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1:1 : One to one. In standard usage, a copy of the edited worktrack copied onto another roll of striped mag film so that sound editors and mixers will have access to the worktrack. In general, however, it denotes any single-track-to-single-track copy, and thus has variants 3:3, 4:4, etc."

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3-stripe : See 3-track.

3-track : A mix of all the soundtracks of a film, in which the sounds are divided into the DME stems, each stem recorded on a separate stripe along the width of the 35mm magnetic film. Also called 3-stripe.

3:1 rule : A rule for microphone placement: space microphones at least three times the mic-to-source distance. For example, if two mics are each placed one foot from their sound sources, they should be at least three feet apart. This method prevents the blurred, colored sound caused by phase cancellation between microphones.

4+2 : Four Plus Two. Film sound slang for a 6-track element (usually mag film) that contains a 4-track M & E, one track of material for a foreign-language mix, and one track of original dialog as a reference.

4-track : A film soundtrack format used for overseas markets. Called a completely filled mix, the four-track stereo M&E mix is ready for the addition of dubbed languages. The M&E tracks should include background sound effects and room tone for every scene, i.e., all sound except dialog.

4:2:4 : See Dolby ProLogic™."

5-2-5 matrix : See Logic 7.

5.1-channel format &searchtxt A digital, discrete six channel mix of Left/Center/Right/Left surrond/Right Surround/ Subwoofer mix. 5.1 is not a specific surround format tied to any particular company or codec. However, all the hardware is the same for any 5.1-based system except for the codec. It is planned that CDs, laserdiscs, and DVDs will have an ID flag to let the decoder know which codec was used, enabling decoders to recognize all incoming bitstreams and automatically switch modes and process the incoming signal appropriately. It is a listening platform and hardware concept for a surround loudspeaker system. See DTS, Dolby Digital, HDTV, CDS, LFE.

50% level : the standard reference level for optical sound recordings that corresponds to the width of the track at 50% modulation, or at 6dB below clipping. In practice, there is about 2dB of headroom available, if all the recording / playback heads are perfectly aligned.

7.1 Split-Surround : The additional two speakers are employed at the front of the soundstage to deliver more uniform sound in wide-format theaters of screen widths of up to 60’ or more, where there might be seats with hole-in-the-middle in between the C-L, and C-R channels. See SDDS.

70mm : See film.

85 : A common SPL level reference in the film audio business, which is found by setting the SPL of pink noise and aending it through one speaker (L, C. or R) at 0VU (analog) bus level, which is the equivalent of -20dBFS in digital recording. Measurement is made at the console, with an SPL meter set to C-weighting and the meter ballistics set to slow response.

88 : The SPL for Dolby Stereo SR films. If a film has been monitored at 85 during the final mix, the stems will be lowered 3dB each when making a SR Lt-Rt print master to accommodate the increased gain from summing the stems.

A : The left-hand part of a stereo signal. Also known as L.

A&R : Artists and Repertoire. The department of a record company that selects the performing groups or artists who will be signed to the label, what songs or compositions each artist will record, and who will work with the artist in the production, arranging, and performance of the material in the production of master tapes.

A-2 See Voice of the Theater.

A-3 : Dolby laboratories low-bit-rate codec system used in its Dolby Digital format film, in both broadcast and consumer video formats.

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