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Istilah Bahasa Inggris Yang "Menggambarkan" Suara
bimo_tok
Solfree

Postingan: 922
Terdaftar: Mar 2013
Ini saya ambil dari bukunya Ben Duncan.

Airy see ‘Broader tonal perspectives’.
Sheen Very high treble, above 16kHz, often absent or really hiss.

+Tizzy Excess around 12-16kHz, usually overemphasizing cymbals’ high
harmonics.

+Hard,
+Metallic,
+Brittle Excess of high, metallic-sound, usually around 8-16kHz.
+Bright,
+Brilliant,
++Glassy Excess around 4-8kHz.

Sibilance 5 to 7kHz.

+Crisp Peak about 3 to 4kHz.
Presence Centered on 2kHz.

+Nasal 1kHz emphasis.

+Honky Like a Cockney saying ‘oi’, or like poor or improperly used mid/hf
horn speakers. Around 600 to 800Hz.

+Chesty Excess in the 200 to 400Hz area, particularly with pure male vocals.

+Boxy As if the singer is inside a cardboard box. Aggravated by cube shaped
monitors. Around 250-450Hz.

+Barky
+Woody A characteristic mid-bass resonance in some larger speakers.

Boomy see dynamics.

Punchy Around 120–160Hz, a high definition area.

+Balls,
+Ballsy,
+Gutsy Low bass that is visceral, i.e. can be felt.

Boof-Boof Around 80–90Hz, soft bass area.

+ Chunky 80–90Hz ‘sample’ bass with added harmonic definition.

– Gutless Absence of low bass.

>>>Broader tonal descriptors
Airy Smooth, apparently effortless high treble, seeming to extend fur-
ther than the music. Suggests ultrasonic capability.

Closed in Treble lacking above 10kHz, almost the opposite of airy.

Dark Sound that tilts down from the bass upwards.

Dull General lack of treble.

Enclosed Dull, coloured, airless.

Lean Slight, gentle reduction below 500Hz, or very clean, transparent bass.

Muffled Where high frequencies are reducing rapidly, above 2kHz.

Open See Airy.

Recessed General lack of midrange

Rich A downtilt in level above 300Hz. Also, a slight excess of reverb.

Thin Overall lack of bass.

Tune playing A consistent quality (especially power) throughout the bass range.

Opposite of ‘One note bass’.

>>>>>General sonic adjectives and nouns
Aggressiveness Preponderance of mid-high energy (3-6kHz), often phasey and dis-
torted.

Ambiance Not a sonic adjective, but may be portrayed in recordings. To do
with mood and feeling. Elusive Neptune–Venus stuff.
Ambience Usually subtle, low level non-musical background sounds captured
in a recording, that are usually only subliminally appreciated, but
add to the sense of the occasion.

Analytical When sound equipment seems to reveal too much of the stitchwork
in music. Sometimes used when a system has distortions that un-
duly emphasise detail or ‘edges’.
Articulation When you can hear the inner detail of complex sounds, particu-
larly those in the main vocal range (300Hz-3kHz).

Clinical Suggests sound that is clean, bright, sharp, detailed, but may be
mildly pejorative, as cleanliness in one area shows up dirt else-
where. Also suggests emotional qualities are held back.

Detail – see Space

Dry Sound tending to lack reverberation.

Euphonic Erring on the side of being pleasing at the expense of accuracy.

Fuzzy A spiky yet soft texture caused by high distortion and compression.

Glare Distorted mid treble. Also tonal imbalance or forwardness.

Grainy Excess texture. A kind of distortion usually in the high midrange.

Gritty Like grainy, but harsher and coarser.

Grunge Like gritty, but more muffled. (Actual Grunge music is closer to
being gritty)

Hardness Fatiguing ‘wood block’ type of midrange emphasis.

Harsh Dissonant and/or Discordant. Unpleasant.

Loose Badly damped bass
Lush See Rich under Dynamics.

One note bass Poor damping of major resonance(s) in low bass.

Phasey Symptomatic of a frequency response that undulates like a comb.
Co-exists with a manic, zig-zag phase response, literally ‘phasing’
our hearing system.

Transparent When you feel you’re hearing just the music, not the replay equip-
ment. A sense of ‘nothing in the way’. Being able to hear back to
the recording venue. In Martin Collom’s words “Vital aims !”

Woolly - see Loose.

>>>>>Dynamics
Boomy Poor bass damping. A bad loudspeaker/amplifier combination.
Congested See Smeared and Thickened, which are facets of the same effect.

Dynamic contrast Subtle changes in level or pitch embedded amongst much larger
changes.
Dynamic range In audio engineering, the amplitude performance envelope of a
sound system. In music parlance, the programme’s intensity
range. Audiophiles call this ‘Dynamic contrast’ to distinguish.
Fast Incisiveness of attack, particularly of bass fundamentals, but as
bass doesn’t ‘move fast’ by definition, most likely a reflection of
rapid damping, proper synchronisation between the fundamental
and harmonics (see Chapter 7), and correct reproduction of all
associated harmonics.

Incisive Conveying the ‘slicing’ sound of close miked snares, like a sonic
machete knife. Indicative of good attack synchronisation, like
‘Fast’ and ‘Slam’.

Lifeless Superficially perfect, anodyne reproduction conveying nil emo-
tion or interest. Commonly caused by forcing equipment or sys-
tem to manifest a perfect measured frequency response without
regard for factors affecting space or dynamics.

Micro-dynamics Lifelike energy (transients) in small, low-level sounds.

Muddy Especially applied to bass; see ‘Smeared’.

Pace Ability to make music seem to unravel at the pace (or BPM) it
was recorded at, rather than slower. See ‘Fast’.

Punchy Similar to Slam, but can have a pejorative element of ‘One note
bass’.

Rich(ness) Lots of coherent reverb. More usually applied to program rather
than equipment.

Rounded Loss of attack transients, due to poor damping, poor hf response,
or slew limiting.

Rhythm Ability to put across the infectious ‘vibe’ inherent in a live show,
that makes people want to dance or move in rhythm.

Slam Convincing, correctly synchronised attack for a fundamental in
the 125Hz area.

Slow Rhythm seems slower.

Smeared Caused by excess incoherent reverb, too much harmonic and
intermodulation distortion and/or timing errors.

Solid Well damped bass.

Squashed May be caused by hard limiting. Seeming absence of most dy-
namic contrasts.

Thickened Can be caused by compression or soft limiting, or more subtly by
any path component, from mics to resistors. Reduced dynamic
contrasts.

Transient Abrupt, short lived events in music. Skilled ears can resolve dif-
ferences in attack slopes and harmonic synchronisation down to
tens of microseconds.

>> Space
Detail More spacial version of Dynamic

Contrast Also the diametric of Muffled.

Etched Finely detailed.

Focus Sharpness of detail. May vary across the soundfield, in all 3 di-
mensions.

Image, Imaging Ability to portray width, depth, and sometimes height.
Layering Sounds having a precise depth in a soundfield, with the implica-
tion of many depths or infinite gradation.

Hologram When coherent and correctly focused light or sound enables higher
dimensions to unfold.

Pinpoint When the image is very stable and finely etched, like some metal
sculpture.

Smeared When an otherwise sharp image seems to be portrayed through
butter-smeared glass. See also under Dynamics. Also Timing.

Sound stage The space between and around two speakers in which sound in
stereo (Greek for ‘solid’) appears to emanate from.

Timing Time is a another kind of spacial dimension. The timing between
sound components at different frequencies coming from one or
more instruments may be unlike the original sound. Compare bass to
mid, bass to treble, etc. Delays of milliseconds or less can be audible.

Semoga berguna untuk mengikuti forum2 audio berbahasa Inggris.


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postingan pada: 15-08-2014
(Postingan ini telah diubah pada : 15-08-2014 08:28 AM oleh bimo_tok.)
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RudiPas
Solfree

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