Entries found for search: SPL
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.
bit-splitting : A feature on some
A/D converters, digital recorders,
DAW or other digital devices to choose word lengths to accommodate various output channels, such as a choice between six outputs at 20-bit resolution, or four output channels at 24-bits per
Control and Display signals : Also called PQ codes. In the CD format, eight additional bits are added to each frame of audio data; this means that a byte of information is available from the disc every 136 µs. Each bit in the added byte is given a one-letter name, P-W. Thus, eight separate subcodes can be recorded on and recovered from the CD. So far only P and Q are used: the P-code is used for the pause signal between musical tracks and at the end of the last track, and the Q-code tells the player if the recording is two- or four-channel (no quadraphonic CD player is yet available). The Q-code also contains timing information about the tracks and identifies the country of origin and date of the recording. No standard has been defined for the use of the other six subcodes.
Guillotine splicer : A type of splicer for motion picture film and magnetic film that is generally used to assemble the workprint and edited soundtracks. For picture cutting, it slices along the frame line between images. A second blade can slice magnetic film diagonally to avoid pops on playback. While holding the two ends of picture or mag film to be joined in a sprocketed channel, non-stretching tape is applied, completing the splice. The editor can undo the splice if the result is not satisfactory, and may also reassemble the pieces in their original, or any other, order. Also called a tape splicer.
MIDI Splitter : See MIDI Thru.
split surrounds : Also known as stereo surrounds. A term used to refer to the Dolby 70mm sound format that gives two surround channels (LR, RR) on a mono-surround-compatible print. Also indicates the use of separate surround speakers in any sound format which have two (or more) discrete surround tracks.
split reel : A film reel that can be separated into two separate flanges, so that the film itself, wound on a plastic core, can be stored without reels. Used constantly in editing pictures and magnetic film.
split keyboard : A single keyboard is divided electronically to act as if it were two or more separate ones, separated into zones at a split point or points. The output of each note range is routed into a separate signal path in the keyboard’s internal sound producing circuitry or transmitted over one or more separate MIDI channels. Applications include playing a bass sound with the left hand while playing a piano sound with the right.
split point : Where two keyboard zones adjoin, but do not overlap, on a split keyboard, the division between them is called the split point. Where the zones overlap, they are called layers.
split feed : (1) The process of routing the same signal to two or more separate outputs, modules, or devices. (2) The actual device that allows the signal to be routed to more than one destination. Also called a Y-connector.
split-band coding : A transform encoding/decoding technique where the signal is split into a number of independent bands, used to take advantage of the spectral redundancies within the audio spectrum. A type of split-band encoding is sub-band coding.
split-band compression : Compression where different sections of the audio spectrum are compressed separately. With a wideband compressor, if there is a dominant portion of the spectrum, no matter how small, it affects the whole waveform. With split-band devices, the greatest effect is with high ratios, where the effect is more like localized limiting. Split-band compressors are similar to multiband audio processors in the first stage of audio processing.
split console : A mixer where the monitor section is actually another complete mixer; the recording input and monitoring functions are entirely separate. The structure of a split console is: input channels, groups, tape monitor channels, and stereo output. This type of design quickly becomes unwieldy as the number of tracks increases, and performing simple functions such as bounce often requires external signal patching to re-route monitor returns through input channels and on to the group sends. The opposite of an in-line mixer.
split-band : The analysis or processing of a signal by separating its frequency spectrum into discrete regions, or bands. See split-band coding, split-band compression.
splice : The joint made between two pieces of magnetic tape or motion picture film in the process of editing. Or, the point in audio or screen time at which this joint occurs.
sound pressure level (SPL) : The loudness of an acoustic wave stated in dBindB that is proportional to the logarithm of its acoustic intensity. A sound wave progressing through air causes the instantaneous air pressure at any given point to vary above and below the barometric pressure in accordance with the waveform of the sound. This variation in pressure is used as a quantitative measure of the strength of the sound, and is called sound pressure. This is the quantity which a pressure microphone measures, and if it is expressed on a dBadB scale and referenced to a pressure of 20 µpascals, it is called the sound pressure level. The amplitude dynamic range of human hearing goes from 0dB, or 10 -16 watt/sq.cm., the upper threshold of human hearing to 130dB or 10-4 watt/sq.cm., the threshold of pain, a factor of 1013 in range.
tape splicer : See Guillotine splicer.
See split feed.
displacement : The distance between some measured position of a moving object, e.g., a speaker cone, and its static position. Also applies to the position of air molecules in a sound wave. See rarefaction.