The phrase "audio dimension" is grammatically correct and can be used in written English to describe the acoustic qualities of a sound.
It is often used in the field of music or audio engineering to describe the depth, width, and overall presence of a sound. Example: The live performance of his song was enhanced by the addition of a new audio dimension, with rich bass and crisp vocals that filled the entire room.
Once radio broadcasting had been established, the next technological innovation television added the crucial visual to the existing audio dimension of live sports spectatorship.
Moreover, Claret has cleverly incorporated what he is well known for — chiming watches — into the gambling features to add the audio dimension.
In our previous examples, unexpected concord occurred only in the audio dimension, though by utilizing both harmonic and melodic elements, and combining the pitch, texture and other elements of the music, composers were able to shape and intensify the experience of unexpected concord.
Even if not statistically significant, the impact of the conversational scenario on the audiovisual quality will cause a higher apparent correlation of the audio dimension to the audiovisual one for the SCT scenario and a higher correlation for the video one for the BB scenario.
In our installation, we wanted to enlist the participant and his actions as a way to create unexpected concord in both the visual and audio dimensions.
The results appear to follow cognitive dissonance theory as subjects attempted to make mismatched expressions consistent on both the visual and audio dimensions of animations, resulting in confused perceptions of the emotional expressions.
As described above, the main difficulty of applying Zernike moment to audio is the dimension mismatching.
I had a project called Dimension Audio and did installations and custom projects at theme parks and one-offs for Las Vegas and Universal Studios and private clients.
Audiovisual quality is thus generally described as a combination of two dimensions (audio and video qualities) leading to the following integration model: MOS AV = α MOS A + β MOS V + γ MOS A · MOS V + ζ, (1).
The first one (called REF) is trained with a "generic feature set" and contains features taken from the Mpeg-7 audio standards; it has dimensions varying from 1 to 100 (details in [61]).
The volume between two functions is given by D ij = ∫ 1 5 ∫ 1 5 f i ( x, y ) − f j ( x, y ) d x d y (2) = 16 ( 3 α ij + 3 β ij + 9 γ ij + ζ ij ), (3) with D ij being the volume between the functions f i and f j, c ij =c i −c j with c∈, and x and y being the variables of the audio and video quality dimensions, respectively.
