Terminology of professional audio evaluation of playing audio (Part 2)

29. Explosion of sound: The sound energy density is too large, too much high-frequency and mid-high frequency, excessive amplitude modulation distortion in the recording and playback sound or sound reinforcement system, and the phenomenon of overload shaving.

30. The sound is broken: the sound energy density is too large, there are serious harmonics and intermodulation distortion. From the maximum sound level that the sensor can withstand to the sound source to the mixer, the recording is also linearly retained to the power margin of the amplifier and speakers. Any level of overload clipping distortion will produce a broken feeling, and it will be accompanied by serious " For the "flutter" noise, the residual magnetic induction magnetic level on the recording tape is too high. If the optical recording vocal cord is severely over-modulated, it will also produce a broken sound quality. Broken, some units are called "hack".

31. The sound is boring: lack of high and middle treble. There is severe attenuation above 3000-4000 Hz, insufficient high frequency reverberation, and excessive low frequency energy, especially around 150 Hz. The low-frequency linear distortion is large, and the transient response is not good. The reason for the stuffiness is that the sound source itself is stuffy, the electroacoustic system drops at a high frequency, the sound pickup cloth is improperly positioned, the gap between the magnetic heads is offset, the magnetic powder blocks the magnetic head, or the magnetic tape and the magnetic head do not fit well. Sometimes the sound conditions in the studio are poor, or affected by the humidity of the air, so that the high frequency absorption is strong, the reverberation is short, and the mid and high frequency diffusion is poor, which can also cause the feeling of boring sound.

32. Sound coaxing: There is a certain exaggeration of low and middle frequencies, there is resonance, the frequency response is uneven, and the reverberation is too long. For example, if the reverberation is not used properly, there will be a coaxing "bathroom effect", with multi-frequency tones at 200-3000 Too much lifting will also produce a coaxing feeling and affect clarity.

33 sound urn: the nasal sound is heavy, just like the speaker's cold and nasal congestion (urn nose head), there is resonance in the frequency band of 100 ~ 250 Hz, if you raise too much from 150 Hz, the nasal sound will rise significantly, and the sound will be urn, which seriously affects the clarity .

34. Sound dispersion: The sound is not strong, the focus is virtual, the main melody is not prominent, the reverberation is too large, the intermediate frequency is lacking, and the frequency response is uneven. The recording studio is empty, the microphones are too far away, the whole band is poorly fused, and the sound is messy and scattered.

35. Virtual sound (or floating): Generally, the directivity of the microphone is not aligned with the sound source, causing the sound focus to be untrue, or too far away from the sound source, the direct sound is not enough, the indirect sound is too much, the middle sound is lacking, and the average sound energy The level is small, the loudness is low, and the definition is poor. In the recording and playback sound system, due to the instability of the speed, the position of the tape swings and the level shakes, resulting in a sense of drift in hearing.

36. Sound shaking and shaking: During the recording or playback process, the frequency shift occurs through mechanical transmission, resulting in continuous regular volume changes, and the sound feels trembling. If the periodic shaking at a very low frequency, the sound feels that the sound shaking is uneven, and shaking or shaking will affect the clarity.

37. The sound has tremolo (trembling echo): This is mainly an acoustic defect in architectural acoustics. For example, if the sound source utters in two parallel planes, or has a curved dome, it is easy to cause trembling echoes. It sounds like there is continuous overlapping sound, and even the sound has tremors, which seriously interferes with the clarity of the sound.

38. Sound jump: that is incoherent, generally music, dialogue or singing feel a sudden change in volume, such as unbalanced volume, unstable power grid frequency, which makes the tone inconsistent before and after, background noise is not connected, sound tail is cut off, actors' emotions Discontinuity, poor contact between the magnetic tape and the magnetic head, etc., will feel aural jumps, unnatural. Especially like filming is composed of one lens, so pay more attention to the coherence of sound.

39. Crisp sound: uneven frequency response, lack of low frequency, too much mid-high frequency and high frequency, large distortion, thin sound, not thick, too much lifting at 7000 ~ 8000 Hz, there will be a crisp feeling.

40. Tooth sound is too much or tooth sound is distorted: Dental sound is also known as S sound, which is a reflection of the high-order harmonic transient distortion of the sound in the process of vibration. The spectrum energy of Chinese pronunciation is nearly 10 decibels higher than that of English and Hungarian in the middle and high frequency bands. With the wider spectrum of consonants, the air flow from the lungs can easily cause irregular movement of the microphone diaphragm. Therefore, during recording In the process, if the microphone is placed too close to the sound source, and there is no windshield, it is easy to cause the ills of excessive tooth sound or distortion, and there is a glitch or "shush" distortion in hearing.

41. Lead sound (or metal sound): a certain section of the middle and high frequencies is prominent or has a resonance peak, uneven frequency response, large distortion, underdamping, and poor transient response. For example, poor quality moving coil microphones or tweeters often feel hard and accompanied by a lead sound, which is called metallic sound in the north.

42. Fusion: wide frequency response, low distortion, good signal-to-noise ratio, large dynamic range, etc. Regardless of the volume and tone of each part of the song team or band, the choice of reverberator includes: characteristics, time, proportion It is more suitable for the above, the whole sound blends together, showing that the overall sense of the band is very good, rather than hearing the sound is discrete.

43. Clean: low noise, less interference, no additional components between parts, instruments, and languages, low distortion of the entire sound, high facsimile, good transient response, moderate amount of reverberation, especially low frequency reverberation However, the noise level of the recording studio and listening room is low, the sound conditions are good, and the signal-to-noise ratio of the recording and playback system is good.

44. Group sense: refers to songs, bands or some of these voices are neat and fused with thickness, good level, great momentum, strong overall sense, and have a suitable dynamic range. For example, the arrangement of the microphones is reasonable. Taking into account the coverage of the performers, and the proper use of delays and reverberation, it helps to enhance the sense of group sound.

45. Three-dimensional sense: the sound not only has layers and orientations, but also has a sense of space and distance. For stereo, it is necessary to reflect the different positions of the sound sources in the space, the sound image defense is clear, the sense of width is good, and the recording and playback sound path The frequency response is wide, the distortion is small, the mixing is suitable, and the dynamic range is large.

46. ​​Sense of environment: This is a commonly used term for the use of analog techniques in the pickup process. It is more emphasized in movies and TV, which means that the sound should match the environment in the picture, the proportion and distance of the characters or musical instruments in the picture, and there are close-up, close-range, mid-range, far-range, and panorama; there are halls, valleys, indoors, outdoors The sound must have a sense of environment, depth, and distance. This is related to the ratio of direct sound and reverberation, the length of the reverberation time, and the arrangement of volume, tone, and microphone. It is necessary to achieve the consistency of hearing and vision to make The sound conforms to the specific ambient atmosphere.

47. Intimacy: This is a comprehensive evaluation with high requirements. He requires suitable loudness, high clarity, good naturalness, appropriate reverberation, wide sound range, low distortion, and low noise level, making people feel that they are in acoustic conditions Good concert halls, theaters, and recording studios directly listen to the band's performance and feel friendly and natural as they talk to each other in person.

48. Fullness: The sound is thick, mellow, the sound power is large, there is a certain loudness, the high frequency is not lacking, the brightness is good, especially the low frequency and low frequency energy is sufficient, the sound is sent, the channel distortion is small, and the transient response Okay, enough reverberation. Sometimes called "warmth".

49. Balance: Generally speaking, balance has two meanings: one is the natural balance in the room, that is, the balance between the various parts of the song and the band, and the balance between the main companion, because it is closely inseparable from the specific hall environment, that is, architectural Therefore, the natural balance of the interior contains the meaning of art and technology. The other is the balance in the sound pickup technology. If the natural balance in the room is good, and the finished recording results in an imbalance, this means that the process technology is not well reflected. On the contrary, there is a lack of natural balance in the room, but it is properly handled in the process of sound pickup. It uses technical means to make up for the shortcomings in natural balance, so that the work has reached balance and harmony. This is a very important work in our sound pickup technology.

50. Noise level: This is one of the important indicators of high-fidelity sound quality. The low noise level can improve the clarity of the sound or language, and expand the dynamic range of the sound. The noise includes: background noise, background noise of the recording and playback equipment, popping sound of the record base, the instrument performance and the actor's speech itself Noise, recording, environmental noise in the listening area, and the presence or absence of echo or tremor echo interference.

Good level 51: wide and uniform frequency response, especially wide frequency response, low distortion, good transient response, appropriate amount of reverberation, appropriate reverberation time, low noise level, large dynamic range, melody line and texture of the work, Clear and balanced, sound and space, good transparency and strong three-dimensional sense.

52. Distorted sound: small distortion, high simulation degree, pure tone. The sound coincides with the picture, with a sense of space, distance, sound effects combined with the ambient atmosphere, and the actor's mood and tone conform to the prescribed scene.

53. Activeness: It is the antisense of dull, dry and woody sound quality. The sound conditions of the recording studio and the performance hall are good. The sound is even, the spread is good, the reverb is particularly moderate, the high frequency is sufficient, and there is a certain loudness and brightness, then the sound is active, which helps the fullness of the music and the clarity of the language.

54. Channeling: Refers to a channel that intersects with another channel and interferes with other sounds. Most of them use multi-microphone multi-channel or stereo recording. Due to the improper placement of microphones or actors, the sound field of the studio has poor isolation The cross-talk between the sound channels or the magnetic level of the thin film-based magnetic tape is recorded higher, which is caused by the copying effect. Generally, the crosstalk between the mixers is greater than -70 dB, the crosstalk between the channels of the recorder and the recorder is greater than -50 dB, and the isolation between the various parts of the recording studio is greater than 14 dB.

55. Direct sound loudness: the ratio of direct sound to reverb sound, which can be used to create a sense of space according to different needs. A certain amount of direct sound plus the loudness generated by the recent emission sound can make the sound prominent and powerful. The reverb sound is too small, it will cause the sound to be dry.

56. Reverberation loudness: the ratio of direct sound to reverberation sound, which can be used to create a sense of space according to different needs. A certain amount of direct sound plus the loudness generated by the recent emission sound can make the sound prominent and powerful. The reverb sound is too small, it will cause the sound to be dry.

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