Sound Track

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sound track

[′sau̇nd ‚trak]
(engineering acoustics)
A narrow band, usually along the margin of a sound film, that carries the sound record; it may be a variable-width or variable-density optical track or a magnetic track.

Sound Track


a signal track obtained as a result of sound recording.

Sound tracks may be classified according to the physical phenomena used in recording and the characteristics of the information recorded. The first category includes mechanical (phonograph records), photographic, and magnetic sound tracks, obtained by means of mechanical recording, photographic recording, and magnetic recording, respectively. In the second category, for example, sound tracks may be classified as monophonic, stereophonic, or quadraphonic, depending on the spatial pattern of the sound sources (seeMONOPHONIC SOUND RECORDING and STEREOPHONIC SOUND RECORDING). The number of tracks usually ranges from one to four; in special cases, for example, when recording orchestral and choral music, a sound track may consist of up to 20 or more separate tracks. (See alsoRECORDING AND REPRODUCTION OF INFORMATION.)

References in periodicals archive ?
She describes what we are seeing in real time, speculating on how the car got there; explains that "it's going to be shown in the art fair, in Basel" and what exactly an art fair is; ruminates on whether or not the image is "real" before deciding it is digitally constructed; and even selects a track from a CD as part of a potential musical sound track for the video.
In these films a thematic split occurs between the visual documentation of the staged event and the sound track meant to accompany it, as if one struggled to keep pace with the other and both fell progressively out of sync.
This season's ogling novelty hit is the first single from the sound track to Clubland, a film about aspiring Los Angeles rockers based on a script written by Alanis Morissette producer Glen Ballard.
The steady but almost imperceptible pulse of the sound track and the uncanny images of Carl Michael von Hausswolff's film Hashima, Japan (made with Thomas Nordanstad), 2002, spark the same quickening of adrenaline and awareness as when you're finding your way in the dark.
Elton John and Tim Rice's Aida takes this trend to its logical conclusion: The superstar songwriting team responsible for both a smash hit movie sound track and Broadway's biggest current success (The Lion King) doles out the tunes they have penned for an in-the-works stage musical and doles them out to every genre of pop performer.
A crucial component of the work is its sound track, which was commissioned from Snorre Ruch, a black metal pioneer who served time for his part in the "ritual" murder of a musician in a rival band in 1995.
The Greatest Hits, Faith No More's mix of metal guitars, funk rhythms, skate-punk rapping, and Bottum's synth sheen pioneered the metal-hip-hop fusion that has become the sound track of suburban teens the world over.
All wear white and either hop up and down or jog in place (one can't tell which since the troupe is revealed only from waist up) to a sound track of foot-steps and droning music in front of a backdrop depicting a spiral galaxy.
Look at the film without sound and there is no way to guess what the sound track might be.
s Michael Stipe, pulls strings to help assemble a sound track with classic cuts, star-studded cover versions, and new songs in the old glam styles.