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Now looking at definitions starting with letter "t"

tape splicer : See Guillotine splicer.

tape sync : A method for synchronizing a pair or group of independent devices which uses one track of a tape recorder attached to the other device(s) on which is stripedis used to carry thea master timecodetimecode signal which provides timing for the other device(s). See FSK, pilot tone, SMPTE sync track, sync track.

tape type : Categories for recording tape are based on the magnetic coating of the tape. Usually applied to cassette tapes, they include: Type I (ferric oxide), Type II (chromium dioxide), and the now-discontinued Type III (metal).

tape weave : An improper gradual up and down motion of magnetic tape as it passes over the tape heads in a tape recorder, causing tape skew. It is usually caused by the tape not having been properly slit, but can also result from worn tape guides.

tapeless studio : A recording set-up which uses exclusively digital recording, storage, and playback equipment.

Target a target can be thought of as a device such as a disk array or network adapter.

Tartini tone : See difference tone.

taskbar : The menu on a Windows™ system which displays open applications.

TCA : TimeCode Address. The HH:MM:SS:FF bits of the SMPTE timecodetimecode word."

TCA Target Channel Adapter the IB component that connects an input/output device to other IB devices. TCAs only require support for capabilities appropriate to the particular input/output device. TCAs live inside of (on a backplane) or are attached to a device, such as a solid-state memory cache or device group, such as a tape library.

TDF : Triangular probability Density Function. See dither.

TDIF : TASCAM Digital Interface Format: An eight-channel digital interface used to connect TASCAM MDMs to one another and to compatible external gear. The TDIF format uses master clock sync and carries eight channels of digital audio on a electrical cable with 25-pin D-sub connectors. Each wire in the cable carries two multiplexed channels, which closely resembles AES/EBU. The entire cable can handle eight channels to and from any compatible device, and so is bi-directional. The maximum bit depth is 24 bits, and the data rate is four times the sample rate. See also Lightpipe.

TDM : Time-Division Multiplexing. Digidesign’s proprietary 24-bit DSP environment, providing real-time digital audio processing and mixing on ProTools™ hardware. Many third-party manufacturers make software plug-ins to add audio functions to TDM-based-systems. TDM itself refers to the division of each sample period into 256 different addresses, each available to a plug-in.

Telecine : (1) A machine that transfers film to video signal for broadcast or storage onto videotape. Also generically refers to the process of film-to-videotape transfers. It consists of a film projector with a special optical system that connects to a television camera which records the projected film image. Better quality than a video-video dub, but the Telecine transfer must happen in real-time. Telecine occurs at three points in the filmmaking process: first, when the film is transferred to video in preparation for editing on a nonlinear system; when an edited workprint is transferred to video to give sound editors a guide with which to edit sound; and, when an interpositive is transferred to a videotape to create a master for home video release. (2) The UK name for a film chain.

Telharmonium : Also called the Dynamophone. An early electric keyboard invented around 1900, weighting over 200 tons, it was the feature of the world’s first music broadcasting service in New York in 1906. The Telharmonium used the tone-wheel principle and so was the predecessor of the later, smaller Hammond organ.

temp dub : A quick and temporary mix of a film soundtrack made during post-production for screening and evaluation in double-system.

temp score : Music placed by the director or music editor to get an impression of how a scene will work once it’s scored.

temperament : In the tuning of a musical instrument to a scale, temperament is the compromise, or deliberate mistuning, of pure or just intervals so the various frequency ratios between notes of the scale are compatible with octaves. This compromise is called a temperament, of which there are theoretically an infinite number. Also called tempered tuning. See meantone, equal temperament, just intonation, syntonic comma, diatonic comma.

tempo : The speed of the pulse, or beat, of the music. See rhythm.

tempo map : Data containing the initial tempo of a composition and the SMPTE timecodetimecode location of the song start, plus the degree and location of any subsequent tempo changes are stored in a tempo map. Usually the tempo map is built by the sequencer and stored along with sequence data.

tempo-dependent : A clock, such as the MIDI clock, which is dependent on the tempo of the music for tracking, i.e., the MIDI clock will transmit more MIDI clocks per second if the master sequencer increases the tempo, as compared with other synchronization signals which encode information about absolute time, such as SMPTE timecode."

temporal masking : A data reduction technique which takes advantage of the fact that a loud sound affects the perception of quieter signals both before and after it. If, for example, a relatively quiet signal occurs 10-20ms before a louder one, it may still be masked by the louder signal. This is called backwards masking. The hearing mechanism also takes time to recover from a relatively louder sound, and this creates a masking effect which extends up to 100-200ms after the masking signal signal has ceased, called forward masking. The length of the masking is related to the relative amplitude of the masking signal. To reduce data by using this technique, the input signal is divided up into blocks of samples usually around 10ms in length, and each block is analyzed for transients which act as temporal maskers. Most systems vary the length of the block to take advantage of both backwards and forwards masking. Also called time-masking. See perceptual coding.

tenor : From tenere, the Latin "to hold." Originally, a vocal part with sustained notes in sacred music. Now used to refer to a male voice which has a range from about C-below-middle-C upwards about two octaves, and by extension, instruments which have a similar tessitura. Music written for the tenor register is notated with a tenor clef, which has middle-C on the fourth line of the stave. The term counter tenor is used to specify a male voice singing in the alto range. The other registers are alto, baritone, bass, and soprano. See also treble and voice.

tent : An area of a recording studio enclosed in absorbtive panels, constructed to provide a dead acoustic space.

tenuto : A notation indicating that a note should be held for longer than its nominal value, shown by a short, heavy line on the note.

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