction which enables the listener to distinguish between, and follow the melodic lines of, the individual voices or instruments comprising a large performing group. See "focus."
+**delicacy** The reproduction of very subtle, very faint details of musical sound, such as the fingertip-friction sounds produced when a guitar or a harp is played. See "low-level detail."
+**depth** The illusion of acoustical distance receding behind the loudspeaker plane, giving the impression of listening through the loudspeakers into the original performing space, rather than to them. See "layering," "transparency." Compare "flat."
+**detail** The subtlest, most delicate parts of the original sound, which are usually the first things lost by imperfect components. See "low-level detail." Compare "haze," "smearing," "veiling."
+**diffuse** Reproduction which is severely deficient in detail and imaging specificity; confused, muddled.
+**dip** A narrow area of depression within an otherwise flat frequency-response curve. Compare "dished," "humped."
+**dirty** Sound reproduction which is fuzzy, cruddy, or spiky.
+**direct** sound A sound reaching the ears in a straight line from its source. The direct sounds are always the first sounds heard. The "critical distance" from a soundsource is when the spl of the direct sound is equal to that of the reverberant field. See "far field," "near field," "precedence effect." Compare "reflected sound," "reverberation."
+**discontinuity** A change of timbre or coloration due to the signal's transition, in a multi-way speaker system, from one driver to another having dissimilar coloration.
+**dished**, dished-down Describes a frequency response that is depressed through the entire middle range. The sound has too much bass and treble, exaggerated depth, and a laid-back, lifeless quality. Compare "forward."
+**dissonant** Unpleasant to the ear; ugly-sounding. Dissonance is an imperfection only when the music is not supposed to sound dissonant. Compare "consonant."
+**distortion** 1) Any unintentional or undesirable change in an audio signal. 2) An overlay of spurious roughness, fuzziness, harshness, or stridency in reproduced sound.
+**double** (or dual) mono Reproduction of a monophonic signal through both channels/speakers of a stereo system, as when a preamplifier's mode switch is set to A+B (L+R). Compare "single mono."
+**dramatic** Describing a perceived difference between components: Very noticeable, unmistakable. A term misused by audio reviewers to demonstrate how incredibly sensitive they are to barely audible differences. See "audibility."
+**dry** 1) Describing the texture of reproduced sound: very fine-grained, chalky. 2) Describing an acoustical space: deficient in reverberation or having a very short reverberation time. 3) Describing bass quality: lean, overdamped.
+**dull Lifeless, muffled, veiled**. Same as "soft," only more so. The audible effect of HF rolloff setting in at around 5kHz.
+**dynamic** Giving an impression of wide dynamic range; punchy. This is related to system speed as well as to volume contrast.
+**dynamic range** 1) Pertaining to a signal: the ratio between the loudest and the quietest passages. 2) Pertaining to a component: the ratio between its no-signal noise and the loudest peak it will pass without distortion.
+\\
+**E**\\
+\\
+**ease** Pertains to reproduction which sounds effortless, free from strain.
+**echo** In an acoustical space: the repetition of a sound due to reflection of the original sound from a room boundary. See "hand-clap test," "fluttery," "plastery," "slap."
+**echoey, echoic** Pertaining to an acoustical space having excessive reverberation. Can also (rarely) be characteristic of a loudspeaker with excessive mid-frequency mechanical resonances.
+**"ee"** (rhymes with "we") A vowel coloration caused by a frequency-response peak centered around 3.5kHz.
+**effortless** Unstrained; showing no signs of audible stress during loud passages. Compare "strained."
+**"eh"** (as in "bed") A vowel coloration caused by a frequency-response peak centered around 2kHz.
+**element** One of the constituent parts of a sonic characteristic. Bass, midrange, and treble are elements of frequency response. Depth and breadth are elements of soundstaging.
+**error of commission** Signal degradation due to the addition of sounds that were not present in the original signal. Distortion and coloration are examples of errors of commission.
+**error of omission** Signal degradation due to the loss of information that was present in the original signal. Smearing and treble loss are examples of errors of omission.
+**etched** Very crisp and sharply outlined, focused to an almost excessive degree.
+**euphonic** Pleasing to the ear. In audio, "euphonic" has a connotation of exaggerated richness rather than literal accuracy.
+**extension** The usable limits of a component's frequency range.
+**extreme highs** The range of audible frequencies above 10kHz.
+++++
+++++ F-H |
+https://www.stereophile.com/content/sounds-audio-glossary-glossary-f-h\\
+\\
+**F**\\
+\\
+**far field** Pertains to that range of listening distances in which the predominant sounds reaching the ears are reflections from room boundaries.
+**fast** Giving an impression of extremely rapid reaction time, which allows a reproducing system to "keep up with" the signal fed to it. (A "fast woofer" would seem to be an oxymoron, but this usage refers to a woofer tuning that does not boom, make the music sound "slow," obscure musical phrasing, or lead to "one-note bass.") Similar to "taut," but referring to the entire audio-frequency range instead of just the bass.
+fat The sonic effect of a moderate exaggeration of the mid- and upper-bass ranges. Excessively "warm."
+**flanging** See "comb filtering."
+**flat** 1) Having a subjectively uniform frequency response, free from humps and dips. 2) Deficient in or lacking in soundstage depth, resulting in the impression that all reproduced sound sources are the same distance from the listener.
+**floating** A positive attribute that pertains to soundstaging in which the phantom images seem to exist independently of the loudspeaker positions, giving the impression that the speakers are absent. See "beyond-the-speakers imaging," "depth," "layering." Compare "flat," "vagueness," "wander."
+**fluttery** Pertains to a repeated echo recurring at a rate of about 10 repetitions per second, common to small, bare-walled acoustical spaces. See "hand-clap test." Compare "plastery," "slap."
+**focus** The quality of being clearly defined, with sharply outlined phantom images. Focus has also been described as the enhanced ability to hear the brief moments of silence between the musical impulses in reproduced sound.
+**forward, forwardness** A quality of reproduction which seems to place sound sources closer than they were recorded. Usually the result of a humped midrange, plus a narrow horizontal dispersion pattern from the loudspeaker. See "Row-A sound." Compare "laid-back."
+**frequency range** A range of frequencies stated without level limits: ie, "The upper bass covers the frequency range 80-160Hz."
+**frequency (or amplitude) response** 1) A range of frequencies stated with level limits: ie, "The woofer's response was 20-160Hz ±3dB." 2) The uniformity with which a system or individual component sounds as if it reproduces the range of audible frequencies. Equal input levels at all frequencies should be reproduced by a system with subjectively equal output.
+**fuzz, fuzziness** A coarse but soft-edged texturing of reproduced sound. Like "hash," but with muffled-sounding spikes.
+**G**\\
+\\
+**gestalt response** The evocation of a complete memory recognition by an incomplete set of sensory cues. A gestalt response to the few things an audio system does outstandingly well can make imperfect reproduction seem more realistic than it actually is.
+**glare** An unpleasant quality of hardness or brightness, due to excessive low- or mid-treble energy.
+**glassy** Very bright.
+**golden** A euphonic coloration characterized by roundness, richness, sweetness, and liquidity.
+**grainy** A moderate texturing of reproduced sound. The sonic equivalent of grain in a photograph. Coarser than dry but finer than gritty.
+**gritty** A harsh, coarse-grained texturing of reproduced sound. The continuum of energy seems to be composed of discrete, sharp-edged particles.
+**grunge** Sonic dirt, crud, roughness. Muffled grittiness.
+**gutsy** Ballsy.
+**gutty** Rosinous.
+**H**\\
+\\
+**hangover** A tendency for reproduced sounds to last longer than they should. Most noticeable at low frequencies, where it obscures detail.
+**hand-clap test** The use of hand claps to assess the reverberant properties of a room. See "fluttery," "plastery," "slap."
+**hard** Tending toward steeliness, but not quite shrill. Often the result of a moderate frequency-response hump centered around 6kHz, sometimes also caused by small amounts of distortion.
+**harsh** Gratingly unpleasant to the ear.
+**hash** A very coarse texturing of the sound, characterized by a sharp-edged, spiky roughness. Caused by severe distortion with strong transient content, as from a grossly mistracking phono cartridge.
+**haze, haziness** A moderate smearing of detail and focus. The audible equivalent of viewing something through a gauzy veil or a dirty window.
+**heavy** Excessively bassy.
+**heft** Pertains to bass which has weight, solidity, and visceral power.
+**height** The usually inadvertent production of vertical directional cues, which make some instruments sound as if they are above or below the other performers. See "soundstaging."
+**HF** High frequency(ies).
+**high-end** Pertains a) to sound that closely approaches the real thing, b) to audio equipment whose performance is near the top of the quality scale, and often the price scale.
+**high-end audio** The pursuit of and business of realistic sound reproduction.
+**high fidelity** 1) A kind of sound-reproducing system whose realism of reproduction is judged to be better than average. Stereo reproduction can be high-fidelity or otherwise. 2) The pursuit of perfection in sound reproduction, as a hobby or a religion.
+**high-frequency range** 1) The audio range above 1300Hz. 2) The usable upper limit of that range. See "extension."
+hole-in-the-middle In stereo reproduction, weak or vague representation of center images. Can result from out-of-phase loudspeakers or excessively widely spaced stereo microphones. See "out-of-phase."
+**Holt's Laws** 1) "The better the recording, the worse the performance, and vice versa." 2) "The shriller the advertisement, the worse the product." 3) "Every component is imperfect, and every imperfection is audible."
+**honky** Pertaining to a severe "aw" coloration.
+**hooty** 1) Pertaining to a severe "ooo" coloration. 2) Resonant colorations may cause some lower-midrange notes to jump forward or "hoot" at the listener.
+**horn sound** An "aw" coloration characteristic of many loudspeakers that have a horn-loaded midrange.
+hot Very tipped-up high frequencies.
+**hum** A continuous 60Hz or 120Hz noise, caused by leakage of the household AC supply or its second harmonic into the signal path.
+**hump** A broad frequency-response peak.
+**humped** Sound that is forward, soft, and lean. The apparent listening distance is up-front and immediate, yet the overall sound is dull and thin. Caused by a broad midrange rise with rolled-off lower and upper ranges. Compare "dished."
+++++
+++++ I-M |
+https://www.stereophile.com/content/sounds-audio-glossary-glossary-i-m\\
+\\
+**I**\\
+\\
+**"ih"** (as in "bit") A vowel coloration caused by a frequency-response peak centered around 3.5kHz.
+**image** See "phantom image."
+**imagery** Descriptive terminology intended to convey an impression or mental image of a subjective observation. Imagery is usually employed to describe qualities in reproduced sound in terms of more familiar sensory responses like vision, taste, and touch.
+**imaging** The measure of a system's ability to float stable and specific phantom images, reproducing the original sizes and locations of the instruments across the soundstage. See "stereo imaging."
+**impact** A quality of concussive force, as from a deep, strong bass attack, which produces a brief sensation of visceral pressure.
+**impulse** An abrupt, extremely brief burst of signal energy; a transient.
+**impulse** noise Transient noise, such as surface-noise ticks and pops.
+**inaudible** A sonic imperfection which is either too subtle to be consciously perceived or is actually nonexistent. Compare "subliminal."
+**infrasonic** Below the range of audible frequencies. Although inaudible, the infrasonic range from 15-20Hz can be felt if strongly reproduced. Compare "subsonic."
+**inner detail** The sonic subtleties within a complex program signal, reproducible only by a system having high resolution. See "focus."
+**intolerable** Unarguably and unforgivably unlistenable. See "audibility."
+**involvement** The degree to which a reproduction draws the listener in to the musical performance and evokes an emotional response to it.
+\\
+\\
+**J**\\
+\\
+**judgment** A listener's assessment of how well his perception of a sonic element measures up to his concept of perfection. The basic choices are "good," "not good," or "undecided."
+\\
+\\
+**L**\\
+\\
+**laid-back** Recessed, distant-sounding, having exaggerated depth, usually because of a dished midrange. See "Row-M sound." Compare "forward."
+**layering** The reproduction of depth and receding distance, which audibly places the rows of performers one behind the other.
+**lean** Very slightly bass-shy. The effect of a very slight bass rolloff below around 500Hz. Not quite "cool."
+**LF** Low frequency(ies).
+lifeless Sound that is dull, unfocused, unconvincing, and uninvolving.
+**light** Lean and tipped-up. The audible effect of a frequency response which is tilted counterclockwise. Compare "dark."
+**liquid** Textureless sound.
+**listening distance** The distance from the listener to the loudspeakers. See "critical distance," "far field," "near field."
+**listening fatigue** A psychoacoustic phenomenon from prolonged listening to sound whose distortion content is too low to be audible as such but is high enough to be perceived subliminally. The physical and psychological discomfort can induce headaches and nervous tension.
+**live** 1) Describes an acoustical space having a great deal of reverberation. 2) Pertains to the sound of actual instruments or voices in performance, as opposed to the sound of their reproduction.
+**localization** In stereo reproduction, the placement of phantom images in specific lateral positions across the soundstage. Also, the specificity of those images.
+**loose** Pertains to bass which is ill-defined and poorly controlled. Woolly.
+**low bass** The range from 20-40Hz.
+**lower highs** The range of frequencies from 1.3-2.6kHz.
+**lower middles**, lower midrange The range of frequencies from 160-320Hz.
+**low** frequency Any frequency lower than 160Hz.
+**low-level detail** The subtlest elements of musical sound, which include the delicate details of instrumental sounds and the final tail of reverberation decay. See "delicacy."
+**lumpy** Reproduced sound characterized by a number of audible response discontinuities through the range below about 1kHz. Certain frequency bands seem to predominate, while others sound weak.
+**lush** Rich-sounding and sumptuous to the point of wretched excess.
+\\
+\\
+**M**\\
+\\
+**meter man** A person who believes that measurements tell all you need to know about a component's performance. An auronihilist. Compare "mystic," "subjectivist."
+**MF** Middle frequency(ies), the all-important midrange.
+**midbass** The range of frequencies from 40-80Hz.
+**middle highs** The range of frequencies from 2.6-5kHz.
+**middles**, midrange The range of frequencies from 160-1300Hz.
+**moderate** A qualifier which describes a sonic imperfection which is clearly audible through any decent system, but not annoyingly so. See "audibility."
+**modulation noise** A hiss or other extraneous noise which "rides on" the main signal, varying in loudness according to the strength of that signal.
+**monaural** Literally "hearing with one ear." Often used incorrectly in place of monophonic (as in Glenn D. White's otherwise excellent Audio Dictionary, 1991, second edition, University of Washington Press.---JA). Compare "binaural."
+**monophonic**, mono A system or recording with one channel or speaker. See "monaural," "single mono," "dual mono."
+**motorboating** Low-frequency oscillation of an active device, producing a continuous, rapid "bupupup" sound, like a one-cylinder engine.
+**muddy** Ill-defined, congested.
+**muffled** Very dull-sounding; having no apparent high frequencies at all. The result of HF rolloff above about 2kHz.
+**musical**, musicality A personal judgment as to the degree to which reproduced sound resembles live music. Real musical sound is both accurate and euphonic, consonant and dissonant.
+**muted** Dark, lifeless, closed-in.
+**mystic** An audiophile who attributes all currently unmeasurable sonic differences to forces beyond human understanding.
+++++
+++++ N-Q |
+https://www.stereophile.com/content/sounds-audio-glossary-glossary-n-q\\
+\\
+**N**\\
+\\
+\\
+**nasal** Reproduced sound having the quality of a person speaking with his/her nose blocked. Like the vowel "eh" coloration. In a loudspeaker, often due to a measured peak in the upper midrange followed by a complementary dip.
+**naturalness** Realism.
+near field Pertains to that range of listening distances in which the sounds reaching the ears are predominantly direct. See "far field," "critical distance."
+**neutral** Free from coloration.
+**noise** Any spurious background sounds, usually of a random or indeterminate pitch: hiss, crackles, ticks, pops, whooshes.
+**Noticeable** In aural perception, any sonic quality which is clearly audible to most people.
+\\
+\\
+**O**\\
+\\
+\\
+**objectivist** A meter man. Compare "subjectivist."
+**observation** The perceived attribute of a sonic element, on which a personal judgment about its quality is based. Observations are described by subjective terms such as "smooth," "woolly," or "spacious."
+obvious You'd have to be deaf not to hear it. See "audibility."
+**"oh"** (as in "toe") A vowel coloration caused by a broad frequency-response peak centered around 250Hz.
+**one-note bass** The exaggeration of a single bass note, due to a sharp LF peak, normally due to an underdamped woofer but also caused by room resonances.
+**"oo"** (as in "gloom") A vowel coloration caused by a broad frequency-response peak centered around 120Hz.
+**opaque** Lacking detail and transparency.
+**open** Exhibiting qualities of delicacy, air, and fine detail. Giving an impression of having no upper-frequency limit.
+**out-of-phase** In a two-channel system, one channel being in opposite polarity to the second, most commonly due to having one speaker hooked up with the red (positive) lead to the red (positive) terminal, the other with the red lead to the black (negative terminal). As well as a "phasey" sound, the result will be a reduction in low frequencies. See "phasey." Not to be confused with an inversion of Absolute Phase or Polarity.
+**overblown** Bloated. Excessively fat and rich.
+**overdamped** Pertaining to the audible effects of excessive woofer damping.
+\\
+\\
+**P**\\
+\\
+\\
+**pace** The apparent tempo of a musical performance, which can be different from its actual beats-per-minute tempo. Pace is affected by phrasing in performance and speed in reproduction.
+**palpable** Describes reproduction that is so realistic you feel you could reach out and touch the instruments or singers.
+perceptible At or above the threshold of audibility of a trained listener.
+**perspective** The soundstage depth information that is conveyed by layering.
+**phantom image** The re-creation by a stereo system of an apparent sound source at a location other than that of either loudspeaker.
+**phasey** A quality of reproduced sound which creates a sensation of pressure in the ears, unrelated to the intensity of the sound. Phasiness is experienced by many people when listening to two loudspeakers which are connected out of phase with each other.
+**phasing** See "comb filtering."
+**picket-fencing** (Also called vertical-venetian-blind effect.) A tendency for stereo channel balance to vacillate from left to right as the listener moves laterally with respect to the loudspeakers.
+**pinched** 1) Very cold, with a "nyeah" coloration. 2) Pertaining to soundstaging: Laterally compressed and lacking in spaciousness.
+**pinpoint** imaging Stereo imaging that is precise, stable, and focused.
+**pitch resolution** The clarity with which the pitch of (generally) bass notes is perceived. Poor pitch resolution makes all notes sound similar; good pitch resolution gives an impression that you "can almost count the cycles."
+**plastery** A hard-sounding reverberation having an "a" (as in "cat") coloration, characteristic of bare, plaster-walled rooms. Compare "fluttery," "slap."
+**plummy** (British) Fat, rich, lush-sounding.
+**polite** Laid-back.
+**pop** A midrange pulse characterized by a very sharp attack followed by a short "o" or "aw" vowel sound. Usually the result of a severe LP blemish.
+**power range** The frequency range about 200-500Hz that affects the reproduction of the power instruments of an orchestra---the brass instruments.
+**precedence effect** The tendency for the ears to identify the source of a sound as being in the direction from which it is first heard. See "direct sound."
+**presence** A quality of realism and aliveness.
+**presence range** The lower-treble part of the audio spectrum, approximately 1-3kHz, which contributes to presence in reproduced sound.
+**pristine** Very clean-sounding, very transparent.
+**pumping** 1) The exaggeration of abrupt signal-amplitude changes, often due to the malfunctioning of a companding (compressing/expanding) noise-reduction system. 2) Audible fluctuations of background noise in the playback phase of compansion. 3) Large, spurious subsonic motions of a woofer cone, usually due to analog-disc warps or marginal LF stability in the power amplifier.
+\\
+\\
+**Q**\\
+\\
+\\
+**qualifier** An adjective which the listener attaches to an observed sonic imperfection (such as "peaky" or "muddy") in order to convey a sense of its magnitude. "Subtle" and "conspicuous" are qualifying adjectives. See "audibility."
+quality The degree to which the reproduction of sound is judged to approach the goal of perfection.
+**quick** See "fast."
+++++
+[[https://www.stereophile.com/content/sounds-audio-glossary-glossary-r-s|R-S]]\\
+[[https://www.stereophile.com/content/sounds-audio-glossary-glossary-t-u|T-U]]\\
+[[https://www.stereophile.com/content/sounds-audio-glossary-glossary-v-z|V-Z]]\\
+**"Обратный" словарик** - технический термин и его субъективное описание
+https://www.stereophile.com/content/sounds-audio-glossary-reverse-glossary-part-1\\
+https://www.stereophile.com/content/sounds-audio-glossary-reverse-glossary-part-2\\
+https://www.stereophile.com/content/sounds-audio-glossary-reverse-glossary-part-3\\
+https://www.stereophile.com/content/sounds-audio-glossary-sidebars-1-4\\
+https://www.stereophile.com/content/sounds-audio-glossary-sidebars-5-6\\
+https://www.stereophile.com/content/sounds-audio-glossary-sidebars-7-8\\
-Be cautious over boosting in this region as it can accentuate hiss or cause ear fatigue.

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