常见音响英语缩写名词、缩略语英汉注释

常见音响英语缩写名词、缩略语英汉注释

AAD(Analogue tape/Analogue mixing-editing and Digital tape recorder used during)
指录音及后期制作皆为模拟（A）方式，而只有制片使用数字（D）方式的CD唱片制作。
Analog Analog Digital (audio CD recording format, recording/mixing/mastering)
Analogue tape recorder used during session recording and subsequent mixing and/or editing; digital tape recorder used during mastering.

A/B试听比较(A/B comparison)
指对两种不同的音乐重放方式进行的反复试听比较。
This involve A/B audition to compare and confirm what is better. Typically, change one component at a time to find out what is a better combination.

A-B repeat
指在A-B 段中重复循环播放或者使用。
Repetitive cycle broadcast or use from A to B.

ABC(auto baseand chord)
自动低音和弦

absolute polarity 绝对极性
在用绝对极性正确的音响系统播放绝对极性正确的录音制品时，音箱所产生的正向声压便会和原始声音的正向声压一致。绝对极性不对时，便会有180°的相位差。对于有些乐器，有些人是能听出绝对极性的正确与否的。

AC line-conditioner 电源净化器
指专门用来滤去交流供电电源中的噪声和防止音响器材受到电压峰值和浪涌损害的一种音响辅助器材。有些电源净化器甚至还可用来防止闪电的损伤。其实，电源净化器便是一种特别设计和制作的滤波器。
A new AC line conditioner with high input power factor and clean AC output voltages for isolating the linear or nonlinear loads is introduced. An AC/DC rectifier with switch-clamped topology is adopted to draw the balanced sinusoidal line current from the AC supply system. A three-leg inverter with switch-clamped topology is adopted in the system to provide clean AC output voltages to the critical or sensitive loads. Experimental results show the validity and effectiveness of the proposed control strategy.

acoustic absorbed 吸声材料
指任何一种能够吸收声波的材料，比如地毯、窗帘以及盖以厚实布套的家俱等等。

acoustic diffuser 声扩散器
指任何能够扩散声波的材料或器件。

acoustic feedback 声反馈
音箱发出的声音会使LP唱盘、话筒等拾音设备产生振动，此振动又被变换为电信号，并再次由音箱重放出来。在这种反馈过程中，振动因自身的反馈而会越来越加强。会场中的扩音设备因音量过大而发出的啸叫，便是这种声反馈。

acoustic panel absorber 吸声板
指利用隔板作用来吸收从低频到中频的一种吸声器材。当有声波射到吸声板上时，吸声板便会振动，从而将声能变换为板中小部分的热能。
Many applications have been found for the microperforated panel (MPP) absorber, on which the perforations are reduced to submillimeter size so that th

ey themselves will provide enough acoustic resistance and also sufficiently low acoustic mass reactance necessary for a wide-band sound absorber. The most important parameter of the MPP is found to be the perforate constant k which is proportional to the ratio of the perforation radius to the viscous boundary layer thickness inside the holes.
This, together with the relative (to the characteristic acoustic impedance in air) acoustic resistance r and the frequency f0 of maximum absorption of the MPP absorber, decides the entire structure of the MPP absorber and its frequency characteristics. In other words, the MPP absorber may be designed according to the required absorbing characteristics in terms of the parameters k, r, and f0. Formulas and curves are presented toward this end.
It is shown that the MPP absorber has tremendous potential for wide-band absorption up to 3 or 4 octaves and for low-frequency absorption with a cavity of depth small compared to the wavelength. Techniques of making minute holes (of 0.1–0.3 mm, say) have to be developed, though.
The panel resonance always affects the absorption characteristics of microperforated-panel (MPP) absorber. In this paper,the theoretical analysis of the effort is made. And through lots of experiments of MPP, different materials, different diameter of perforations, different percentage of perforated area, under intermediate frequency and lower frequency standing tubes, the rules of the effort are discussed. So some practical solutions are obtained.

Acoustic coloring 声染色
声染色(coloration)指在音响系统中，由某一音响器材所引起的声音的改变。有声染色的音箱便不能精确地重放出加给音箱的声信号。比如，有声染色的音箱可能会重放出过多的低音，而在高音方面则有所欠缺。
The notion of the morning raga may then be thought of as an aural method of coloring the mind of the listener, through a combination of various acoustic.

Acoustic Coupler 声偶合
通常指声音通过物理介质机械传输的过程，但是现在很多地方已经有声/电转换的介入了。
Acoustic Coupler
1. An interface device for coupling electrical signals by acoustical means--usually into and out of a telephone instrument. An acoustic coupler is a hardware device that enables a modem (a device that converts signals from analog to digital and from digital back to analog) to connect to a voice circuit. A handset adapter is used to receive modem tones through the handset's mouthpiece, and the earpiece is used to transmit these tones to the modem.
2. A terminal device used to link data terminals and radio sets with the telephone network. Note: The link is achieved through acoustic (sound) signals rather than through direct electrical connection.

声像 Acoustic image
声像原指声音经过音响及环境绕折射组成一个声透镜新的聚焦点，形成的几何空间形象。当然现在可

以通过数字技术或者其他音响学系统将声音作相对于音源的人工改变，亦称声象。
Acoustics,The geometric space figure that is made up of the acoustic foci of an acoustic lens, mirror, or other acoustic optical system and is the acoustic counterpart of an extended source of sound. Also known as image.

声学(acoustics)
指专门研究声音的一门科学。也用于指听音场所对声音的吸收反射特性，如“这间听音室的声学特性良好”。
Acoustics - The branch of science and technology that is devoted to the production, transmission, control, processing, transformation, reception, and effects of sound, longitudinal waves, particularly as vibration, pressure, or elastic waves and shock phenomena in material media.

Active loudspeaker 有源音箱
自身带有电源供放大器使用的音箱。又作：移动音箱、活动扬声器。
What is an active speaker?
An active loudspeaker incorporates one or more internal power amplifiers AND signal processing electronics to optimize the signal. Although the term “powered” is often used interchangeably, we consider a powered speaker to be merely a regular speaker with an amp bolted on the back. A true active speaker like our LQ-P Series includes equalization, an electronic crossover, phase and time delay components that can significantly improve the sound of the system.
/loudspeakers/whyactive.cfm

AC-3
杜比数字(DD)5.1声道数字环绕声格式原先的叫法。1994年，日本先锋公司宣布与美国杜比实验室合作研制成功一种崭新的环绕声制式，并命名为“杜比AC-3”(Dolby Surround Audio Coding-3)。1997年初，杜比实验室正式将“杜比AC-3环绕声”改为“杜比数码环绕声”(Dolby Surround Digital)，我们常称为Dolby Digital
杜比AC-3提供的环绕声系统由5个全频域声道和1个超低音声道组成，被称为5.1声道。5个声道包括左前、中央、右前、左后、右后。低音声道主要提供一些额外的低音信息，使一些场景，如爆炸、撞击等声音效果更好。6个声道的信息在制作和还原过程中全部数字化，信息损失很少，全频段的细节十分丰富。
AC-3(Active Coding-3) Dolby's third digital audio coding technology based on a perceptual coding method. It is more advanced than AC-2 and provides six channels of audio in less space than two-channel stereo CD. AC-3 and "Dolby Digital" are synonymous. See Dolby Digital.Dolby Digital, or AC-3, is the common version containing up to six discrete channels of sound, with five channels for normal-range speakers



Active Subwoofer 有源超重低音音箱
指专门用于重放低频、并由内置功率放大器来驱动的那类音箱。
典型的低切频率从150Hz下潜到20Hz。 在选用特殊的低音扬声器情况下频率可能下潜到1Hz。通常典型的落地式(floorstanding)或书架

(bookshelf)箱(loudspeakers)发出80Hz之下的低音频率就变得越来越困难，因为他们不能推动足够大的空气位移。 历史上第一个超重低音音箱在二十世纪60年代期间由米勒-恺瑞声学公司(Miller & Kreisel Sound Corporation)的总裁肯-恺瑞(Ken Kreisel)在洛杉矶发明成功。恺瑞与他的商务伙伴乔纳斯-米勒(Jonas Miller)在洛杉矶拥有了一家高档的音响商店，专门买些高端静电扬声器。2001年迁厂到加利福尼亚州的查兹沃斯市(Chatsworth),现在M&K工厂有6100 平米的面积, 并且建立了两条完整的生产线, 每一条生产线都各自拥有精密的音频测试仪器与试音室。

A subwoofer refers to either a woofer, or a complete loudspeaker dedicated to the reproduction of bass audio frequencies, typically from 150 Hz down to 20 Hz. In the case of a rotary woofer, it is possible to reproduce frequencies down to 1 Hz. Bass frequencies below about 80Hz become increasingly difficult for typical floorstanding or bookshelf loudspeakers to reproduce at high playback levels (100 dB or more) because they do not have large enough drivers to generate the required amount of air displacement. Therefore, subwoofers are useful for augmenting main loudspeakers by providing playback of low bass frequencies at high levels. History The first subwoofer was developed during the 1960s by Ken Kreisel, currently president of Miller & Kreisel Sound Corporation in Los Angeles. Kreisel's business partner, Jonas Miller, owned a high-end audio store in Los Angeles, and customers buying some of the high end electrostatic speakers complained about a lack of bass response in the electrostatics, compared to conventional loudspeakers; Kreisel's solution was to design a powered loudspeaker that would reproduce only those frequencies that were too low for the electrostatic speakers to convey and thereby fill in the missing sonic information.[1]. Infinity's full range electrostatic speaker system of about the same time also used a subwoofer to cover the lower frequency range the electrostatic arrays did not handle adequately.

The first use of a subwoofer in a recording session was for mixing the Steely Dan album Pretzel Logic when recording engineer Roger Nichols arranged for Kreisel to bring a prototype of his subwoofer to Village Recorders. Further design modifications were made by Kreisel over the next ten years (and continuing to the present day), and in the 1970s and 1980s by engineer John P. D'Arcy; record producer Daniel Levitin served as a consultant and "golden ear"(金黄耳) for the design of the crossover network (used to partition the frequency spectrum so that the subwoofer would not attempt to reproduce frequencies too high for its effective range, and so that the main speakers would not need to handle frequencies too low for their effective range).

Subwoofers came into greater popular consciousness in 1974 with the movie Earthquake whic

h was released in Sensurround. Sensurround was initially installed in 17 U.S. theaters. Six very large subwoofers were driven by a pair of 1600w amplifiers that were triggered by control tones printed on one of the audio tracks on the film. Four of the subwoofers were positioned in front of the audience under (or behind) the film screen and two more were placed together at the rear of the audience on a platform. Energy in the range of 5 Hz to 40Hz was generated at the level of 110-120 dB. Much publicity was given to the new low frequency entertainment method and the film was a box office success. More Sensurround systems were assembled and installed. By 1976 there were almost 300 Sensurround systems leapfrogging through select theaters. Further films to use the effect include Midway in 1976 and Rollercoaster in 1977.
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Active and passive 有源和无源(音箱)

Generating high output at low bass frequencies is a demanding task, so the driver(推动器), enclosure(填充物), and amplifier(放大器) are designed to work together as a package. These subwoofers with a built-in amplifier(固定放大器) are called Active or powered subwoofers. The amplifiers in these units have built in crossover, phase, and sometimes equalizer capabilities.

Some amplifiers include an adjustable low-pass crossover(可调低通分频器), which limits the range of the subwoofer to low frequencies. For example, if a listener's main speakers are usable down to 80 Hz, then the subwoofer crossover can be set so the subwoofer only works below 80 Hz. The crossover section may also include a high-pass "infrasonic" filter(高通亚音频滤波器) that prevents the subwoofer driver from reproducing frequencies below its capabilities. The subwoofer phase control allows a listener to adjust the phase (time) alignment of the subwoofer system relative to the main speakers. Doing so eliminates or minimizes the acoustic cancellation between the subwoofer system and main speakers, the result of them not being in phase within the crossover region as heard at the listener's ear. Phase settings may be a two-position switch (0° or 180°) or a continuous adjustment between these two values.

Some subwoofers are built with their own internal amplifier(内置放大器). Designers of this type can add a degree of corrective equalization to ensure optimum performance. Some also include a user-adjustable equalizer that allows boost or cut output at certain frequencies, and these vary from a simple "boost" switch, to elegant parametric equalizers for detailed speaker and room correction. Some even include a calibrated microphone to measure the subwoofer's in-room response, so the automatic equalizer can correct the response to some pre-determined performance.

Passive subwoofers have a subwoofer driver and enclosure, but do not include an amplifier. They sometime include passive crossovers inside, with the filter frequency determined by

the factory. These are used with third-party power amplifiers(功率放大器), taking their inputs from active crossovers(有源分频器) earlier in the signal chain. While few home-theater-in-a-box systems(家庭影院音箱系统) use passive subwoofers(被动超重低音音箱、无源超重低音音箱), this format is still popular in the professional sound industry.


【AAD／ADD／DDD】
AAD／ADD／DDD 三位字母的第一位字母表示演奏过程是以何种方式收音；第二位字母表示后来混音及编辑的过程采用何种方式；第三位字母表示以何种方式拷贝复制
AAD：模拟录音、模拟混音、数字制碟。
ADD：模拟录音、数字混音、数字制碟。
DDD：数字录音、数字混音、数字制碟。
比如，ADD 就是指CD唱片按模拟方式录音(A)，而编辑混合和刻制压片则均采用数字(D)方式。
我听说许多人抱怨它们(CD)听起来太刺耳，还是原版模拟碟来的温和一些。这也许是真实的，但是我并不在乎它，因为差的ADD/AAD录音叫人难以容忍，特别当发出嘘声或噪音时让您烦恼。
什么是“比较好的”呢， —— 也就是哪些是更重要，更值得关注的部分， -- 实际上这取决于个人录、混的技巧和艺术性的结合，掌控及操作这些事主要在模拟范畴，而数字则在后面的部分发挥作用。数字处理技术在这些方面更加容易。
我认为SACD 听起来可能更出色，当然您必须有这些播放设备。特别是在5.1 环绕声里它可是个了不起的格式。
无论是什么原因，录音工程师们都在极力向消费者推荐DSD(SACD)录音格式，大家都主张这同一个格式，而不是转换成DVD-A的PCM格式。

【AAD／ADD／DDD】—— Analog or Digital (audio CD recording format, recording/ recording /mastering)
AAD: Analog recording,Analog mixing,Digital mastering；
ADD: Analog recording,Digital mixing,Digital mastering；
DDD: Digital recording,Digital mixing,Digital mastering.
For example, ADD alogue tape recorder used during session recording; digital tape recorder used during subsequent mixing ang/or editing ang during mastering (transcription).
I've heard some people complain they sound too crisp and analog originals bring some warmth. It might be true but I don't mind it, whereas a bad ADD/AAD recording would be intolerable especially if hissing/noise annoys you.
Which is "better" -- assuming the most important part, the performance, is worthwhile -- depends much more on the skill and artistry of the people doing the recording, mixing, mastering, and preparation than it depends upon whether or not things were done in the analogue domain, the digital, or partly in both.
I think SACD can sound excellent, depending on your playback equipment. Especially for 5.1 surround audio it is a great format.
If, for whatever reason, the recording engineer decide

s to record in DSD (SACD) format, it makes sense to put the same format on the consumer disc, instead of converting to pcm for DVD-A.