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Definition
| Is a software-‐based system with outboard hardware converters designed for the recording, editing and playing back of digital audio. |
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| Is a console that is used to setup a mix that will be heard by the audience at a live event. |
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| Is an analog console that usually has one channel path per I/O and has DAW control capabilities. |
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| Is an analog console that has two paths per I/O, a channel path to receive signal from microphones and a monitor path to receive signal from a multi-track recorder. |
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| Is a console that is used to setup a mix for the performers on stage at a live event. |
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| Is a console that has two separate sections for the channel paths and the monitor paths. |
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| The process of mixing two or more separate tracks and recording them to another track or tracks on the same MTR. This will enable erasure of the original tracks, freeing them up for new audio. |
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| Combining portions of several tracks (typically lead vocals) to a single composite track on the same MTR. |
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| Is a separate mix from the console that is sent to the performers in the live room during a recording/overdub session. |
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| The process of mixing two or more separate tracks and recording them to a secondary device, then moving them back to the original MTR overwriting the original audio. The two MTR’s will be linked together with time code to maintain timing. |
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| Any mix that is not part of the final deliverables. |
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| The process of mixing two or more separate tracks and recording them to a secondary device, then moving them back to the original MTR overwriting the original audio. The two MTR’s will not be linked together with time code. |
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Definition
| A microphone technique using two or more microphones. The microphones are placed so that they are separated the by at least 3 times the mic-to-source distance. This creates a level difference of at least 9dB between the microphones, which reduces the level of the comb filtering to an inaudible 1dB or less. |
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Definition
| A microphone technique using a pair of microphones, usually the same model, placed with their capsules as close together as possible. |
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| Is an instrument amplifier that has both the Amp and Speakers in the same enclosure. This type of amp can mixed with different types of Cabinets (Speakers) from modular amps. |
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Definition
| A microphone where the diaphragm is part of a capacitor that has two plates with a voltage between them. The voltage is supplied by an external power source, usually phantom power. One plate of the capacitor acts as a diaphragm. As the diaphragm vibrates, the distance between the plates changes, changing the capacitance. |
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| The point in an acoustic space where the direct sound and the reverberant sound are equal to each other in volume. |
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| An item that presses on the drumhead, to help control the drums overtones. |
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Definition
| A device used to change the impedance of an audio signal from high to low impedance. The most common use is with electric guitars/basses before being sent to the console’s microphone pre‐amp. |
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Definition
| Is a device to measure the tension on a drumhead, this is used to help with tuning a drum. |
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Definition
| This is a tool used to tighten the lugs on a drum. |
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Definition
| A microphone using magnets and a moving coil of wire to create an electrical current. The diaphragm is attached to the coil of wire. As the diaphragm vibrates to incoming sound waves, it causes the coil to move backwards and forwards past the magnet. |
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Definition
| This law of physics states that the sound pressure level will drop to half-‐pressure (-6dB) every time the distance to the sound source is doubled. |
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Definition
| Is an instrument amplifier that has a separate Head (The Amp) and Cabinet (The Speakers). This type of setup gives the user great flexibility to allow for the use of different combinations of Heads and Cabinets. |
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Definition
| A form of Drum dampener. It is a sticky gel/silicone type substance, which is square shaped and is used to help control the overtones of a drum. |
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Definition
| A microphone technique using a pair of microphones, usually the same model, placed with their capsules slightly apart reducing the amount of signal shared equally by both microphones. |
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Definition
| Sound that arrives from angles other the 0 degree position relative to the mic capsule. |
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Definition
| Sound that arrives at the 0 degree position relative to the mic capsule. |
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Definition
| A resistive network inserted in a microphone or other signal line to lower the level by a specific number of decibels. |
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Definition
| A measurement (expressed in degrees) of the time difference between two similar waveforms. |
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| A plot that describes the sensitivity of a microphone to sounds arriving from any direction over a 360-degree range. |
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Definition
| A circuit that allows for the reversal of the positive (+) and negative (-) sections of an audio signal’s waveform. |
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Definition
| A property of microphones where as the distance of a microphone from the source decreases, microphones with directional polar patterns will exhibit an increase in low frequency response. |
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Definition
| Is a device that is used to convert a balanced signal to an unbalanced signal,reduces (Line-Level) signal down to a (microphone) level signal using a level potentiometer, and raise the impedance from low to high. |
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Definition
| Is a microphone that uses a thin corrugated piece of aluminum, which is used as the element/diaphragm, hanging within a strong magnetic field. |
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Definition
| Is a selection on a microphone, usually a condenser, that allows the user to attenuate the low frequencies being picked up by the mic. |
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Definition
| A type of drum dampener. The Ring is a thin plastic ring that comes in various sizes that are employed to help control drum overtones. |
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Definition
| The time it takes for a processor to react to a signal above the threshold. |
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Definition
| Is the range of frequencies around the center frequency of an equalizing filter that will be affected. |
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Definition
| This is a property/effect created by a compressor when the release is set incorrectly. Breathing is noticed when, due to a slow return (release) to operating level, there is a very noticeable rise of the noise floor. |
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Definition
| Is a dynamic processor that makes loud sounds softer and makes soft sounds louder. They also increase the audible level of the noise floor and limit the overall dynamic range of the audio being processed. |
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Definition
| A compressor that reacts to a selected range of frequencies, usually used to reduce the sibilant frequencies of a vocal/voiceover track. |
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Definition
| A processor that allows for the intentional altering of the frequency characteristics of an audio signal. |
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Definition
| A processor that allows for the increase of the dynamic range of the audio signal that is being processed. |
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Term
| Field Effect Transistor (FET) |
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Definition
| A Transistor where the voltage varies the size of the signal stream and enhances even order harmonics. |
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Definition
| The parameter on a compressor to increase the output of the unit after dynamic reduction has been applied. |
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Definition
| A processor designed to reduce the noise floor in an audio signal. |
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Definition
| Is a parameter on a gate that determines how long the gate is held open before the onset of attenuation begins (this is when the gate starts to close). |
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Definition
| Is an additional input back into a gate that is used to control when the gate opens. |
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Definition
| Is a parameter on a compressor that determines when the compressor starts working. With a hard ____ setting the ____ and threshold are the same value. With a soft ____ setting the compression will begin slightly below the threshold and gradually transition to slightly above the threshold. |
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Definition
| A compressor with a medium attack time, a medium to slow release time, a high ratio setting and low threshold. This type of unit is constantly in gain reduction. (Example:Universal Audio LA2A) |
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Definition
| A circuit (the first stage of recording console or a standalone device) that raises the output of a microphone to line level. |
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Definition
| A compressors that have a fast attack time and a medium to fast release time with a high ratio setting, usually 10:1 and higher, and a high threshold. (Example:UREI/Universal Audio 1176) |
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Definition
| This is a property/effect created by a compressor when the setting are such that you detect a sudden and usually unwanted, deep gain reduction by the compressor. |
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Definition
| Is a parameter on a gate that determines the amount of attenuation when the gate is closed. |
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Definition
| A parameter on a dynamic processor that sets the relationship between input and output levels. |
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Definition
| A parameter that determines how long the compressor will take to return to nominal after compression. |
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Definition
| A parameter that sets the amount of time it takes for the gate to close once the Hold time has elapsed. |
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Term
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Definition
| Is an additional input into a compressor that is used to control when the compressor changes from a unity gain amplifier to a compressor. |
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Definition
| A parameter on a dynamics processor that determines when the processor begins to work. |
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Definition
| The cancellation and/or reinforcement at different frequencies, which is dependent on the amount phase shift/delay. |
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Definition
| Is a process for digitally simulating the reverberation of a physical or virtual space. This process is based on the mathematical convolution operation that uses a pre-recorded audio sample of the impulse (I.R.) of the space being modeled. |
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Definition
| A devise that delays a signal emulating reflections/echos. |
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Definition
| Is the length of time between the original signal and when the initial repeat is heard. |
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Definition
| Is a parameter that determines the distance the repeated delay time drifts away from the original delay time. |
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Definition
| Is a parameter on a reverb that emulates objects within a room. |
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Definition
| The perceived increase in pitch of a sound as it moves closer to the listener. Also the pitch will decrease as the sound moves away from the listener. |
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Definition
| A parameter setting in a reverb that allows the user to control the reflections of sound off of nearby surfaces. |
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Definition
| A setting on a delay unit that allows for the delayed signal to return to the input of the unit, thus creating a controlled feedback loop. This will allow the user to create repeats of the original signal. |
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Definition
| A parameter that sets the time between the original signal and when the reverb begins. |
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Definition
| Is a parameter on a reverb that emulates the first reflections of nearby boundaries. |
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Definition
| A device that emulates the decay of sound/acoustic energy in a room or space. |
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Definition
| A parameter on a reverb that determines the length of time it takes for sound/acoustic energy to decay within a space. |
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Definition
| Is a parameter on a delay that determines the speed at which the delay time shifts from original time to full depth time. |
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Definition
| A device that converts one form of energy to another. |
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Definition
| Is the amplitude modulation of a sound, as in synthesizers and certain guitar/keyboard amps. This effect is not the same as Vibrato, which deals with frequency modulation. |
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Definition
| A low-level noise signal added to the audio prior to word-length reduction in order to counteract quantization error. |
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Definition
| Is the process where the user starts with blank recordable discs; the disc is duplicated by burning your data on them. This is ideal for short runs of a Mastered CD but the reliability of this process is inconsistent. |
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Definition
| Errors in timing of a digital audio sample. |
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Definition
| Is produced by the mastering engineer and is sent to the plaiting and pressing plant for replication of vinyl records. |
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Definition
| In a digital recording, the sampling rate must be at least twice the highest frequency to be recorded. Aliasing will occur if the Nyquist limit is not observed. |
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| PCM (Pulse Code Modulation) |
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Definition
| A method of digitizing audio by sampling the signal’s amplitude at a steady rate and representing each sample with a multi-bit word. This is the standard audio format for CD’s. |
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Definition
| The Compact Disc-Digital Audio standard from which all CD formats are derived. It defines a 12cm disc capable of playing approximately 74.5 minutes of 16-bit, 44.1 kHz stereo PCM audio. |
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Definition
| Is a process that starts with a glass master the discs are replicated by stamping the data into molten plastic as they are molded. This is ideal for large runs of a mastered CD that has greater quality control but has a longer turn‐around time. |
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Definition
| An acronym for the Recording Industry Association of America. |
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Definition
| Is a standard EQ curve added to a master lacquer during Mastering. It adds 17dB at 15kHz and cuts 17dB at 50Hz. A turntable applies the opposite curve. The curve acts a form of noise reduction and helps the needle of a turntable to track the grooves of a vinyl record without skipping. |
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Term
| Calculating Delay Time for a Quarter note value |
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Definition
| Delay Time=60,000/Beats per Minute(BPM) |
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| Calculating the Wave Length of a specific frequency |
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Definition
| Wavelength=Speed of Sound (1130FPS)/Frequency |
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| Inverse Square Law (formula) |
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Definition
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Definition
| A Coincident (Capsules together) Stereo Micing Technique where two microphones are placed at a 90 degree angle to each other and both microphones have a Cardioid Polar Pattern. |
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Term
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Definition
| A Near‐Coincident (Capsules spaced apart) Stereo Micing Technique with the capsules spaced 17cm apart at a 110 degree angle to each other and both microphones have a Cardioid Polar Pattern. |
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Term
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Definition
| A Near‐Coincident (Capsules spaced apart) Stereo Micing Technique with the capsules spaced 30cm apart at a 90 degree angle to each other and both microphones have a Cardioid Polar Pattern. |
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Term
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Definition
| A spaced pair Stereo Micing Technique that has the mics pointed at the sound source space 3 to 10 feet apart and both microphones have a Omni Directional Polar Pattern. |
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Definition
| A Coincident (Capsules together) Pseudo-Stereo Micing Technique that uses microphones with two different polar patterns. The M (mid) mic uses a Cardioid Polar Pattern that is pointed at the sound source and the S (side) mic uses a Bi-Directional Polar Pattern which is at a 90 degree angle to the M (mid) mic. This technique requires a decoding process to be effective. This micing technique is not true stereo but is a pseudo stereo technique that allows the user the ability to manipulate critical distance. |
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Term
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Definition
| A Coincident (Capsules together) Stereo Micing Technique where two microphones are placed at a 90 degree angle to each other and both microphones have a Bi-Directional Polar Pattern. |
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