Dynamic range in the context of "Decibel"

An analog signal (American English) or analogue signal (British and Commonwealth English) is any signal, typically a continuous-time signal, representing some other quantity, i.e., analogous to another quantity. For example, in an analog audio signal, the instantaneous signal voltage varies in a manner analogous to the pressure of the sound waves.

In contrast, a digital signal represents the original time-varying quantity as a sampled sequence of quantized numeric values, typically but not necessarily in the form of a binary value. Digital sampling imposes some bandwidth and dynamic range constraints on the representation and adds quantization noise.

Contrast is the difference in luminance or color that makes an object (or its representation in an image or display) visible against a background of different luminance or color. The human visual system is more sensitive to contrast than to absolute luminance; thus, we can perceive the world similarly despite significant changes in illumination throughout the day or across different locations.

The maximum contrast of an image is termed the contrast ratio or dynamic range. In images where the contrast ratio approaches the maximum possible for the medium, there is a conservation of contrast. In such cases, increasing contrast in certain parts of the image will necessarily result in a decrease in contrast elsewhere. Brightening an image increases contrast in darker areas but decreases it in brighter areas; conversely, darkening the image will have the opposite effect. Bleach bypass reduces contrast in the darkest and brightest parts of an image while enhancing luminance contrast in areas of intermediate brightness.

In digital audio using pulse-code modulation (PCM), bit depth is the number of bits of information in each sample, and it directly corresponds to the resolution of each sample. Examples of bit depth include Compact Disc Digital Audio, which uses 16 bits per sample, and DVD-Audio and Blu-ray Disc, which can support up to 24 bits per sample.

In basic implementations, variations in bit depth primarily affect the noise level from quantization error—thus the signal-to-noise ratio (SNR) and dynamic range. However, techniques such as dithering, noise shaping, and oversampling can mitigate these effects without changing the bit depth. Bit depth also affects bit rate and file size.

Stray light is light in an optical system which was not intended in the design. The light may be from the intended source, but follow paths other than intended, or it may be from a source other than that intended. This light will often set a working limit on the dynamic range of the system; it limits the signal-to-noise ratio or contrast ratio, by limiting how dark the system can be. Ocular straylight is stray light in the human eye.

A Dolby noise-reduction system (Dolby NR) is one of a series of noise reduction systems developed by Dolby Laboratories for use in analog audio tape recording. The first was Dolby A, a professional broadband noise reduction system for recording studios that was first demonstrated in 1965, but the best-known is Dolby B (introduced in 1968), a sliding band system for the consumer market, which helped make high fidelity practical on cassette tapes, which used a relatively noisy tape size and speed. It is common on high-fidelity stereo tape players and recorders to the present day. Of the noise reduction systems, Dolby A and Dolby SR were developed for professional use. Dolby B, C, and S were designed for the consumer market. Aside from Dolby HX, all the Dolby variants work by companding: compressing the dynamic range of the sound during recording, and expanding it during playback.

Dynamic range compression (DRC) or simply compression is an audio signal processing operation that reduces the volume of loud sounds or amplifies quiet sounds, thus reducing or compressing an audio signal's dynamic range. Compression is commonly used in sound recording and reproduction, broadcasting, live sound reinforcement and some instrument amplifiers.

A dedicated electronic hardware unit or audio software that applies compression is called a compressor. In the 2000s, compressors became available as software plugins that run in digital audio workstation software. In recorded and live music, compression parameters may be adjusted to change the way they affect sounds. Compression and limiting are identical in process but different in degree and perceived effect. A limiter is a compressor with a high ratio and, generally, a short attack time.

The Audion is an electronic detecting or amplifying vacuum tube invented by American electrical engineer Lee de Forest as a diode in 1906. Improved, it was patented as the first triode in 1908, consisting of an evacuated glass tube containing three electrodes: a heated filament (the cathode, made out of tantalum), a grid, and a plate (the anode). It is important in the history of technology because it was the first widely used electronic device that could amplify. A low power signal at the grid could control much more power in the plate circuit.

Audions had more residual gas than later vacuum tubes; the residual gas limited the dynamic range and gave the Audion non-linear characteristics and erratic performance. Originally developed as a radio receiver detector by adding a grid electrode to the Fleming valve, it found little use until its amplifying ability was recognized around 1912 by several researchers, who used it to build the first amplifying radio receivers and electronic oscillators. The many practical applications for amplification motivated its rapid development, and the original Audion was superseded within a few years by improved versions with a higher vacuum.

Ansel Easton Adams (February 20, 1902 – April 22, 1984) was an American landscape photographer and environmentalist known for his black-and-white images of the American West. He helped found Group f/64, an association of photographers advocating "pure" photography which favored sharp focus and the use of the full tonal range of a photograph. He and Fred Archer developed a system of image-making called the Zone System, a method of achieving a desired final print through a technical understanding of how the tonal range of an image is the result of choices made in exposure, negative development, and printing.

Adams was a life-long advocate for environmental conservation, and his photographic practice was deeply entwined with this advocacy. At age 14, he was given his first camera during his first visit to Yosemite National Park. He developed his early photographic work as a member of the Sierra Club. He was later contracted with the United States Department of the Interior to make photographs of national parks. For his work and his persistent advocacy, which helped expand the National Park system, he was awarded the Presidential Medal of Freedom in 1980.