「acoustic」の検索結果

Expert-level acoustics knowledge. Use when working with sound waves, acoustic propagation, resonance, standing waves, Doppler effect, room acoustics, ultrasound, noise control, musical acoustics, or architectural acoustics. Also use when the user mentions 'sound wave', 'decibel', 'frequency', 'resonance', 'standing wave', 'Doppler effect', 'acoustic impedance', 'reverberation', 'ultrasound', 'noise control', 'harmonics', or 'sound intensity'.

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Design an acoustic levitation system that uses standing waves to trap and suspend small objects at pressure nodes. Covers ultrasonic transducer selection, standing wave formation between a transducer and reflector, node spacing and trapping position calculation, acoustic radiation pressure analysis, and phased array configurations for multi-axis manipulation. Use when designing contactless sample handling for chemistry, biology, materials science, or demonstration purposes.

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Use when a task needs the judgment of an Acoustical Engineer — calculating room reverberation time (RT60) and specifying absorption/reflection treatment for a space, evaluating a wall or floor assembly's STC/IIC rating against a code or design target, diagnosing why a completed space fails its acoustic design intent, specifying industrial or mechanical equipment noise controls against OSHA/NIOSH exposure limits, or writing an acoustic design report or noise-control specification for a construction or renovation project.

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Select and use Audio Toolbox acoustic, psychoacoustic, and speech quality metrics. Use when computing loudness, sharpness, roughness, fluctuation strength, noise criteria (NC/RNC/RC), speech transmission index (STI), speech intelligibility index (SII), speech quality (ViSQOL, STOI), SPL, reverberation time (RT60), tone-to-noise ratio, or prominence ratio. Also use when asked about PESQ, POLQA, calibration factor, EBU R 128, LUFS, HVAC noise, background noise evaluation, or how to measure audio quality or noise compliance. Covers calibration, standard selection, signal alignment, and the complete function inventory including what does NOT exist.

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Think and work like an expert Acoustics Physicist. Use when a task calls for Acoustics Physicist judgment. Reasons from impedance Z=p/u, Helmholtz number kL regime, and the sonar equation SL-TL-NL+DI+PG through impedance tubes (ISO 10534), anechoic and reverberation rooms, laser vibrometry, and k-Wave/COMSOL simulation while treating edge diffraction inflating absorption above one, near-field versus far-field confusion, flanking and multipath paths, and amplifier clipping mistaken for nonlinearity as first-class failure modes.

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Think and work like an expert Acoustical Engineer. Use when a task calls for Acoustical Engineer judgment. Reasons from source-path-receiver control, logarithmic decibel levels, and mass-law transmission loss through IEC 61672 Class 1 metering, ISO 9613-2 propagation, SEA/FEM/BEM simulation, and ISO 9612 occupational surveys while treating flanking paths, coincidence dips, tonality penalties, and background-correction errors as first-class failure modes.

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Evaluate and compare levitation mechanisms for a given application through a structured trade study. Covers magnetic (passive diamagnetic, active feedback, superconducting), acoustic (standing wave, phased array), aerodynamic (hovercraft, air bearings, Coanda effect), and electrostatic (Coulomb suspension, ion traps) mechanisms. Use when selecting the most appropriate levitation approach for transport, sample handling, display, bearings, or precision measurement applications.

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Acoustic guitar practice strategies, fingerpicking, strumming, and progress tracking.

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Simulate wave propagation — acoustic, electromagnetic, elastic, and quantum waves. FDTD, spectral methods, and absorbing boundary conditions for 1D/2D/3D wave equations with sources, scattering, and dispersion.

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Access research-grade sensor data using SensorKit for approved studies. Use when an app needs SensorKit entitlement setup, Research Sensor & Usage Data authorization, ambient light, recorded motion, device usage, keyboard metrics, visits, speech, face, wrist temperature, ECG, PPG, acoustic settings, or sleep-session data. Route ordinary motion to CoreMotion and health records/workouts to HealthKit.

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Operate ASRT SpeechRecognition Chinese ASR data, acoustic models, pinyin language model, and serving clients.

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Think and work like an expert Mammalogist. Use when a task calls for Mammalogist judgment. Reasons from mammalian life history and detectability-limited sampling through ASM MDD taxonomy, Sherman/camera-trap/SCR survey design, occupancy and SECR models, bat acoustic validation, and museum voucher discipline while treating trap heterogeneity, camera autocorrelation, closure violation, and WNS decontamination gaps as first-class failure modes.

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Use NVIDIA Maxine / NVIDIA AI for Media audio effects for speech cleanup and enhancement in live or offline media pipelines, including Background Noise Removal, denoise+dereverb, room echo removal, acoustic echo cancellation, audio super-resolution, Studio Voice, Speaker Focus, and Voice Font. Use when selecting, integrating, prompting around, QAing, or privacy-reviewing NVIDIA AFX SDK or BNR NIM workflows for conferencing, broadcast, podcast, avatar, ad, social, and video post-production audio.

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音乐制作 / 混音 (音乐制作 / 混音 (Music Production & Mixing) — 录音棚与卧室工作室里把一首歌从编曲/录音/编程做到混音/母带成品的工程+艺术认知操作系统，面向制作人(producer)、混音师(mixing engineer)、母带工程师(mastering engineer)、beatmaker、唱作人/bedroom producer，以及想入行/服务这行(录音棚、plugin 厂商、sample 公司)的视角。覆盖: (a) 第一性张力 — **服务歌曲/情绪 (serve the song / emotion-first: 技术只为打动人，'if it sounds good it is good'，用耳朵不用眼睛) ⇄ 技术正确/工程纪律 (technical correctness: gain staging 增益结构、headroom 余量、相位 phase、监听校准、LUFS 响度规范)**; **黄金耳朵/直觉混音 (mix by ears, reference-driven, 不看分析仪) ⇄ 看表/分析仪/规则 (mix by metrics: EQ 曲线、频谱仪 spectrum analyzer、相关计 correlation meter)**; **少即是多/减法混音 (subtractive, 'less is more', 录好源头 = 混音成功一半) ⇄ 重度处理/'we'll fix it in the mix' (heavy processing, 后期补救)**; **In-the-box 全数字 (ITB: DAW + 插件，召回方便，bedroom 可达专业) ⇄ 模拟硬件/outboard (analog console + 硬件，'mojo'/谐波染色 vs 召回噩梦)**; **人性化/groove/不完美 (humanize, push/pull, 'the feel') ⇄ 量化/网格/修音 (quantize to grid, pitch-correct, 'in the pocket' 靠编辑)**; (b) 核心工作流 / pipeline (最标准、最易蒸高质量+CLI 化) — 编曲制作 arrangement/production → 录音/编程 tracking/programming → 编辑 editing (comping 选段/quantize/pitch-correct/time-align) → 混音 mixing (gain staging → balance 平衡 → EQ → compression → 空间 reverb/delay → 自动化 automation → 总线/母线处理 bus/mix-bus) → 母带 mastering (响度/EQ/限制 limiting/dither/排序+间隔) → 交付 delivery (DDP/streaming spec/stems); (c) 工具栈 — DAW (Pro Tools 录音棚标准/Ableton Live 电子+现场/Logic Pro Mac 性价比/FL Studio beatmaker/Cubase/Studio One/Reaper); 插件 (EQ: FabFilter Pro-Q/SSL/API; 压缩: 1176/LA-2A/SSL bus comp 及其复刻 Waves/UAD/Plugin Alliance; 混响: Valhalla/Lexicon/Bricasti; 调音: Auto-Tune/Melodyne; 限制器 limiter: Pro-L 2/Ozone); 硬件 (监听音箱 monitors: Yamaha NS-10/Genelec; 声学处理 acoustic treatment; 转换器 converters: Apollo/RME; 话筒 mics: U47/SM7B/57); 采样/音色 (Splice/sample packs/Kontakt/Serum 合成器); (d) 知识正典 — Mixing Secrets for the Small Studio (Mike Senior)、The Mixing Engineer's Handbook / Recording Engineer's Handbook (Bobby Owsinski)、Zen and the Art of Mixing (Mixerman)、The Art of Mixing (David Gibson 可视化)、Modern Recording Techniques、Sound on Sound 杂志、Mix With The Masters 大师课、Pensado's Place; (e) figures/流派 — 混音大师 (Chris Lord-Alge CLA 摇滚/Andrew Scheps 'Stadium' 3-bus/Tony Maserati/Manny Marroquin/Serban Ghenea 流行隐形混音/Michael Brauer multing); 制作人 (Rick Rubin 减法/氛围、Quincy Jones、Dr. Dre 完美主义、Max Martin 流行结构、Jack Antonoff、Finneas bedroom→Grammy、Metro Boomin/trap、Timbaland、Pharrell); 母带 (Bob Katz K-system/响度战争批判、Bob Ludwig、Greg Calbi); 教育者 (Mike Senior、Pensado、Warren Huart Produce Like A Pro、Dan Worrall 技术深挖); (f) 行业话术/黑话 — gain staging/headroom/LUFS/true peak/comping/bouncing/printing/stems/DI/reamp/sidechain/parallel compression 并行压缩/mid-side/bus/aux/send-return/dry-wet/transient/sibilance/de-ess/pumping/mud 浑浊/harsh 刺耳/boxy/muddy/in the pocket/the pocket/quantize/swing/groove/vibe/mojo/reference track/A/B/recall/print/glue 胶水; (g) 争议/批判 — 响度战争 loudness war (Bob Katz/Loudness Penalty/streaming 归一化 LUFS 终结了吗)、修音/Auto-Tune 之争 (artistic vs cheating)、ITB vs 模拟玄学 (硬件 'warmth' 是否安慰剂、null test 盲测)、preset/AI 混音 (iZotope/LANDR/sample-based 是否毁了 craft)、bedroom producer 民主化 vs 录音棚消亡、'loudness'/over-compression、plugin 复刻 vs 真硬件、Spotify normalization 对母带的影响、过度依赖 reference/抄袭; (h) 创意 vs 技术张力是本行业 deep tacit 知识的核心 — 大量隐性 '听感' 知识难以言传，靠 reference/学徒/千小时积累。不含: 现场扩声 live sound/PA、音乐理论/作曲 composition (虽相关但聚焦录音棚后期制作)、配乐/film scoring (虽相关但聚焦歌曲制作)、纯硬件电子工程/合成器 DIY、音乐商业/版权/发行 (虽相关但聚焦制作技艺本身)。) Master OS — automated mastery of 音乐制作 / 混音 (Music Production & Mixing) — 录音棚与卧室工作室里把一首歌从编曲/录音/编程做到混音/母带成品的工程+艺术认知操作系统，面向制作人(producer)、混音师(mixing engineer)、母带工程师(mastering engineer)、beatmaker、唱作人/bedroom producer，以及想入行/服务这行(录音棚、plugin 厂商、sample 公司)的视角。覆盖: (a) 第一性张力 — **服务歌曲/情绪 (serve the song / emotion-first: 技术只为打动人，'if it sounds good it is good'，用耳朵不用眼睛) ⇄ 技术正确/工程纪律 (technical correctness: gain staging 增益结构、headroom 余量、相位 phase、监听校准、LUFS 响度规范)**; **黄金耳朵/直觉混音 (mix by ears, reference-driven, 不看分析仪) ⇄ 看表/分析仪/规则 (mix by metrics: EQ 曲线、频谱仪 spectrum analyzer、相关计 correlation meter)**; **少即是多/减法混音 (subtractive, 'less is more', 录好源头 = 混音成功一半) ⇄ 重度处理/'we'll fix it i

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Sound systems of human language -- phoneme inventories, the International Phonetic Alphabet, articulatory and acoustic phonetics, phonological rules, suprasegmental features (stress, tone, intonation), and ear training for non-native sound perception. Covers place and manner of articulation, voicing contrasts, vowel space, minimal pair analysis, allophonic variation, phonotactic constraints, connected speech phenomena (assimilation, elision, liaison), and prosody across language families. Use when analyzing pronunciation, teaching sound systems, performing phonemic transcription, or diagnosing intelligibility problems in any language.

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Use when a task needs the judgment of an audiovisual equipment installer/repairer — diagnosing an EDID or HDCP handshake failure between a source and a display, sizing a display's screen size and brightness for a room's viewing distance and ambient light, specifying an HDMI/HDBaseT/AVoIP signal run against its rated distance ceiling, designing conference-room speaker placement and acoustics, or drawing the install-vs-programming boundary with a control-system (Crestron/Extron/AMX) integrator.

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Audio engineer v2 — recording, mixing, mastering, podcast, sound design, acoustics

日本語の概要は準備中です。原文の説明を表示しています。