{"id":204,"date":"2012-11-16T11:57:48","date_gmt":"2012-11-16T09:57:48","guid":{"rendered":"http:\/\/blog.ufukonen.com\/?p=204"},"modified":"2013-03-23T22:08:15","modified_gmt":"2013-03-23T20:08:15","slug":"formant-frekanslar-ve-pitch-shifting","status":"publish","type":"post","link":"https:\/\/www.ufukonen.com\/tr\/formant-frekanslar-ve-pitch-shifting.html","title":{"rendered":"Formant Frekanslar ve Pitch Shifting"},"content":{"rendered":"

Fonetik ve Formant Frekanslar<\/b><\/p>\n

‘Formant’, 1900’lerin ba\u015f\u0131nda Latince’den Almanca’ya ve daha sonra da \u0130ngilizce’ye al\u0131nm\u0131\u015f, ‘bi\u00e7imlendirici’ anlam\u0131na gelen bir terimdir. Ses bilgisi (fonetik), formant kelimesini \u00fcnl\u00fc (sesli) harflerin fonetik \u00f6zelli\u011fini belirleyen ve bi\u00e7imlendiren frekanslar olarak tan\u0131mlar. En alt formant frekans\u0131 f1 olarak etiketlendirilir. \u00dcnl\u00fc harflerin formant frekans say\u0131s\u0131 d\u00f6rt ile alt\u0131 aras\u0131nda de\u011fi\u015fir ama bir \u00fcnl\u00fc harfin anla\u015f\u0131labilir olmas\u0131 i\u00e7in \u00fc\u00e7 formant frekans (F1, F2 ve F3) yeterlidir. Bildi\u011fimiz gibi T\u00fcrk\u00e7ede sekiz adet \u00fcnl\u00fc harf vard\u0131r: a, e, \u0131, i, o, \u00f6, u ve \u00fc. Bunlar\u0131n ilk \u00fc\u00e7 format frekanslar\u0131 (F1, F2 ve F3) yaz\u0131n\u0131n sonunda verilen tablodaki gibidir.<\/p>\n

Tabloda verilen frekanslar yakla\u015f\u0131k de\u011ferlerdir. Dikkatlice bak\u0131ld\u0131\u011f\u0131nda t\u00fcm \u00fcnl\u00fc harflerin ilk \u00fc\u00e7 formant frekanslar\u0131n\u0131n 300 Hz – 3 kHz aras\u0131nda oldu\u011fu g\u00f6r\u00fclecektir. Yukar\u0131da da belirtti\u011fim gibi bir \u00fcnl\u00fc harfin anla\u015f\u0131labilir olmas\u0131 i\u00e7in ilk \u00fc\u00e7 formant frekans\u0131 yeterlidir. Telefon hatlar\u0131n\u0131n frekans aral\u0131\u011f\u0131n\u0131n dar olmas\u0131, iletilen sesin kaliteli olmamas\u0131 ancak konu\u015fmalar\u0131n rahatl\u0131kla anla\u015f\u0131labilmesinin sebebi de budur. Telefon hatlar\u0131n\u0131n frekans aral\u0131\u011f\u0131 300 Hz – 3.5 kHz’dir, bu da t\u00fcm \u00fcnl\u00fc harflerin ilk \u00fc\u00e7 formant frekans\u0131n\u0131 kapsamaktad\u0131r.<\/p>\n

\"Spektogram_Goruntusu\"

Spektogram g\u00f6r\u00fcnt\u00fcs\u00fc.<\/p><\/div>\n

 <\/p>\n

\"Formant

Formant frekanslar spektogram ile g\u00f6r\u00fcnt\u00fclenebilir.<\/p><\/div>\n

 <\/p>\n

Formant Frekanslar ve Akustik Rezonans<\/b><\/p>\n

Formant frekanslar\u0131n ses ile ilgisi burada bitmiyor. Di\u011fer bir deyi\u015fle formant frekanslar sadece fonetik ile ilgili de\u011fil… \u0130\u015fin bir de akustik rezonans y\u00f6n\u00fc var. Dil, a\u011f\u0131z yap\u0131s\u0131 ve sin\u00fcslere ba\u011fl\u0131 olarak her insanda farkl\u0131 formantlar, di\u011fer bir deyi\u015fle sabit rezonans noktalar\u0131 bulunur. Bunlar insan\u0131n sesinin karakteristi\u011fini belirler. Konu\u015furken veya \u015fark\u0131 s\u00f6ylerken, hangi sesi veya hangi notay\u0131 \u00e7\u0131kart\u0131rsak \u00e7\u0131kartal\u0131m bu rezonans noktalar\u0131 de\u011fi\u015fmez. Di\u011fer bir deyi\u015fle bu rezonans noktalar\u0131n\u0131n frekanslar\u0131, \u00e7\u0131kartt\u0131\u011f\u0131m\u0131z seslerin frekanslar\u0131ndan tamamen ba\u011f\u0131ms\u0131zd\u0131r.<\/p>\n

Formant sadece insan sesleri i\u00e7in ge\u00e7erli bir kavram de\u011fildir; enstr\u00fcmanlarda da sabit rezonans noktalar\u0131 bulunur. T\u0131pk\u0131 insan sesinde oldu\u011fu gibi, bu sabit rezonans noktalar\u0131, formantlar, enstr\u00fcman\u0131n ses karakteristi\u011fini belirler. \u00d6rnek olarak bir akustik gitarda hangi notay\u0131 \u00e7alarsan\u0131z \u00e7al\u0131n, gitar\u0131n g\u00f6vde rezonans\u0131 de\u011fi\u015fmez, sabittir. \u00c7al\u0131nan notalar\u0131n frekanslar\u0131 ile g\u00f6vde rezonans\u0131ndaki frekanslar birbirlerinden ba\u011f\u0131ms\u0131zd\u0131r.<\/p>\n

 <\/p>\n

Pitch Shifting<\/b><\/p>\n

Ses teknolojisi a\u00e7\u0131s\u0131ndan formantlar\u0131n \u00f6nemi ‘pitch shifting’ ve ‘sampling’ i\u015flemleri s\u0131ras\u0131nda kar\u015f\u0131m\u0131za \u00e7\u0131k\u0131yor. Pitch shifting, bir sesin perdesini (pitch) de\u011fi\u015ftiren, kayd\u0131ran (transpoze eden), i\u015fleme verilen isimdir. Bu i\u015flemi yapan cihaza ‘pitch shifter’ ad\u0131 verilir. ‘Sampling’ ise, art\u0131k g\u00fcn\u00fcm\u00fczde m\u00fczik teknolojisi ile u\u011fra\u015fan herkesi bildi\u011fi \u00fczere, \u00f6rnekleme i\u015flemidir. Standart bir pitch shifter \u00fczerinde iki ana parametre bulunur: ‘Amount’ ve ‘Fine Tuning’. Amount parametresi sesin perdesinin al\u00e7alt\u0131lmas\u0131 (a\u015fa\u011f\u0131ya kayd\u0131r\u0131lmas\u0131n\u0131) veya y\u00fckseltilmesini (yukar\u0131ya kayd\u0131r\u0131lmas\u0131n\u0131) kontrol eder. Birim olarak yar\u0131m m\u00fczikal ses (semitone) kullan\u0131l\u0131r. \u00d6rnek olarak +1 de\u011feri, sesin perdesini yar\u0131m ses, +2 de\u011feri ise iki yar\u0131m (di\u011fer bir de\u015fi\u015fle bir tam ses) y\u00fckseltir. Bir ba\u015fka \u00f6rnek olarak, -12 de\u011feri, sesin perdesini 12 yar\u0131m ses (bir oktav) d\u00fc\u015f\u00fcr\u00fcr. Fine Tuning parametresi ince ayar i\u00e7in kullan\u0131l\u0131r. Bu parametre yar\u0131m m\u00fczikal sesi 100 e\u015fit par\u00e7aya b\u00f6ler. Her bir par\u00e7a ‘cent’ olarak adland\u0131r\u0131l\u0131r.<\/p>\n

 <\/p>\n

Sampling<\/b><\/p>\n

Standart bir sampler, bir bak\u0131ma pitch shifter mant\u0131\u011f\u0131 ile \u00e7al\u0131\u015f\u0131r. \u00d6rnek olarak herhangi bir enstr\u00fcmandan sampler’a “do” notas\u0131 kaydettiniz ve bunu da klavyede \u00fc\u00e7\u00fcnc\u00fc oktavda “do” notas\u0131na kar\u015f\u0131l\u0131k gelecek \u015fekilde atad\u0131n\u0131z (‘assign’ ettiniz). Klavyede, \u00fc\u00e7\u00fcnc\u00fc oktavdaki “do” notas\u0131na bast\u0131\u011f\u0131n\u0131zda sampler kaydedilmi\u015f sesi \u00e7alar. E\u011fer t\u00fcm klavyeye tek bir \u00f6rnek (sample) da\u011f\u0131t\u0131lm\u0131\u015fsa bu durumda, \u00f6rnek olarak \u00fc\u00e7\u00fcnc\u00fc oktavda “re” notas\u0131na bast\u0131\u011f\u0131n\u0131zda, sampler, kaydedilmi\u015f \u00f6rne\u011fi iki yar\u0131m ses (bir tam ses) y\u00fckseltip \u00e7alar. Analog bantlar\u0131 h\u0131zland\u0131rd\u0131\u011f\u0131n\u0131zda sesin perdesi (pitch) y\u00fckselir, yava\u015flatt\u0131\u011f\u0131n\u0131zda ise d\u00fc\u015fer. Ayn\u0131 \u015fekilde pitch shifter ya da sampler \u00fczerinde sesin notas\u0131n\u0131, di\u011fer bir deyi\u015fle perdesini, y\u00fckseltti\u011finizde sesin s\u00fcresi k\u0131sal\u0131r; e\u011fer sesin perdesini d\u00fc\u015f\u00fcr\u00fcrseniz sesin s\u00fcresi uzar, ses “yava\u015flar”. Normal bir \u015fekilde okunmu\u015f bir c\u00fcmle, sampler \u00fczerinde bu \u015fekilde bir oktav a\u015fa\u011f\u0131dan okutuldu\u011funda canavar sesine, 7-8 yar\u0131m ses yukar\u0131dan okutuldu\u011funda ise bir \u00e7izgi film kahraman\u0131n\u0131n sesine d\u00f6n\u00fc\u015febilir.<\/p>\n

\"Waves

Waves Tune<\/p><\/div>\n

 <\/p>\n

Pitch Shifting ve Formant Frekanslar<\/b><\/p>\n

G\u00fcn\u00fcm\u00fczde kullan\u0131lan hemen hemen t\u00fcm pitch shifter’lar\u0131n \u00fczerinde ‘time correction’ (s\u00fcre d\u00fczeltme) se\u00e7ene\u011fi bulunur. Bu pitch shifter’lar sesin perdesini al\u00e7alt\u0131r veya y\u00fckseltirken sesin orijinal s\u00fcresini korur; s\u00fcre olarak uzama veya k\u0131salma olmaz. Sesin perdesini de\u011fi\u015ftirirken sadece s\u00fcresini korumak sonucun do\u011fal olmas\u0131n\u0131 sa\u011flamaz. Bunun sebebi ise formantlar, sesin karakteristi\u011fini olu\u015fturan sabit rezonans noktalar\u0131d\u0131r. \u0130nsan sesinde veya akustik bir enstr\u00fcmanda nota de\u011fi\u015ftirildi\u011finde formantlar sabit kal\u0131r. Pitch shifter ile dijital olarak nota kayd\u0131r\u0131ld\u0131\u011f\u0131nda, notan\u0131n perdesi ile birlikte formantlar da, di\u011fer bir deyi\u015fle sabit kalmas\u0131 gereken rezonans frekanslar\u0131 da, kayd\u0131r\u0131l\u0131r. \u00d6rnek olarak bir erkek sesi, bir \u00e7izgi film karakterinin sesine d\u00f6n\u00fc\u015febilir. Bu sebepten dolay\u0131 insan sesinde bir veya iki yar\u0131m ses, enstr\u00fcmanlar da ise en fazla bir ka\u00e7 tam sesten fazla yap\u0131lan perde kayd\u0131rmalar\u0131nda sonu\u00e7 do\u011fall\u0131ktan uzakla\u015f\u0131r. Yap\u0131lan k\u00fc\u00e7\u00fck de\u011fi\u015fiklikler, her ne kadar sonu\u00e7 kula\u011fa fazla yapay gelmese de, yine de sesin veya enstr\u00fcman\u0131n karakteristi\u011fini de\u011fi\u015ftirir.<\/p>\n

 <\/p>\n

Formant Corrected Pitch Shifter<\/b><\/p>\n

Bu problemin \u00fcstesinden gelebilmek i\u00e7in formantlar\u0131 tespit edip, modelleme yaparak bu formantlar\u0131 koruyan ve sesin perdesini de\u011fi\u015ftiren cihaz ve plug-in’lere ‘formant corrected’ pitch shifter ad\u0131 verilmektedir. Bu, asl\u0131nda \u00e7ok \u00f6zel bir cihaz ya da plug-in de\u011fil. En az\u0131ndan art\u0131k de\u011fil. Vokal kay\u0131tlar\u0131n\u0131n d\u00fczeltilmesinde kullan\u0131lan ve g\u00fcn\u00fcm\u00fczde standart haline gelen Antares Auto Tune, Celemony Melodyne, Waves Tune gibi programlar\u0131n tamam\u0131nda ‘formant correction’ \u00f6zelli\u011fi bulunuyor.<\/p>\n

\"Antares

Antares Auto Tune<\/p><\/div>\n

 <\/p>\n

Tablo: \u00dcnl\u00fc harfler ve ilk \u00fc\u00e7 formant frekanslar\u0131\u00a0<\/strong><\/p>\n\n\n\n\n\n\n\n\n\n\n\n
\n

\u00dcnl\u00fc Harf<\/p>\n<\/td>\n

\n

F1<\/p>\n<\/td>\n

\n

F2<\/p>\n<\/td>\n

\n

F3<\/p>\n<\/td>\n<\/tr>\n

\n

a<\/p>\n<\/td>\n

\n

600 Hz<\/p>\n<\/td>\n

\n

1300 Hz<\/p>\n<\/td>\n

\n

2700 Hz<\/p>\n<\/td>\n<\/tr>\n

\n

e<\/p>\n<\/td>\n

\n

500 Hz<\/p>\n<\/td>\n

\n

1800 Hz<\/p>\n<\/td>\n

\n

2600 Hz<\/p>\n<\/td>\n<\/tr>\n

\n

\u0131<\/p>\n<\/td>\n

\n

500 Hz<\/p>\n<\/td>\n

\n

1500 Hz<\/p>\n<\/td>\n

\n

2700 Hz<\/p>\n<\/td>\n<\/tr>\n

\n

i<\/p>\n<\/td>\n

\n

300 Hz<\/p>\n<\/td>\n

\n

2100 Hz<\/p>\n<\/td>\n

\n

3000 Hz<\/p>\n<\/td>\n<\/tr>\n

\n

o<\/p>\n<\/td>\n

\n

500 Hz<\/p>\n<\/td>\n

\n

1000 Hz<\/p>\n<\/td>\n

\n

2700 Hz<\/p>\n<\/td>\n<\/tr>\n

\n

\u00f6<\/p>\n<\/td>\n

\n

500 Hz<\/p>\n<\/td>\n

\n

1500 Hz<\/p>\n<\/td>\n

\n

2500 Hz<\/p>\n<\/td>\n<\/tr>\n

\n

u<\/p>\n<\/td>\n

\n

300 Hz<\/p>\n<\/td>\n

\n

900 Hz<\/p>\n<\/td>\n

\n

2400 Hz<\/p>\n<\/td>\n<\/tr>\n

\n

\u00fc<\/p>\n<\/td>\n

\n

400 Hz<\/p>\n<\/td>\n

\n

1600 Hz<\/p>\n<\/td>\n

\n

2300 Hz<\/p>\n<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

 <\/p>\n

\"@UfukOnen<\/a><\/p>\n

Ses ve m\u00fczik teknolojileri, m\u00fczik prod\u00fcksiyonu, ses tasar\u0131m\u0131 ve benzeri alanlar ile ilgili haberler, d\u00fc\u015f\u00fcnceler ve payla\u015f\u0131mlar i\u00e7in beni Twitter\u2019da takip edebilirsiniz: https:\/\/twitter.com\/UfukOnen<\/a><\/p>\n

 <\/p>\n

\"Sound_2012_07_Temmuz\"<\/a><\/em><\/p>\n

Bu yaz\u0131 Sound dergisinin Temmuz 2012 say\u0131s\u0131nda yay\u0131nlanm\u0131\u015ft\u0131r. \u00a9 2012 Ufuk \u00d6nen. Bu yaz\u0131n\u0131n t\u00fcm haklar\u0131 sakl\u0131d\u0131r. \u0130zinsiz olarak kullan\u0131lamaz, kaynak g\u00f6sterilmeden ve link verilmeden al\u0131nt\u0131 yap\u0131lamaz.<\/p>\n

 <\/p>\n

 <\/p>\n

<\/div>\n","protected":false},"excerpt":{"rendered":"

Fonetik ve Formant Frekanslar ‘Formant’, 1900’lerin ba\u015f\u0131nda Latince’den Almanca’ya ve daha sonra da \u0130ngilizce’ye al\u0131nm\u0131\u015f, ‘bi\u00e7imlendirici’ anlam\u0131na gelen bir terimdir….<\/p>\n","protected":false},"author":2,"featured_media":738,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_mi_skip_tracking":false,"spay_email":"","jetpack_publicize_message":"","jetpack_is_tweetstorm":false,"jetpack_publicize_feature_enabled":true},"categories":[16,19,18],"tags":[],"jetpack_featured_media_url":"https:\/\/www.ufukonen.com\/tr\/wp-content\/uploads\/Waves_Tune.jpeg","jetpack_publicize_connections":[],"jetpack_shortlink":"https:\/\/wp.me\/p3rjsG-3i","jetpack_sharing_enabled":true,"jetpack-related-posts":[{"id":5320,"url":"https:\/\/www.ufukonen.com\/tr\/2019-en-cok-okunan.html","url_meta":{"origin":204,"position":0},"title":"2019 \u0130\u00e7inde En \u00c7ok Okunan Blog Yaz\u0131lar\u0131m","date":"December 23, 2019","format":false,"excerpt":"2019'u kapat\u0131rken y\u0131l i\u00e7inde en \u00e7ok okunan blog yaz\u0131lar\u0131m\u0131 sizlerle payla\u015fmak istedim. \u0130ki liste haz\u0131rlad\u0131m: Birincisi, en \u00e7ok okunan 2019 tarihli yaz\u0131lar\u0131m; ikincisi ise \u00f6nceki y\u0131llarda (2012-2018) yay\u0131nlanm\u0131\u015f olan yaz\u0131lardan 2019 i\u00e7inde en \u00e7ok okunanlar.\u00a0Yaz\u0131lar\u0131, ba\u015fl\u0131klar\u0131n\u0131n ya da g\u00f6rsellerinin \u00fczerine t\u0131klayarak okuyabilirsiniz. En \u00c7ok Okunan 2019 Tarihli Yaz\u0131lar\u0131m 1- LKFS\u2026","rel":"","context":"In "M\u00fczik Prod\u00fcksiyonu"","img":{"alt_text":"","src":"https:\/\/i0.wp.com\/www.ufukonen.com\/tr\/wp-content\/uploads\/2019_En_Cok_Okunan_Yazilar_720_.jpg?resize=350%2C200&ssl=1","width":350,"height":200},"classes":[]},{"id":6755,"url":"https:\/\/www.ufukonen.com\/tr\/vokal-ucretsiz-pitch-correction.html","url_meta":{"origin":204,"position":1},"title":"Vokal \u0130\u00e7in \u00dccretsiz Pitch Correction Plug-in Tavsiyesi","date":"July 26, 2021","format":false,"excerpt":"Celemony Melodyne, Antares Auto-Tune, Waves Tune ve di\u011ferleri\u2026 Piyasada vokal i\u00e7in pitch correction ama\u00e7l\u0131 olarak kullanabilece\u011finiz bir\u00e7ok plug-in var. Baz\u0131lar\u0131n\u0131n fiyatlar\u0131 olduk\u00e7a y\u00fcksek. E\u011fer \u00fccretsiz bir alternatif ar\u0131yorsan\u0131z a\u015fa\u011f\u0131da payla\u015ft\u0131\u011f\u0131m iki plug-in ilginizi \u00e7ekebilir. Graillon 2 (Auburn Sounds) Graillon, vokaller i\u00e7in geli\u015ftirilmi\u015f bir pitch shift ve pitch correction plug-in'i. Kullan\u0131m\u0131\u2026","rel":"","context":"In "Ses ve M\u00fczik Teknolojileri"","img":{"alt_text":"","src":"https:\/\/i0.wp.com\/www.ufukonen.com\/tr\/wp-content\/uploads\/Vokal_Ucretsiz_Pitch_Correction_Plugin_00_Header.jpg?resize=350%2C200&ssl=1","width":350,"height":200},"classes":[]},{"id":6267,"url":"https:\/\/www.ufukonen.com\/tr\/2020-en-cok-okunan.html","url_meta":{"origin":204,"position":2},"title":"2020 \u0130\u00e7inde En \u00c7ok Okunan Blog Yaz\u0131lar\u0131m","date":"December 21, 2020","format":false,"excerpt":"2020'yi kapat\u0131rken y\u0131l i\u00e7inde en \u00e7ok okunan blog yaz\u0131lar\u0131m\u0131 sizlerle payla\u015fmak istedim. \u0130ki liste haz\u0131rlad\u0131m: Birincisi, en \u00e7ok okunan 2020 tarihli yaz\u0131lar\u0131m; ikincisi ise \u00f6nceki y\u0131llarda (2012-2019) yay\u0131nlanm\u0131\u015f olan yaz\u0131lardan 2020 i\u00e7inde en \u00e7ok okunanlar. Yaz\u0131lar\u0131, ba\u015fl\u0131klar\u0131n\u0131n ya da g\u00f6rsellerinin \u00fczerine t\u0131klayarak okuyabilirsiniz. G\u00f6stermi\u015f oldu\u011funuz ilgi i\u00e7in \u00e7ok te\u015fekk\u00fcr ederim!\u2026","rel":"","context":"In "M\u00fczik End\u00fcstrisi"","img":{"alt_text":"","src":"https:\/\/i0.wp.com\/www.ufukonen.com\/tr\/wp-content\/uploads\/2020-en-cok-okunan_720.jpg?resize=350%2C200&ssl=1","width":350,"height":200},"classes":[]},{"id":7811,"url":"https:\/\/www.ufukonen.com\/tr\/2022-en-cok-okunan-1.html","url_meta":{"origin":204,"position":3},"title":"2022 \u0130\u00e7inde En \u00c7ok Okunan Blog Yaz\u0131lar\u0131m (1. B\u00f6l\u00fcm)","date":"December 12, 2022","format":false,"excerpt":"2022\u2019yi kapat\u0131rken y\u0131l i\u00e7inde en \u00e7ok okunan blog yaz\u0131lar\u0131m\u0131 sizlerle payla\u015fmak istedim. \u0130ki liste haz\u0131rlad\u0131m: 1- \u00d6nceki y\u0131llarda (2012-2021) yay\u0131nlanm\u0131\u015f olan yaz\u0131lardan 2022 i\u00e7inde en \u00e7ok okunanlar (a\u015fa\u011f\u0131daki liste). 2- En \u00e7ok okunan 2022 tarihli yaz\u0131lar\u0131m (19 Aral\u0131k 2022 tarihinde yay\u0131na girecek). Yaz\u0131lar\u0131, ba\u015fl\u0131klar\u0131n\u0131n ya da g\u00f6rsellerinin \u00fczerine t\u0131klayarak okuyabilirsiniz.\u2026","rel":"","context":"In "Konferans"","img":{"alt_text":"","src":"https:\/\/i0.wp.com\/www.ufukonen.com\/tr\/wp-content\/uploads\/2022_En_Cok_Okunan_1_00_Header.jpg?resize=350%2C200&ssl=1","width":350,"height":200},"classes":[]},{"id":87,"url":"https:\/\/www.ufukonen.com\/tr\/monitor-sistemine-subwoofer-eklerken-nelere-dikkat-etmeliyiz.html","url_meta":{"origin":204,"position":4},"title":"Monit\u00f6r Sistemine Subwoofer Eklerken Nelere Dikkat Etmeliyiz?","date":"June 2, 2012","format":false,"excerpt":"\"Referans Monit\u00f6rleri ve Subwoofer\" ba\u015fl\u0131kl\u0131 yaz\u0131mda\u00a0monit\u00f6r sistemimize subwoofer ekleme karar\u0131 almadan \u00f6nce dikkat etmemiz gereken iki \u00f6nemli nokta oldu\u011fundan bahsetmi\u015ftim. Bunlardan birincisi, kullan\u0131lan yak\u0131n alan monit\u00f6rlerin frekans \u00fcretme aral\u0131klar\u0131yd\u0131. Kulland\u0131\u011f\u0131m\u0131z referans monit\u00f6rler bas sesleri, di\u011fer bir deyi\u015fle alt frekanslar\u0131, yeterince \u00fcretebiliyor mu, \u00fcretemiyor mu? \"Yeterince\", asl\u0131nda, dinleme seviyemize (vol\u00fcm y\u00fcksekli\u011fine)\u2026","rel":"","context":"In "Ses ve M\u00fczik Teknolojileri"","img":{"alt_text":"","src":"https:\/\/i0.wp.com\/www.ufukonen.com\/tr\/wp-content\/uploads\/JBLLSR4312SP-.jpg?resize=350%2C200&ssl=1","width":350,"height":200},"classes":[]},{"id":2787,"url":"https:\/\/www.ufukonen.com\/tr\/trainyourears-frekans-ve-eq-odakli-kulak-egitimi-programi.html","url_meta":{"origin":204,"position":5},"title":"TrainYourEars – Frekans ve EQ Odakl\u0131 Kulak E\u011fitimi Program\u0131","date":"January 30, 2017","format":false,"excerpt":"\u00a0 TrainYourEars Nedir? \u00a0 TrainYourEars EQ Edition, Mac ve PC i\u00e7in geli\u015ftirilmi\u015f bir kulak e\u011fitim program\u0131. TrainYourEars, nota \u00fczerine kurulmu\u015f m\u00fczik kulak e\u011fitimlerinden farkl\u0131 olarak EQ ve frekanslar \u00fczerine yo\u011funla\u015f\u0131yor. Lokalizasyonuna destek verdi\u011fim TrainYourEars'\u0131n hem Mac hem de Windows versiyonlar\u0131nda T\u00fcrk\u00e7e dil se\u00e7ene\u011fi\u00a0bulunuyor. TrainYourEars, se\u00e7ti\u011finiz m\u00fczik par\u00e7as\u0131na veya bir test\u2026","rel":"","context":"In "Ses ve M\u00fczik Teknolojileri"","img":{"alt_text":"","src":"https:\/\/i0.wp.com\/www.ufukonen.com\/tr\/wp-content\/uploads\/TYE2_box.png?resize=350%2C200&ssl=1","width":350,"height":200},"classes":[]}],"_links":{"self":[{"href":"https:\/\/www.ufukonen.com\/tr\/wp-json\/wp\/v2\/posts\/204"}],"collection":[{"href":"https:\/\/www.ufukonen.com\/tr\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.ufukonen.com\/tr\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.ufukonen.com\/tr\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/www.ufukonen.com\/tr\/wp-json\/wp\/v2\/comments?post=204"}],"version-history":[{"count":13,"href":"https:\/\/www.ufukonen.com\/tr\/wp-json\/wp\/v2\/posts\/204\/revisions"}],"predecessor-version":[{"id":471,"href":"https:\/\/www.ufukonen.com\/tr\/wp-json\/wp\/v2\/posts\/204\/revisions\/471"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.ufukonen.com\/tr\/wp-json\/wp\/v2\/media\/738"}],"wp:attachment":[{"href":"https:\/\/www.ufukonen.com\/tr\/wp-json\/wp\/v2\/media?parent=204"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.ufukonen.com\/tr\/wp-json\/wp\/v2\/categories?post=204"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.ufukonen.com\/tr\/wp-json\/wp\/v2\/tags?post=204"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}