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Index: D

Darwin Streaming Media Server: 5.2.3. QuickTime
DAT (digital audio tape) machines: 3.1.6. DAT recorders
field recording: 3.2.2. Field recording
lavaliere clip-on microphones: 3.1.1.4. Lavaliere clip-on microphones
live concerts: 3.2.2.1. Live concerts and events
databases
CDDB: 8.4.1.1. Working with the CDDB
8.4.2.5. CDDB database support
tracking RealAudio content: 6.4.6. Database management and tracking of RealAudio content
DC offset: 6.3. Professional webcasting
DCR files: 9.3.1. Using Shockwave "internal" sounds: embedded cast members versus streamed SWA sounds
de-essing: 4.1.3.3. Equalization
4.3.4.1. Removing sibilance
dead space: 4.1.2. Avoiding gaps between edited sections
decompression: 5.1.1. Lossy compression
delay: 4. Optimizing Your Sound Files
4.2.2. Delay
reverberation: 2.1.5. Reverberation and delay
destructive editing: 4.2. Digital effects
Diamond Multimedia: 8.7.1. Is MP3 legal?
8.8. MP3 resources
8.8. MP3 resources
diatonic scale: 4.2.4. Bender
DigArtz, MIDI files created by: 10.2.2. Add a bit of spice to your site
digital audio: 2.2. Digital audio demystified
encoding standards: 2.2. Digital audio demystified
digital distortion: 4.3.1. Normalization: maximizing the dynamic range
digital effects: 4. Optimizing Your Sound Files
4.2. Digital effects
backwards: 4.2.5. Backwards
bender: 4.2.4. Bender
delay: 4.2.2. Delay
pitch shift: 4.2.3. Pitch shift
reverberation: 4.2.1. Reverb
Digital Signal Processor (see DSP)
Digital Unix v3.2: 6.3.3.2. RealServer system requirements
digitized waveforms: 2.2. Digital audio demystified
Direct X plug-in (AnalogX), correcting DC offset: 6.3. Professional webcasting
directionality, microphones: 3.1.1.5. Directionality and pick-up patterns
DirectMusic: 10.3. Creating your own MIDI files
Director: 9.3. Introduction to Shockwave
compression: 9.3.1. Using Shockwave "internal" sounds: embedded cast members versus streamed SWA sounds
cue points: 9.3.1. Using Shockwave "internal" sounds: embedded cast members versus streamed SWA sounds
embedded audio: 9.3.1. Using Shockwave "internal" sounds: embedded cast members versus streamed SWA sounds
streaming audio: 9.3.3. Shockwave streaming audio
Director Shockwave: 5.2. Streaming media formats
5.2.4. Flash and Director Shockwave
9.2. Introduction to Flash
disk optimization: 3.1.2. Microphone pre-amps
disk space: 6.2.3. HTTP streaming tutorial
distortion
analog versus digital: 3.2. Recording techniques
4.3.1. Normalization: maximizing the dynamic range
harmonic: 6.3. Professional webcasting
DLS (downloadable sounds): 10.1.1. Advantages to using the MIDI format
10.3. Creating your own MIDI files
10.3.4.2. Adding notes without using a keyboard
Dolby compression: 6.1.1. RealEncoder and RealPublisher
Dolby Digital AC-3: 8.8. MP3 resources
DolbyNet Codec: 6.3.1. Selecting the right RealAudio codecs
Dreamweaver: 5.2.5. Beatnik's Rich Music Format (RMF)
7. Designing Multimedia Presentations with SMIL and RealSystem G2
11.1. New possibilities for interactive sound
Beatnik ActionSets, use with: 11.2.2. Beatnik Audio Engine
drums: 10.3. Creating your own MIDI files
10.3.4.1. Creating your own MIDI file
dry signals, capturing: 3.2.1.1. Proper room acoustics: capturing a "dry" signal
dry sounds: 2.1.5. Reverberation and delay
DSP (Digital Signal Processor): 10.1.1. Advantages to using the MIDI format
DSP/Effects plug-ins: 8.3.5. Plug-ins
DVD: 8.4.3.1. Selecting tracks
dynamic microphones: 3.1.1.2. Dynamic microphones
dynamic range: 2.1.1. Loudness
4.3.1. Normalization: maximizing the dynamic range


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