. . . . . . . . . . . . . . . . "Overdubbing"@pl . . . . "\u30AA\u30FC\u30D0\u30FC\u30FB\u30C0\u30D3\u30F3\u30B0\uFF08Over Dubbing\uFF09\u3001\u307E\u305F\u306F\u30AA\u30FC\u30D0\u30FC\u30FB\u30C0\u30D6\uFF08Over Dub\uFF09\u3068\u306F\u3001\u591A\u91CD\u9332\u97F3\u306E\u3053\u3068\u3067\u3042\u308B\u3002\u30DE\u30EB\u30C1\u30C8\u30E9\u30C3\u30AF\u30FB\u30EC\u30B3\u30FC\u30C0\u30FC\u306A\u3069\u3092\u4F7F\u7528\u3057\u3001\u6700\u521D\u306B\u9332\u97F3\u3057\u305F\u97F3\u58F0\u306A\u3069\u306B\u5BFE\u3057\u3066\u3001\u518D\u5EA6\u540C\u3058\u97F3\u58F0\u306A\u3069\u3092\u91CD\u306D\u9332\u308A\uFF08\u88AB\u305B\u9332\u308A\uFF09\u3059\u308B\u30EC\u30B3\u30FC\u30C7\u30A3\u30F3\u30B0\u306E\u624B\u6CD5\u3067\u3042\u308B\u3002\u5E83\u3044\u610F\u5473\u3067\u306F\u300C\u91CD\u306D\u9332\u308A\u300D\u3068\u547C\u3076\u5834\u5408\u3082\u3042\u308B\u3002 \u540C\u4E00\u306E\u8005\u304C\u540C\u3058\u6B4C\u3084\u697D\u5668\u6F14\u594F\u306E\u30D1\u30FC\u30C8\u3092\u3082\u3046\u4E00\u5EA6\u30AA\u30FC\u30D0\u30FC\u30FB\u30C0\u30D3\u30F3\u30B0\u3059\u308B\u969B\u306F\u3001\u30C0\u30D6\u30EB\u30FB\u30C8\u30E9\u30C3\u30AD\u30F3\u30B0\u3068\u547C\u79F0\u3055\u308C\u3001\u97F3\u8CEA\u88DC\u6B63\u3084\u8074\u611F\u4E0A\u306E\u97FF\u304D\u65B9\u306A\u3069\u3092\u5909\u3048\u308B\u305F\u3081\u306A\u3069\u306B\u7528\u3044\u3089\u308C\u3066\u3044\u308B\u3002 CD-R\u3084MD\u3001\u30AA\u30FC\u30C7\u30A3\u30AA\u30FB\u30AB\u30BB\u30C3\u30C8\u30C6\u30FC\u30D7\u306A\u3069\u3078\u306E\u3001\u97F3\u58F0\u30C7\u30FC\u30BF\u306A\u3069\u9332\u97F3\u5185\u5BB9\u306E\u30B3\u30D4\u30FC\u4F5C\u696D\u3092\u6307\u3059\u300C\u30C0\u30D3\u30F3\u30B0\u300D\u3068\u306F\u3001\u7528\u4F8B\u3068\u3057\u3066\u533A\u5225\u3055\u308C\u3066\u3044\u308B\u3002"@ja . "Con il termine sovraincisione (o overdubbing) si intende la tecnica che consiste nell'inserire una determinata serie di suoni all'interno di una sessione precedentemente registrata. Tale tecnica nacque attorno agli anni cinquanta e viene utilizzata da musicisti negli studi di registrazione."@it . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . "\u041E\u0432\u0435\u0440\u0434\u0430\u0431\u0431\u0438\u043D\u0433 (\u0430\u043D\u0433\u043B. Overdubbing; \u043F\u0440\u043E\u0446\u0435\u0441\u0441 \u0441\u043E\u0437\u0434\u0430\u043D\u0438\u044F \u0442\u0430\u043A \u043D\u0430\u0437\u044B\u0432\u0430\u0435\u043C\u043E\u0433\u043E \u043E\u0432\u0435\u0440\u0434\u0430\u0431\u0430, \u0438\u043B\u0438 \u043D\u0430\u043B\u043E\u0436\u0435\u043D\u0438\u0439) \u2014 \u043C\u0443\u0437\u044B\u043A\u0430\u043B\u044C\u043D\u0430\u044F \u0442\u0435\u0445\u043D\u0438\u043A\u0430, \u0438\u0441\u043F\u043E\u043B\u044C\u0437\u0443\u0435\u043C\u0430\u044F \u0432 \u0430\u0443\u0434\u0438\u043E\u0437\u0430\u043F\u0438\u0441\u0438, \u043F\u0440\u0438 \u043A\u043E\u0442\u043E\u0440\u043E\u0439 \u043C\u0443\u0437\u044B\u043A\u0430\u043B\u044C\u043D\u044B\u0439 \u043E\u0442\u0440\u044B\u0432\u043E\u043A \u0437\u0430\u043F\u0438\u0441\u044B\u0432\u0430\u0435\u0442\u0441\u044F \u0438 \u043D\u0430\u043A\u043B\u0430\u0434\u044B\u0432\u0430\u0435\u0442\u0441\u044F \u0434\u0432\u0430 \u0438\u043B\u0438 \u0431\u043E\u043B\u0435\u0435 \u0440\u0430\u0437. \u042D\u0442\u0430 \u043F\u0440\u0430\u043A\u0442\u0438\u043A\u0430 \u0438\u0441\u043F\u043E\u043B\u044C\u0437\u0443\u0435\u0442\u0441\u044F \u0434\u043B\u044F \u0437\u0430\u043F\u0438\u0441\u0438 \u0432\u043E\u043A\u0430\u043B\u0430, \u043C\u0443\u0437\u044B\u043A\u0430\u043B\u044C\u043D\u044B\u0445 \u0438\u043D\u0441\u0442\u0440\u0443\u043C\u0435\u043D\u0442\u043E\u0432 \u0438\u043B\u0438 \u0430\u043D\u0441\u0430\u043C\u0431\u043B\u0435\u0439/\u043E\u0440\u043A\u0435\u0441\u0442\u0440\u043E\u0432."@ru . . . . . . . . . . . . . . . . . . . . . . . . . . "Le \u00AB re-recording \u00BB, litt\u00E9ralement en fran\u00E7ais \u00AB r\u00E9enregistrement \u00BB, est une technique utilis\u00E9e dans le domaine de la production audio. Elle consiste \u00E0 enregistrer des sons rajout\u00E9s \u00E0 d'autres sons d\u00E9j\u00E0 enregistr\u00E9s afin de les m\u00E9langer au moment du mixage. \u00AB Re-recording \u00BB est un faux-ami en anglais. Le v\u00E9ritable terme \u00E9quivalent est \u00AB dubbing \u00BB. \u00C0 l'apparition de l'enregistrement multipiste, le terme \u00AB dubbing \u00BB devint \u00AB overdubbing \u00BB."@fr . . . . . . . . . . . . . . . . . . . "Overdubbing \u2013 dogranie cz\u0119\u015Bci wokalnej lub instrumentalnej do wcze\u015Bniej ju\u017C nagranego materia\u0142u. Ma to na celu uzyskanie po\u017C\u0105danego efektu o charakterze artystycznym. Wa\u017Cnym czynnikiem w overdubbingu jest mikser i \u0142\u0105cz\u0105cy materia\u0142 w ca\u0142o\u015B\u0107."@pl . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . "\u041E\u0432\u0435\u0440\u0434\u0430\u0431\u0431\u0438\u043D\u0433"@ru . . . . . . . . . . . . "\uC624\uBC84\uB354\uBE59"@ko . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . "Con il termine sovraincisione (o overdubbing) si intende la tecnica che consiste nell'inserire una determinata serie di suoni all'interno di una sessione precedentemente registrata. Tale tecnica nacque attorno agli anni cinquanta e viene utilizzata da musicisti negli studi di registrazione. La sovraincisione presenta aspetti sia positivi che negativi. In primo luogo, infatti, permette di ovviare all'assenza di un membro del gruppo o dell'orchestra, registrandone la parte ed immettendola in un secondo tempo nella canzone. Inoltre, grazie ad essa, un brano con una strumentazione orchestrale pu\u00F2 essere registrato da un singolo esecutore, che pu\u00F2 suonare e registrare da solo i vari strumenti, aggiungendoli uno dopo l'altro, facendo cos\u00EC a meno di un'orchestra o band. Dall'altro lato, l'utilizzo di questa tecnica \u00E8 spesso visto negativamente, perch\u00E9 accusato di creare suoni artificiali, che vanno cos\u00EC a modificare e quasi sempre a nascondere le reali capacit\u00E0 di un gruppo o di un musicista."@it . . . . . . . . . . . . . . "Overdubbing"@en . . . . . . . "Overdubbing (tamb\u00E9m conhecido como empilhamento de camadas de a\u00FAdio) \u00E9 uma t\u00E9cnica utilizada na grava\u00E7\u00E3o de \u00E1udio, onde uma passagem (tipicamente musical) tenha sido pr\u00E9-gravada, e, em seguida, durante a reprodu\u00E7\u00E3o, uma outra parte \u00E9 gravada para ir junto com o original. O processo de overdub pode ser repetido v\u00E1rias vezes. Esta t\u00E9cnica \u00E9 frequentemente usada com cantores, bem como com instrumentos ou conjuntos/orquestras. Overdubbing normalmente \u00E9 feito com o objetivo de adicionar riqueza e complexidade \u00E0 grava\u00E7\u00E3o original. Por exemplo, se houver apenas um ou dois artistas envolvidos no processo de grava\u00E7\u00E3o, overdubbing pode dar o efeito de soar como muitos artistas. Em apresenta\u00E7\u00F5es vocais, o artista geralmente ouve uma apresenta\u00E7\u00E3o gravada existente (geralmente por meio de fones de ouvido em um est\u00FAdio de grava\u00E7\u00E3o) e simultaneamente executa uma nova apresenta\u00E7\u00E3o junto com ela, que tamb\u00E9m \u00E9 gravada. A inten\u00E7\u00E3o \u00E9 que a mixagem final contenha uma combina\u00E7\u00E3o desses \"dubs\". Outro tipo de overdub \u00E9 o chamado 'tracking' (ou \"lay the basic tracks\"), onde as faixas contendo a se\u00E7\u00E3o r\u00EDtmica (geralmente incluindo bateria) s\u00E3o gravadas primeiro, em seguida, com overdubs (instrumentos solo, como teclado ou guitarra e, finalmente, vocais). Este m\u00E9todo tem sido a t\u00E9cnica padr\u00E3o para gravar m\u00FAsica popular desde o in\u00EDcio dos anos 1960. Hoje, o overdubbing pode ser realizado at\u00E9 mesmo em um equipamento b\u00E1sico de grava\u00E7\u00E3o ou em um PC t\u00EDpico equipado com uma placa de som, usando um software de esta\u00E7\u00E3o de trabalho de \u00E1udio digital. Como o processo de overdubbing envolve trabalhar com material pr\u00E9-gravado, os artistas envolvidos n\u00E3o precisam nunca terem se conhecido fisicamente, nem mesmo estar vivos. Em 1991, d\u00E9cadas ap\u00F3s a morte de seu pai Nat King Cole, Natalie Cole lan\u00E7ou uma grava\u00E7\u00E3o de \"dueto virtual\" de \"\", onde ela fez overdub de seus vocais na grava\u00E7\u00E3o original de seu pai dos anos 1960. Como n\u00E3o h\u00E1 limite no intervalo de tempo com overdubbing, tamb\u00E9m n\u00E3o h\u00E1 limite na dist\u00E2ncia, nem no n\u00FAmero de camadas de overdub. Talvez a grava\u00E7\u00E3o overdub colaborativa de maior alcance foi realizada por em 2013, onde ele editou juntos um \"\" de 8.409 faixas de \u00E1udio de 5.905 pessoas de 101 pa\u00EDses."@pt . . . . . . . . . . . . "Overdubbing adalah sejenis teknik yang digunakan pada perekaman audio. Seorang pemusik atau penyanyi akan mendengarkan rekaman suara yang telah dibuat (umumnya dengan menggunakan penyuara kuping di dalam studio perekaman) sembari memainkan atau menambahkan sebuah rekaman baru secara bersamaan, yang kemudian direkam. Tujuannya adalah menyatukan hasil-hasil rekaman yang telah dibuat sehingga menjadi hasil akhir yang diinginkan."@in . . . . . . . . . . . . . . . . . . . . . . . . "12451"^^ . . . . . . . . . . . . . . . . . "\uC624\uBC84\uB354\uBE59(Overdubbing, \uC624\uBC84\uB365(overdub)\uC758 \uC81C\uC791 \uACFC\uC815\uC744 \uB73B\uD55C\uB2E4)\uB294 \uC74C\uD5A5\uB179\uC74C\uC5D0\uC11C \uC0AC\uC6A9\uB418\uB294 \uAE30\uC220\uC774\uB2E4. \uC5F0\uC8FC\uC790\uB294 \uBCF4\uD1B5 \uB179\uC74C\uC2E4\uC5D0\uC11C \uD5E4\uB4DC\uD3F0\uC73C\uB85C \uAE30\uC874\uC5D0 \uB179\uC74C\uB41C \uC5F0\uC8FC\uB97C \uB4E4\uC73C\uBA74\uC11C \uADF8 \uC74C\uC6D0\uACFC \uB3D9\uC2DC\uC5D0 \uC0C8\uB85C\uC6B4 \uC5F0\uC8FC\uB97C \uD558\uC5EC \uB179\uC74C\uD55C\uB2E4. \uC774 \"\"\uB4E4\uC774 \uD30C\uC774\uB110 \uBBF9\uC2A4\uC5D0\uC11C \uACB0\uD569\uB41C \uC0C1\uD0DC\uB85C \uD3EC\uD568\uB418\uB294 \uAC83\uC744 \uBAA9\uD45C\uB85C \uD55C\uB2E4. \uB178\uB798\uC5D0 \uB9AC\uB4EC \uC139\uC158(\uC77C\uBC18\uC801\uC73C\uB85C \uB4DC\uB7FC\uC744 \uD3EC\uD568\uD55C\uB2E4)\uC758 \uD2B8\uB798\uD0B9(\uB2E4\uB978 \uB9D0\uB85C \"\uAE30\uBCF8 \uD2B8\uB799\uC5D0 \uC313\uC544\uC62C\uB9AC\uAE30\")\uC744 \uC644\uB8CC\uD55C \uB2E4\uC74C\uC5D0 \uC624\uBC84\uB354\uBE59\uC744 \uC9C4\uD589\uD55C\uB2E4(\uAC74\uBC18\uC545\uAE30 \uB610\uB294 \uAE30\uD0C0 \uB4F1\uC758 \uC194\uB85C \uAE30\uC545\uC744 \uC6B0\uC120\uD558\uBA70 \uADF8 \uB4A4\uC5D0 \uCD5C\uC885 \uBCF4\uCEEC\uC744 \uC785\uD78C\uB2E4). \uC624\uBC84\uB354\uBE59\uC740 1960\uB144\uB300 \uCD08\uBC18\uBD80\uD130 \uB300\uC911\uC74C\uC545\uC758 \uB179\uC74C\uC5D0\uC11C \uD45C\uC900\uC801\uC778 \uAE30\uC220\uC774\uC5C8\uB2E4. \uD604\uB300\uC5D0\uC11C\uB294 \uAE30\uBCF8\uC801\uC778 \uB179\uC74C \uC7A5\uBE44, \uB610\uB294 \uC0AC\uC6B4\uB4DC \uCE74\uB4DC\uAC00 \uD0D1\uC7AC\uB41C \uBCF4\uD1B5 PC\uB85C \uB514\uC9C0\uD138 \uC624\uB514\uC624 \uC6CC\uD06C\uC2A4\uD14C\uC774\uC158 \uC18C\uD504\uD2B8\uC6E8\uC5B4\uB97C \uC0AC\uC6A9\uD574 \uC190\uC27D\uAC8C \uD65C\uC6A9\uC774 \uAC00\uB2A5\uD558\uB2E4."@ko . . . . . . . . . . . . . . "P\u00E5l\u00E4gg eller \u00F6verdubbning (engelska: overdubbing) \u00E4r en inspelningsteknik som inneb\u00E4r att en ny inspelning kombineras med en befintlig. Vid musikproduktion kan p\u00E5l\u00E4gg inneb\u00E4ra att en musiker lyssnar p\u00E5 ett f\u00E4rdiginspelat musikstycke (vanligtvis genom h\u00F6rlurar i en inspelningsstudio) och samtidigt spelar in ett nytt sp\u00E5r vid sidan av det f\u00F6rsta. Syftet \u00E4r att slutmixen ska inneh\u00E5lla en kombination av dessa sp\u00E5r. P\u00E5l\u00E4gg anv\u00E4nds ocks\u00E5 inom film, f\u00F6r att tillf\u00F6ra ber\u00E4ttarr\u00F6ster eller \u00F6vers\u00E4ttningar. Tekniken skiljer sig fr\u00E5n dubbning, d\u00E4r ett ljudsp\u00E5r ist\u00E4llet ers\u00E4tts av ett annat."@sv . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . "1124599071"^^ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . "P\u00E5l\u00E4gg (inspelningsteknik)"@sv . . . . . . . . . . . . . . . "Overdub"@de . . . . . "Overdubbing"@pt . . "Overdubbing (also known as layering) is a technique used in audio recording in which audio tracks that have been pre-recorded are then played back and monitored, while simultaneously recording new, doubled, or augmented tracks onto one or more available tracks of a digital audio workstation (DAW) or tape recorder. The overdub process can be repeated multiple times. This technique is often used with singers, as well as with instruments, or ensembles/orchestras. Overdubbing is typically done for the purpose of adding richness and complexity to the original recording. For example, if there are only one or two artists involved in the recording process, overdubbing can give the effect of sounding like many performers."@en . . . . . . . . . . . . . . . . "Overdubbing"@es . . . . "Overdubbing adalah sejenis teknik yang digunakan pada perekaman audio. Seorang pemusik atau penyanyi akan mendengarkan rekaman suara yang telah dibuat (umumnya dengan menggunakan penyuara kuping di dalam studio perekaman) sembari memainkan atau menambahkan sebuah rekaman baru secara bersamaan, yang kemudian direkam. Tujuannya adalah menyatukan hasil-hasil rekaman yang telah dibuat sehingga menjadi hasil akhir yang diinginkan."@in . . . . . . . . . . . "P\u00E5l\u00E4gg eller \u00F6verdubbning (engelska: overdubbing) \u00E4r en inspelningsteknik som inneb\u00E4r att en ny inspelning kombineras med en befintlig. Vid musikproduktion kan p\u00E5l\u00E4gg inneb\u00E4ra att en musiker lyssnar p\u00E5 ett f\u00E4rdiginspelat musikstycke (vanligtvis genom h\u00F6rlurar i en inspelningsstudio) och samtidigt spelar in ett nytt sp\u00E5r vid sidan av det f\u00F6rsta. Syftet \u00E4r att slutmixen ska inneh\u00E5lla en kombination av dessa sp\u00E5r. P\u00E5l\u00E4gg anv\u00E4nds ocks\u00E5 inom film, f\u00F6r att tillf\u00F6ra ber\u00E4ttarr\u00F6ster eller \u00F6vers\u00E4ttningar. Tekniken skiljer sig fr\u00E5n dubbning, d\u00E4r ett ljudsp\u00E5r ist\u00E4llet ers\u00E4tts av ett annat."@sv . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . "Ein Overdub ist in der Tontechnik eine Tonaufnahme, die zu einer schon bestehenden Aufnahme (Playback) sp\u00E4ter hinzugemischt wird. Das entsprechende Aufzeichnungsverfahren im Tonstudio hei\u00DFt Overdubbing."@de . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . "\uC624\uBC84\uB354\uBE59(Overdubbing, \uC624\uBC84\uB365(overdub)\uC758 \uC81C\uC791 \uACFC\uC815\uC744 \uB73B\uD55C\uB2E4)\uB294 \uC74C\uD5A5\uB179\uC74C\uC5D0\uC11C \uC0AC\uC6A9\uB418\uB294 \uAE30\uC220\uC774\uB2E4. \uC5F0\uC8FC\uC790\uB294 \uBCF4\uD1B5 \uB179\uC74C\uC2E4\uC5D0\uC11C \uD5E4\uB4DC\uD3F0\uC73C\uB85C \uAE30\uC874\uC5D0 \uB179\uC74C\uB41C \uC5F0\uC8FC\uB97C \uB4E4\uC73C\uBA74\uC11C \uADF8 \uC74C\uC6D0\uACFC \uB3D9\uC2DC\uC5D0 \uC0C8\uB85C\uC6B4 \uC5F0\uC8FC\uB97C \uD558\uC5EC \uB179\uC74C\uD55C\uB2E4. \uC774 \"\"\uB4E4\uC774 \uD30C\uC774\uB110 \uBBF9\uC2A4\uC5D0\uC11C \uACB0\uD569\uB41C \uC0C1\uD0DC\uB85C \uD3EC\uD568\uB418\uB294 \uAC83\uC744 \uBAA9\uD45C\uB85C \uD55C\uB2E4. \uB178\uB798\uC5D0 \uB9AC\uB4EC \uC139\uC158(\uC77C\uBC18\uC801\uC73C\uB85C \uB4DC\uB7FC\uC744 \uD3EC\uD568\uD55C\uB2E4)\uC758 \uD2B8\uB798\uD0B9(\uB2E4\uB978 \uB9D0\uB85C \"\uAE30\uBCF8 \uD2B8\uB799\uC5D0 \uC313\uC544\uC62C\uB9AC\uAE30\")\uC744 \uC644\uB8CC\uD55C \uB2E4\uC74C\uC5D0 \uC624\uBC84\uB354\uBE59\uC744 \uC9C4\uD589\uD55C\uB2E4(\uAC74\uBC18\uC545\uAE30 \uB610\uB294 \uAE30\uD0C0 \uB4F1\uC758 \uC194\uB85C \uAE30\uC545\uC744 \uC6B0\uC120\uD558\uBA70 \uADF8 \uB4A4\uC5D0 \uCD5C\uC885 \uBCF4\uCEEC\uC744 \uC785\uD78C\uB2E4). \uC624\uBC84\uB354\uBE59\uC740 1960\uB144\uB300 \uCD08\uBC18\uBD80\uD130 \uB300\uC911\uC74C\uC545\uC758 \uB179\uC74C\uC5D0\uC11C \uD45C\uC900\uC801\uC778 \uAE30\uC220\uC774\uC5C8\uB2E4. \uD604\uB300\uC5D0\uC11C\uB294 \uAE30\uBCF8\uC801\uC778 \uB179\uC74C \uC7A5\uBE44, \uB610\uB294 \uC0AC\uC6B4\uB4DC \uCE74\uB4DC\uAC00 \uD0D1\uC7AC\uB41C \uBCF4\uD1B5 PC\uB85C \uB514\uC9C0\uD138 \uC624\uB514\uC624 \uC6CC\uD06C\uC2A4\uD14C\uC774\uC158 \uC18C\uD504\uD2B8\uC6E8\uC5B4\uB97C \uC0AC\uC6A9\uD574 \uC190\uC27D\uAC8C \uD65C\uC6A9\uC774 \uAC00\uB2A5\uD558\uB2E4."@ko . . . . . . . . "Ein Overdub ist in der Tontechnik eine Tonaufnahme, die zu einer schon bestehenden Aufnahme (Playback) sp\u00E4ter hinzugemischt wird. Das entsprechende Aufzeichnungsverfahren im Tonstudio hei\u00DFt Overdubbing."@de . . "\u041E\u0432\u0435\u0440\u0434\u0430\u0431\u0431\u0438\u043D\u0433 (\u0430\u043D\u0433\u043B. Overdubbing; \u043F\u0440\u043E\u0446\u0435\u0441\u0441 \u0441\u043E\u0437\u0434\u0430\u043D\u0438\u044F \u0442\u0430\u043A \u043D\u0430\u0437\u044B\u0432\u0430\u0435\u043C\u043E\u0433\u043E \u043E\u0432\u0435\u0440\u0434\u0430\u0431\u0430, \u0438\u043B\u0438 \u043D\u0430\u043B\u043E\u0436\u0435\u043D\u0438\u0439) \u2014 \u043C\u0443\u0437\u044B\u043A\u0430\u043B\u044C\u043D\u0430\u044F \u0442\u0435\u0445\u043D\u0438\u043A\u0430, \u0438\u0441\u043F\u043E\u043B\u044C\u0437\u0443\u0435\u043C\u0430\u044F \u0432 \u0430\u0443\u0434\u0438\u043E\u0437\u0430\u043F\u0438\u0441\u0438, \u043F\u0440\u0438 \u043A\u043E\u0442\u043E\u0440\u043E\u0439 \u043C\u0443\u0437\u044B\u043A\u0430\u043B\u044C\u043D\u044B\u0439 \u043E\u0442\u0440\u044B\u0432\u043E\u043A \u0437\u0430\u043F\u0438\u0441\u044B\u0432\u0430\u0435\u0442\u0441\u044F \u0438 \u043D\u0430\u043A\u043B\u0430\u0434\u044B\u0432\u0430\u0435\u0442\u0441\u044F \u0434\u0432\u0430 \u0438\u043B\u0438 \u0431\u043E\u043B\u0435\u0435 \u0440\u0430\u0437. \u042D\u0442\u0430 \u043F\u0440\u0430\u043A\u0442\u0438\u043A\u0430 \u0438\u0441\u043F\u043E\u043B\u044C\u0437\u0443\u0435\u0442\u0441\u044F \u0434\u043B\u044F \u0437\u0430\u043F\u0438\u0441\u0438 \u0432\u043E\u043A\u0430\u043B\u0430, \u043C\u0443\u0437\u044B\u043A\u0430\u043B\u044C\u043D\u044B\u0445 \u0438\u043D\u0441\u0442\u0440\u0443\u043C\u0435\u043D\u0442\u043E\u0432 \u0438\u043B\u0438 \u0430\u043D\u0441\u0430\u043C\u0431\u043B\u0435\u0439/\u043E\u0440\u043A\u0435\u0441\u0442\u0440\u043E\u0432. \u0412\u043E \u0432\u0440\u0435\u043C\u044F \u043E\u0432\u0435\u0440\u0434\u0430\u0431\u0431\u0438\u043D\u0433\u0430 \u0432\u043E\u043A\u0430\u043B\u0430 \u0438\u0441\u043F\u043E\u043B\u043D\u0438\u0442\u0435\u043B\u044C \u043E\u0431\u044B\u0447\u043D\u043E \u0441\u043B\u0443\u0448\u0430\u0435\u0442 \u0443\u0436\u0435 \u0437\u0430\u043F\u0438\u0441\u0430\u043D\u043D\u044B\u0439 \u0434\u0443\u0431\u043B\u044C (\u043A\u0430\u043A \u043F\u0440\u0430\u0432\u0438\u043B\u043E \u0447\u0435\u0440\u0435\u0437 \u043D\u0430\u0443\u0448\u043D\u0438\u043A\u0438 \u0432 \u0441\u0442\u0443\u0434\u0438\u0438 \u0437\u0432\u0443\u043A\u043E\u0437\u0430\u043F\u0438\u0441\u0438) \u0438 \u043F\u0430\u0440\u0430\u043B\u043B\u0435\u043B\u044C\u043D\u043E \u0438\u0441\u043F\u043E\u043B\u043D\u044F\u0435\u0442 \u043D\u043E\u0432\u044B\u0439 \u2014 \u043D\u0430 \u0444\u043E\u043D\u0435 \u0432\u043E\u0441\u043F\u0440\u043E\u0438\u0437\u0432\u0435\u0434\u0435\u043D\u0438\u044F \u043F\u0440\u0435\u0434\u044B\u0434\u0443\u0449\u0435\u0433\u043E, \u043A\u043E\u0442\u043E\u0440\u044B\u0439 \u0442\u0430\u043A\u0436\u0435 \u0437\u0430\u043F\u0438\u0441\u044B\u0432\u0430\u0435\u0442\u0441\u044F \u043D\u0430 \u043F\u043B\u0451\u043D\u043A\u0443. \u0426\u0435\u043B\u044C \u0441\u043E\u0441\u0442\u043E\u0438\u0442 \u0432 \u0442\u043E\u043C, \u0447\u0442\u043E \u043E\u043A\u043E\u043D\u0447\u0430\u0442\u0435\u043B\u044C\u043D\u044B\u0439 \u043C\u0438\u043A\u0441 \u0431\u0443\u0434\u0435\u0442 \u0441\u043E\u0434\u0435\u0440\u0436\u0430\u0442\u044C \u043A\u043E\u043C\u0431\u0438\u043D\u0430\u0446\u0438\u044E \u0434\u0432\u0443\u0445 \u044D\u0442\u0438\u0445 \u00AB\u0434\u0443\u0431\u043B\u0435\u0439\u00BB (\u0430\u043D\u0433\u043B. dubs). \u0412 \u0438\u0442\u043E\u0433\u0435 \u043F\u043E\u043B\u0443\u0447\u0430\u0435\u0442\u0441\u044F \u0434\u0443\u0431\u043B\u0438\u0440\u043E\u0432\u0430\u043D\u0438\u0435 \u0432\u043E\u043A\u0430\u043B\u0430. \u0414\u0440\u0443\u0433\u0438\u043C \u0432\u0438\u0434\u043E\u043C \u043E\u0432\u0435\u0440\u0434\u0430\u0431\u0431\u0438\u043D\u0433\u0430 \u044F\u0432\u043B\u044F\u0435\u0442\u0441\u044F \u0442\u0430\u043A \u043D\u0430\u0437\u044B\u0432\u0430\u0435\u043C\u044B\u0439 \u00AB\u0442\u0440\u0435\u043A\u0438\u043D\u0433\u00BB (\u0430\u043D\u0433\u043B. \u00ABtracking\u00BB; \u0438\u043B\u0438 \u00AB\u0443\u043A\u043B\u0430\u0434\u043A\u0430 \u043E\u0441\u043D\u043E\u0432\u043D\u044B\u0445 \u0442\u0440\u0435\u043A\u043E\u0432\u00BB), \u0433\u0434\u0435 \u0441\u043D\u0430\u0447\u0430\u043B\u0430 \u0437\u0430\u043F\u0438\u0441\u044B\u0432\u0430\u044E\u0442\u0441\u044F \u0442\u0440\u0435\u043A\u0438, \u0441\u043E\u0434\u0435\u0440\u0436\u0430\u0449\u0438\u0435 \u0440\u0438\u0442\u043C-\u0441\u0435\u043A\u0446\u0438\u044E (\u043A\u0430\u043A \u043F\u0440\u0430\u0432\u0438\u043B\u043E, \u0432\u043A\u043B\u044E\u0447\u0430\u044F \u0443\u0434\u0430\u0440\u043D\u044B\u0435), \u0430 \u0437\u0430\u0442\u0435\u043C \u0441\u043B\u0435\u0434\u0443\u044E\u0442 \u043D\u0430\u043B\u043E\u0436\u0435\u043D\u0438\u044F (\u0441\u043E\u043B\u044C\u043D\u044B\u0435 \u0438\u043D\u0441\u0442\u0440\u0443\u043C\u0435\u043D\u0442\u044B, \u0442\u0430\u043A\u0438\u0435 \u043A\u0430\u043A \u043A\u043B\u0430\u0432\u0438\u0448\u043D\u044B\u0435 \u0438\u043B\u0438 \u0433\u0438\u0442\u0430\u0440\u0430, \u0438 \u0432 \u0441\u0430\u043C\u043E\u043C \u043A\u043E\u043D\u0446\u0435 \u2014 \u0432\u043E\u043A\u0430\u043B). \u042D\u0442\u043E\u0442 \u043C\u0435\u0442\u043E\u0434 \u0431\u044B\u043B \u0441\u0442\u0430\u043D\u0434\u0430\u0440\u0442\u043D\u044B\u043C \u043C\u0435\u0442\u043E\u0434\u043E\u043C \u0434\u043B\u044F \u0437\u0430\u043F\u0438\u0441\u0438 \u043F\u043E\u043F\u0443\u043B\u044F\u0440\u043D\u043E\u0439 \u043C\u0443\u0437\u044B\u043A\u0438 \u0441 \u043D\u0430\u0447\u0430\u043B\u0430 1960-\u0445 \u0433\u0433. \u0421\u0435\u0433\u043E\u0434\u043D\u044F \u043D\u0430\u043B\u043E\u0436\u0435\u043D\u0438\u0435 \u043C\u043E\u0436\u0435\u0442 \u0431\u044B\u0442\u044C \u0432\u044B\u043F\u043E\u043B\u043D\u0435\u043D\u043E \u0434\u0430\u0436\u0435 \u043D\u0430 \u0431\u0430\u0437\u043E\u0432\u043E\u043C \u0437\u0430\u043F\u0438\u0441\u044B\u0432\u0430\u044E\u0449\u0435\u043C \u043E\u0431\u043E\u0440\u0443\u0434\u043E\u0432\u0430\u043D\u0438\u0438 \u0438\u043B\u0438 \u0442\u0438\u043F\u0438\u0447\u043D\u043E\u043C \u041F\u041A, \u043E\u0441\u043D\u0430\u0449\u0435\u043D\u043D\u043E\u043C \u0437\u0432\u0443\u043A\u043E\u0432\u043E\u0439 \u043A\u0430\u0440\u0442\u043E\u0439, \u0441 \u0438\u0441\u043F\u043E\u043B\u044C\u0437\u043E\u0432\u0430\u043D\u0438\u0435\u043C \u043F\u0440\u043E\u0433\u0440\u0430\u043C\u043C\u043D\u043E\u0433\u043E \u043E\u0431\u0435\u0441\u043F\u0435\u0447\u0435\u043D\u0438\u044F digital audio workstation."@ru . . . . . . . . . . . . . . . . . . . . . . "\u30AA\u30FC\u30D0\u30FC\u30FB\u30C0\u30D3\u30F3\u30B0"@ja . . . . . . . . . . . . . . . . . . . . . . . . . "Le \u00AB re-recording \u00BB, litt\u00E9ralement en fran\u00E7ais \u00AB r\u00E9enregistrement \u00BB, est une technique utilis\u00E9e dans le domaine de la production audio. Elle consiste \u00E0 enregistrer des sons rajout\u00E9s \u00E0 d'autres sons d\u00E9j\u00E0 enregistr\u00E9s afin de les m\u00E9langer au moment du mixage. \u00AB Re-recording \u00BB est un faux-ami en anglais. Le v\u00E9ritable terme \u00E9quivalent est \u00AB dubbing \u00BB. \u00C0 l'apparition de l'enregistrement multipiste, le terme \u00AB dubbing \u00BB devint \u00AB overdubbing \u00BB."@fr . . . . . "Overdubbing u overdubs tambi\u00E9n conocido en espa\u00F1ol como apilamiento de capas de audio, es la t\u00E9cnica de sobreponer capas de audio utilizada en los procesos de grabaci\u00F3n musical cuando un m\u00FAsico ejecutante escucha una interpretaci\u00F3n en una grabaci\u00F3n ya existente (normalmente a trav\u00E9s de auriculares en un estudio de grabaci\u00F3n) y simult\u00E1neamente ejecuta una nueva interpretaci\u00F3n, que tambi\u00E9n es grabada. La intenci\u00F3n es que la mezcla final contenga una combinaci\u00F3n del audio que ya exist\u00EDa y de la nueva interpretaci\u00F3n. Colocar la pista grabada (o \"poniendo cada una de las pistas b\u00E1sicas\") de la secci\u00F3n r\u00EDtmica (normalmente incluyendo bater\u00EDa o percusi\u00F3n) a una canci\u00F3n, y luego continuar con la superposici\u00F3n de nuevas capas de audio (como instrumentos solistas: teclados, guitarras, o voces cantantes), ha sido la t\u00E9cnica est\u00E1ndar para grabar m\u00FAsica popular desde inicios del a\u00F1o 1960. Hoy en d\u00EDa, la t\u00E9cnica de overdubbing o apilamiento de capas puede ser conseguida incluso con herramientas b\u00E1sicas para captura de audio, as\u00ED como con cualquier computadora port\u00E1til convencional que est\u00E9 equipada con una tarjeta de sonido, por medio de alg\u00FAn software de captura de audio.\u200B"@es . . . "Overdubbing (tamb\u00E9m conhecido como empilhamento de camadas de a\u00FAdio) \u00E9 uma t\u00E9cnica utilizada na grava\u00E7\u00E3o de \u00E1udio, onde uma passagem (tipicamente musical) tenha sido pr\u00E9-gravada, e, em seguida, durante a reprodu\u00E7\u00E3o, uma outra parte \u00E9 gravada para ir junto com o original. O processo de overdub pode ser repetido v\u00E1rias vezes. Esta t\u00E9cnica \u00E9 frequentemente usada com cantores, bem como com instrumentos ou conjuntos/orquestras. Overdubbing normalmente \u00E9 feito com o objetivo de adicionar riqueza e complexidade \u00E0 grava\u00E7\u00E3o original. Por exemplo, se houver apenas um ou dois artistas envolvidos no processo de grava\u00E7\u00E3o, overdubbing pode dar o efeito de soar como muitos artistas."@pt . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . "Overdubbing \u2013 dogranie cz\u0119\u015Bci wokalnej lub instrumentalnej do wcze\u015Bniej ju\u017C nagranego materia\u0142u. Ma to na celu uzyskanie po\u017C\u0105danego efektu o charakterze artystycznym. Wa\u017Cnym czynnikiem w overdubbingu jest mikser i \u0142\u0105cz\u0105cy materia\u0142 w ca\u0142o\u015B\u0107."@pl . . . . . . . . . . . . . . . "Overdubbing (also known as layering) is a technique used in audio recording in which audio tracks that have been pre-recorded are then played back and monitored, while simultaneously recording new, doubled, or augmented tracks onto one or more available tracks of a digital audio workstation (DAW) or tape recorder. The overdub process can be repeated multiple times. This technique is often used with singers, as well as with instruments, or ensembles/orchestras. Overdubbing is typically done for the purpose of adding richness and complexity to the original recording. For example, if there are only one or two artists involved in the recording process, overdubbing can give the effect of sounding like many performers. In vocal performances, the performer usually listens to an existing recorded performance (usually through headphones in a recording studio) and simultaneously plays a new performance along with it, which is also recorded. The intention is that the final mix will contain a combination of these \"dubs\". Another kind of overdubbing is the so called \"tracking\" (or \"laying the basic tracks\"), where tracks containing the rhythm section (usually including drums) are recorded first, then following up with overdubs (solo instruments, such as keyboards or guitar, then finally vocals). This method has been the standard technique for recording popular music since the early 1960s. Today, overdubbing can be accomplished even on basic recording equipment, or a typical PC equipped with a sound card, using digital audio workstation software. Because the process of overdubbing involves working with pre-recorded material, the performers involved do not have to ever have physically met each other, nor even still be alive. In 1991, decades after her father Nat King Cole had died, Natalie Cole released a \"virtual duet\" recording of \"Unforgettable\" where she overdubbed her vocals onto her father's original recording from the 1960s. As there is no limit in timespan with overdubbing, there is likewise no limit in distance, nor in the number of overdubbed layers. Perhaps the most wide-reaching collaborative overdub recording was accomplished by Eric Whitacre in 2013, where he edited together a \"Virtual Choir\" of 8,409 audio tracks from 5,905 people from 101 countries."@en . . . . . . . . . . . . . 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"Overdubbing u overdubs tambi\u00E9n conocido en espa\u00F1ol como apilamiento de capas de audio, es la t\u00E9cnica de sobreponer capas de audio utilizada en los procesos de grabaci\u00F3n musical cuando un m\u00FAsico ejecutante escucha una interpretaci\u00F3n en una grabaci\u00F3n ya existente (normalmente a trav\u00E9s de auriculares en un estudio de grabaci\u00F3n) y simult\u00E1neamente ejecuta una nueva interpretaci\u00F3n, que tambi\u00E9n es grabada. La intenci\u00F3n es que la mezcla final contenga una combinaci\u00F3n del audio que ya exist\u00EDa y de la nueva interpretaci\u00F3n."@es . . . . . . . . . . . . . . . "Re-recording"@fr . . . . . . . . . . . . . . . . . . . . "1677157"^^ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . "Sovraincisione"@it . . . . . . . . . . . . . . . . . . "Overdubbing"@in . . . . . .