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Now looking at definitions starting with letter "e"

early reflections (ER): (1) The first and following reflections from adjacent room boundaries, as opposed to later reflections which are produced by farther surfaces or which have taken a longer path to reach the listener. (2) A reverb algorithm whose output consists of a number of closely spaced discrete echoes, designed to mimic the bouncing of sound off of nearby walls in an acoustic space. See ESS

earwig : A small earpiece micropnone used to give actors an audio reference (frequently a guide music track) so that their live audio can be recorded live. See also thumper, IEM.

EASI : enhanced audio streaming interface. Emagicís multi-channel alternative to stack multimedia audio drivers. EASI provides a direct and consistent way for audio software and hardware to communicate, resulting in improved audio timing and reduced latency.

ECC : Error Correction Code. See error correction.

echo : An audio effect which is a discrete (where the onset of the repeated sound is distinct) repetition of a sound arriving at least 50ms after the incident sound, as opposed to reverberation, which is a continuous wash of closely spaced, non-discrete, echoing sound. See delay(3).

EDC : Error Detection Code. See error correction.

edge : A subjective impression of a certain roughness in the reproduced sound of a musical instrument. It is usually caused by non-uniform, high-frequency response in the loudspeaker or other audio device.

edge track : (1) In multitrack recording, either of the recorded tracks located along the edge of the tape. (2) The U.S. standard position of the recorded track on 16mm magnetic film, i.e., the position along the edge opposite the sprocket holes. See film soundtrack.

edgecode : Inked numbers applied outside the sprocket holes on file prints and mag film, used for synchronization reference. See Acmade, preview codes.

edit controller : See edit programmer.

edit decision list (EDL) : Prior to editing a master recording or motion picture, the various takes are auditioned and a list of the desired ones is created, along with notes telling exactly where the cuts are to be made. The resulting document is the EDL. This consists of the list of SMPTE time code in feet/frames, including instructions for fades, dissolves, and other special effects--corresponding to all the segments that the editor of a videotape production has decided to use in the final cut. The EDL is usually computer-generated. See also playlist.

edit master : Video industry term for the tape containing the finished (edited) program.

edit mode : See cue mode.

edit programmer : A computer used to perform on-line edits and auto-assemblies. The video editor enters the EDL, a sequence of SMPTE timecode time codes corresponding to the shots and specific frames to be connected. The edit programmer then controls the video playback and re-recording decks to produce the edited video master tape according to the editorís instructions. Depending on the sophistication of the specific unit used, the editor may have to perform some special effects manually, on prompts given by the edit programmer. Also called an edit controller.

edit switch : On a tape recorder, a switch that engages the play mode but not the take-up motor. Tape is driven past the playback head and reproduced, but then spills off the machine and may be edited out. This process is called a dump edit. On some machines, the edit switch merely defeats the tape lifters, allowing the editor to scrub the tape past the playback head.

editing : Intercutting of several analog tape or digital data recordings of an audio or film take in order to make an improved performance.

editing block : A cast metal block with a channel that holds magnetic tape firmly and in a straight line. Diagonal slits through this channel allow a razor blade to make precisely angled cuts in pieces of tape, so that two separate pieces aligned in the channel may be spliced together. The resulting splice, if properly made, will be inaudible as it passes over the playback head of the recorder.

editor/librarian : A piece of computer software that allows the user to load and store patches and banks of patches (the librarian) and edit patch parameters (the editor) by patch name.

editorial sync : Alignment of picture and soundtracksound tracks such that their start marks are equal numbers of frames prior to the first frames of picture and sound, respectively. See projection sync.

effect send level : The amount of effect to be added, such as reverb, chorusing, or other enhancements, to each channel.

effects : Abbreviated FX. Any form of audio signal processing or a device to produce: reverb, delay, chorusing, echo, flanging, and phasing, rotary (Leslie) speaker simulation, distortion, and tremolo, etc. See processor.

effects control : Two classes of Controller Change messages which are used to introduce and adjust some kind of effect such as reverb.

effects control 1 & 2 : Controller Change messages which are intended to be assignable to parameters (other than depth) which appear in a synthesizer or effects unit and which control some aspect of an effect such as reverb time or pitch-shift. They operate in conjunction with Effects Depth messages; the two message types taken together are called Effects Control.

effects depth : (1) A parameter on a synthesizer, effects unit, etc. which can be adjusted by the user to alter the mount of a particular effect, such as reverb, delay, or chorus. (2) Effects Depth controllers. Controller Change messages which are used to implement the function described in Effects Depth. These were initially assigned to specific effects, but are now generalized and operate in conjunction with Effects Controls 1 & 2 messages; the two message types taken together are called Effects Control.

effects loop : A mixing console circuit that is used to add an effect to a signal or a group of signals. When the effect unit is plugged into the effects send bus circuit (via the effects send and effects return jacks), it literally functions as a loop, splitting the signal off from the mixer and sending it to the effect, then returning it to the mixer, where it is combined with the original signal.

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