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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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