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The device, successor to the MAGNETIC WIRE recorder, which since the 1940s (when it was called the sound mirror) has been the most commonly used means of storing and reproducing an AUDIO signal.
An OSCILLATION produced in an object which resonates at the same FREQUENCY, or a HARMONIC multiple thereof, as that present in a sound wave in contact with the object.
Any process that encourages a person to listen more discriminately, particularly to sounds of the environment. The term was originally used by R.M. Schafer in his book Ear Cleaning (Toronto, BMI Canada, 1967) to contrast with the traditional practice of ear training in music education which concentrates on the identification and reproduction of intervals, chords, melodies and so on.
A pre-recorded or simulated sound produced for a radio, television, film or theatrical program in order to suggest an actual sonic environment. The design of such sounds (often abbreviated as SFX), particularly when a complex acoustic environment is to be simulated, involves a thorough understanding of the structure of such a SOUNDSCAPE; that is, what sounds are representative and most significant, as well as which are necessary to create a given AMBIENCE and sense of ACOUSTIC SPACE.