Cubase Magazine 44

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HBAM2016AUG95 Pro 5.0 zipper@ signal bleeding another channel crosstalk happens converts@ power process copying instrumental vocal performance evice signal bleeding another channel crosstalk happens measurement compares values quant@ aiff@ acronym musical instrument digital interface@ effects device which reduces dynamic range rounding procedure digital systems@ attack being@ click popup bring scrolling connection@ device don'td embedded expanders@ fluctuations gain@ higher@ audio/synthesis evolution specific parameter inputs@ locator message| mostX notese perfect@ HBAM3016AUG95@ converterz about about glossary active| active sensing| additivew additive synthesisw after after listen aftertouch algorithm aliasing ampere amplitude aliasing filter arpeggiator ascii attack autolocator balanced bandpass bandpass filter bandwidth select frequency binary bouncing break break point breath breath controller cardioid cardioid pattern chain change channel channel pressure chasing chord chorus chromatic clipping clock converterz crossfade crossfade looping crosstalk cutoffj cutoff frequency l delay line de rejection bring up a scrolling list of terms used in audio production. Slower computers may take a moment to display the list If you have any comments about this glossary, please send mail to info@rootsolutions.de a G above that. tervals. Typically, sample and hold circuits are used to modulate pitch and timbre. re to one of the deck s flanges (sides of a reel), causing pitch fluctuations. converter de-esser decay default defragmenting delay digital digital delay dilation directional directional pattern namicM dynamic microphone dynamic rangeM early early reflections eight ended envelope envelope generatorh equalizer exciter expander figure figure eight pattern filter flanger foldback formant fragmenting framer frame rater frequencyO frequency responseO fundamental general general generatorh glossary ground ground group harmonic harmonic distortion headroom hertzR hertz impedance in/out input insert interpolation input listen local local on/off locator looping lowpass lowpass filter master microphone modulation modulator multi multi multisample multitimbral noise noise floor noise registered parameter normalizing notch notch filter number on/off number off-line pattern on-line on/off oscillator overdub overload overtone system parameter partial patch patch change pressure position potentiometer[ potentiometer power listen pressure print program program change punch punch in/out quantization quantization noise r-dat rangeM rater ratioa real^ time^ reduction reflections registered rejection release responseO reverb modulator s/pdif sample sample sample saturation select sensing| shifter sibilance chain signal/noisea signal/noise ratioa single single ended noise reduction slave smpte position pointer spectrum standard standard stretching ubtractive synthesisv sustain synthesisv system threshold through timbre time^ transient transposing tremolo unbalanced zipper zipper noise 02:10:32:09p media containing final mixdown project master 15-16R 16-part 20-30R 24-voice 29.97p 60-70M 90-100M 90-96M voltage source feeds microphones using signal balanced three conductors minus shield black which matches output electric instrume mixer which normally carries music mixing console carrying submix several recording console which selected change sound result excessive signal icrophone which describes sensiti circuit analog synthesizers takes snapshot class control messages translate fragmented files device reduces sibilance vocals generally device which automatically specific point device which boost specific frequencies device which increases dynamic range reducing digital clock signal embedded aes-ebu s/pdif digital processor which makes input signal directional pattern microphones which picks sounds directional pattern microphones which sensitiv filter which applied before conversion which limits degradation information piece tapeL method creating realistic samples taking severa microphone's directional response pattern which equally control device which converts breath pressure message consisting controllers number message confirms proper communication status message instructs receiving device message generated keyboa message measures individual message transmits current position message which extends normal range program message which instructs receiving sound module monitoring provided mixing consoles general frequency responseD musical scale comprising twelve equal-tempered pitches non-real process which duration signal patch point console where external effects plugge spectrumN process happening delivery^ process where layers magnetic transfer recording previous recordingW selectable signal level above below which functionc signal bleeding another channel crosstalk happens single digit binary numbering system smalles single digit representing string eight software switch which allows connection local special looping where points interpol special patch compressor chain specific frequency component soundP standard digital serial communication protocol allowsT standard describes format sequences sudden burst energy audio signal context instruments which describ two-stage processor contraction compresso distortion whereby harmonic frequencies introd noise reduction applied during playback noise reduction applied during playback measurement compares values quantJ definable point recording which recalled variable resistor attenuates applied voltage[ wiring system where there leads cable abbreviationA abbreviation alternating current flowing alternating ability aboutH abovea access] accessedV accessibleU accomplishB account achieves acoustic acronymI action activatedc activation active| actuallyp adaptedT adc'st addingy additions additivew address addresses addsF adjacentS adjustable adjustedF adjustments[ adsrh aes-ebu affectc affecting afterU aftertouch~ airplane algorithmB alias allow allowed allowsT along alsoP altered_ alternatingA alters althoughP alwaysK ambienceB american among amountH amounts amplifier amplifiers amplitudeC amplitude interpreted volumeC acronym analog digital converter convertert acronym digital audio refers small digitaI acronym musical instrument digital interfaceT acronym pulse modulation describes method acronym random access memory] acronym memory_ acronym small computer systems interface defines acronym society motion picture television engip arpeggio music broken chord notes played digital delay based effect which makes effect device which takes inputs outputs effect thickens input signal delaying effects device decreases dynamic range effects device generates artificial harmonics effects device which alters frequency input effects device which passes duplicate input signa effects device which processes input signal ffects device which processes input signal effects device which reduces dynamic range effects device inputs normally labeled carrier effects devices which increases dynamic range attenuat electric circuit software equivalent generate electrical which electrical signals extension specification which provides basic important characteristic microphone which describes analogF analysis usually context audio rounding procedure digital systems\ undesired signal component audio signal usually apart appearance application applicationsT applied[ apply applying approaching approximateY approximately arbitraryh aroundk arpeggiator arpeggiators arpeggio arriveZ arriving artifically artificial artificially artisticX attach attackh attack attacks attempt attenuatedi attenuates[ attenuating attenuationH audible audioD audio engineering society/european broadcast union available averageJ avoidF avoidedP background backingW balanced band^ bandpass bands bandwidthD based basicW bassW batteries] batteryf beats becauseH becomesU beenU before behavior beingm belonging belowc bending betterH betweenQ binaryz black blameH bleedingH board boostk boost/cut bouncingF boxes breakS breath bright brighter bring broadcastp broken built burstd bussesG buttonV buzzing canceled cancellationZ cancellations candidates capacitor cardioid carefullyF carrier carries carrying casesX cassetteI cause caused` causingZ cavitiesN cd'sS center centraly certainA chain chains changeN changeable] changedK changesQ changingg channelH channelsH characteristic characteristics charge chase chasing chasing employed whenever pieces equipment check chipy chips_ chord chords chorus chorusing circle circuiti classes_ clean click click popup bring scrolling clipping clock closely\ coarse\ coaxial codeY codes collectione collective colorp combn combination combinationsw combined comes coming commandV commercialw common[ commonly` communicatesy communicationT comparesJ compatibility compatibleT compensatedL completeZ complexw complexityw componentP component'sD compresses compression compressor compressorsc comprising computerB computers concerts condenser conditioner conductive conductors confirms| confusinglye confusionP connect connected connected connection connections connectors consciously conserve consisting consoleG consolesZ constant constantlyQ consumera containW containingG contemporary content] contents] contextD contiguous continuousY contour{ contraction contrastq contributeP contributes control] controlled controller controllers controls[ conversion convertz convertert createh created createsx creatingw creative critical crossfading crosstalkH currentA currently curvej cutoffg cycleZ cycles cymbals dac's damage dataD dates db/octj db/octavej de-esser de-essing dealingR decayh decka deck's decks decreases dedicated defaultK defectL deferred^ definable define definedD definesq defining defragmented defragmenting degradationF degreesZ delayo delaying densityN dependingL describeZ describedh describesY describes relative left/right position stereo field design designsi desired desktopy determinee determined determinesj detuning device| device devicesS diaphragm difference_ differences differentQ digit digitalF ctional directionsA directlyV directly accessible informationV dirtL disconnect disconnection| discontiguous discontinuitiesS discrepanciesS diskU disks display dissonant distance distinctly distinguishW distortionF distortion caused excessive signal levels` distortion occurs applying signa distributionb dithering domainF don't_ don'td doneF doubleo doublingo downe drawbarw drives dropD dropoutL dropoutsL dropping dropping record rerecord small portion drumH drumsW ducking duplicate duration durations duringL dynamicM dynamics eachF ear'sb early early reflections describe phase sound between effective effectively effectsL eight eitherQ electric electricalA electronicsd embedded embedded emphasisk employed encode encodingY energyd engaged engineer engineering engineersp enhanced enhances enoughX enter envelopeS envelopesh eprom_ equal equal-tempered equalizer equalizers[ equally equivalentj describe phase sound between initial erasable_ erased_ erasing errorL especially essentially` europeanp every evolutiong exactp exactly exampleA examplesS excepta excessive` excessive frequency content vocal tracks during exchangeT exchanged exciters exists expander expanders expands expense expressQ expressedC expressed measure effective noise expressed similar dynamic range except expressed different expressed degrees describe offset expressionT extended extends extension external_ ctork factorsR fade} fader failure| faint faintlyH favorably featureS feeds field fieldsL fifth figureH figuresH files filmp filterg filter's filteringv final fine\ fingerprintsL finite firstK fixed_ flanges flanging flawless floorM flowingA fluctuateQ fluctuating fluctuations fluctuations focus followedB follows Wxample audio component's bandwidth formq formantsN formatY forward foundv fourh fragmentation fragmented framep framesp freeF freed frequenciesL frequencies measures hertz frequencyA frequent fromF front function\ functions fundamentalN further gatesc gearX generalD generally| generate generated generates generating generator generator'sS generatorsh gestures ghost givea givenJ giving going graphn graphic great greaterH ground group guitarW happening^ happensH hardwarew harmonicP harmonicsN haveJ headI headphone heads hearH heardS hearingJ heart heavily hence hertzA hi-end highL high/lowi higherP highly hissF hissing hopefully hot-swapping hoursp house however humanN identical identify ignored| importantN imposes impression improper improves filter point which frequencies attenuatej parameters audio/synthesis evolution specific parameter computer terminology instructions folloB computer terminology denotes value proposed condenser microphones distance between conduc dynamic microphones sound transduced sound pressure synthesizers envelope generators create envelh context recording describes special monitor inches includeK includes including increase increasedN increases indefinitely index indicateQ indirectlyU indirectly accessible informationU individualG individually induced inducingX inharmonic initial~ initiatedc injection inputc inputs insert instantlyV instructiony instructionsB instructs instrumentT instrument's instrumentalN instrumentsT insufficient intact] intensity_ interchange interfaceT interference internal] internally interpolated interpretedC interrupted| intervals intoH inverseQ invertZ involves jumps keep] key's key-down keyboardy keyboard's keyboardsc keyingq kiloR knobsT known labeled largeR larger lastK later layers leadW leads leastF leavingX leftQ left/right length^ lengthened lengthening lessa levelC levelsF lever lfo'sl lines listen} loadedU local location locator locator locators logjam looka looks looping loops lossL lost] loudJ loudnessd lower machines\ macintosh madeW magneticL mainG makes makingn management manner manually manufacturers manufacturingL manyG mapped marginQ marker markers masked masterr master's match matches material maximumD meanings meansN measure measuredA measurementJ measures measuring mechanical mechanismI mechanical message| messages| methodY microphoneZ microphone's microphones micsZ middle midiT modules encode black white keyboard mildL milliseconds milliwattJ mimic minimized minimum minus minute minutesp missing mixdown mixed mixerH mixes mixingF modulationY modulations module modules moment monitored monitoring} monitors moreD mostX motionp mousey moves moving muchd multi multipleZ multiplesZ multiplicationR multiplyingy multitimbral multitrackF musicT musicalN musicians's mustF mutedL naturalo necessary need_ neighboringH never-heard-beforex newer noiseM noise introduced result rounding digital audio noisy non-destructive non-real^ normal normallyQ normally refers synthesizer channel example notation noteq notesT notese nothinge numberZ numberingP numbersR obtained obvious occupy occurL occurs\ octaves off-lineU offer offers offsetZ oftenR older velocity speed which on-lineU on-stage on/off onboard onceF modes device modes device multi modes device modes device onlyU onset ontoG operate operating operation opposed^ optical optimisticR optimize optimizedT optimzed option optional orderB orderedP organsw original oscillatorl otherJ othersh otherwise outdateds outerD outletsA outputD outputsG outside over^ overall overload` overloadedX overloadingX overtoneP overtonesP painM panorama describes relative left/right position panorama papera parameterK parameterse parametric partH partially partialsP partsv passi passes passingi patchK patches pattern perceivedd perfect performance^ performed performer's period^ periodic periodic modulation amplitude usually periodic modulation pitch usually peripherals phantom phaseZ phasing phenomenon phrase phrases pianist^ pianoW picked picking picks pickup playe playback played playersS playing^ plays please plugged pointQ pointsS polar polej polesj poly~ polyphonic polyphony popup portamentoS portion portions positionp possibleD post-fade potentiometers[ powerA power poweringK codes subcodes written along audio pre-defined pre-fade preceded precise predefined present preset presetse presse pressed pressing pressureJ prevent preventing previousW print probability problem problems procedure\ processF processed processes processingB processor processorso produceL production professional programV programmable] programs tional proposedK protocolT provideZ provided provides public pulseY pulsesq punching purposesT pushingV qualityk quantities quantityJ quantization\ cutoff frequencyj distortion@ limiter@ listen@ pattern@ print through@ program@ striping@ bits@ receiving device signal bleeding another channel crosstalk happens measurement compares values quant@ aiff@ acronym musical instrument digital interface@ effects device which reduces dynamic range rounding procedure digital systems@ attack being@ click popup bring scrolling connection@ device don'td embedded expanders@ fluctuations gain@ higher@ audio/synthesis evolution specific parameter inputs@ locator message| mostX notese perfect@ power power project@ quantization reduce@ reinforcing@ related@ running digital delay line@ sensitive@ series@ short digital signal processing@ short direct current current flowing direc@ short sound pressure level describes relative signal/noiseJ significantly@ situations@ sound stream@ structural@ subcodes synchronized@ termQ appearance ghost frequencies alias digital audio@ distribution harmonics sound@ lution dynamic contour message called channel pressure measures timbreP total@ twelve unencoded@ valuesJ waves@ which aliasing filter@ distortion@ filter@ harmonic@ noise@ signal/noise ratio@ quantization quarterq quickly quieter r-datI radio random] rangeM rangesM rarelyw rates ratesp rathera ratioJ ratiosJ reaches read_ real^ realistic reallyJ rebooting recalled receive receivingc recognizingN record[ recorded recorderF recordersM recordingF recording continuous smpte audio track recreate reducing reductionM refer` referencedJ referredX refersD reflection reflections reflective regardlessN registered reinforcing rejecti rejected rejectingi rejection ection ation relative} releaseh released relevant} remainsN remotely repeating represent\ representationb representedM representingY representsw require requirementsw requiringK rerecord resistance resistor[ resolution resolutions resolve resonancek respect respectivelyM respond responseD resultZ resulting results retain_ returns reverbB reverberation reverbsx rewind rewinding rewriting rewriting computer files occupy rhythmW richb rootsolutions rotary rounding\ routines rumble runningX running running piece electronic range inducingX s/pdif saidZ sameH sampleU sampler'sU samplersl samples samplingc saturationX sawtoothv sayingJ scale scaling scaling digital signal maximum level reaches scans scene score scoring screensy scrolling secondP secondsp section convertert after listen} channel pressure~ common rejection selectablec selected selectivelyv semitones sendingV sends sensing| sensitiveN sensitivity sequence sequencerF sequencersK sequences sequencing sequentially serialT setsQ setting setup setups severalF severeL severityL shapeh shapingN sharpn shield shiftq shortf short after listen special monitoring mode} short analog digital converter circuit convertz short audio interchange format describes short automatic double trackingo short beats minute common short central processing central short control voltage short digital delay short digital signal processingx short digital analog converter circuit convert frequency shift keying defines simple short inches second measures speed which short frequency oscillatorl short equivalent smpte short public address system collection short pulses quarter defines simple short sony/phillips digital interface format short sound pressure level describes relative short total harmonic distortion describes short universal serial defines protocol shouldP shows sibilance side-chain sides signalB signal/noise signal/noiseJ signalsG signatureK silence similara similar decay release describes final phase simpleq simulate simulateso simulationB simultaneous simultaneouslye since singlew situations slaver slaves sliders slightly slopej slopesj slower smallI smaller smallest smoothingS smptep snapshot snapshots societyp softM softesta software soloed solosW someB sometimesW song^ sonic sony/phillips soundF sound sounding soundsM sourceA sourcesG space spaced\ speakers speca special specialized specificB specification specified specifiesp spectral spectrumN speechN speed speeds squarev squeaking stable stage standardI standardsp standsh start started startingv starts state stations status| stepping steps stereoG stopping stops storagez storedU storing story strengthC stretchingL string stringing stronger subcodes subjectedv subjective submix subtractivev suchJ suddend sufficient sufficiently summedG suppliedA supplies surfaces susceptibilitys susceptible sustainh sweeping sweeps swept switchZ switches syncW synchronizationp ynthesizerV synthesizersK synthsl systemK systems\ table taken takes} taking talking tapeF tapes taskB technique televisionp tempoq temporarily temporaryL termD termQ terminated terminologyB termsh texturesx thanF thatB equivalent resistance circuits distribution harmonics soundb ear's representation frequency ear's representation spectrum frequency which digital samples waveform human rates noise analog decks initial phase sound during which sound normally stereo outputs console busses containingG number cycles waveform second number frames second transmitted optional third stage evolution dynamic conto portion sound pitch fundament point sample process mixing several tracks multitrack recorF process smoothing discrepancies between adjacent quality factor filter called resonance range levels represented audio systM residual amount noise which remains constant second stage evolution dynamic contour shaping sound using sound starting point shaping sound using combinations simple sounds strength signal level expressed refers acoustic phenomenon sound which frequencies measured avoid large electrical current electrical power theirh thereQ thereforeF these_ theyK thickens thicker thingsK third thisK message called aftertouch measures those though thought| three thresholdJ through throughputD timbral timbre timbreP timbresN timeF times timingT shift notes musical piece amount togetherF traditionallyv transduced transfer transformsx transient transientsd translate transmission transmits transmittedT transpose tremolol triads triangle trigger turned] turns| twelve twelve twiceF notes played two-stage type] typesi typicalH typicallyM unbalanced unchangedN under] unencoded unique unitJ unitsB universal unless unlimitedh unnecessarily unreliables untilK up/down uponc upperR usedH usefulZ userK uses[ usingE usuallyF valueK values valuesJ variable[ varietyT various velocity velocity-sensitive veryN vibratol videop viewer virtuallyx visible vocalH vocalsW voiceN voices volt/octave voltage[ voltagesz volumeC vowelsN wallA waveformS waveform'sZ waveformsZ western whatP wheel wheelsT whenR whenever whereJ whereby whereverH whichG which whileZ white whose_ willL window wireG wired wiring withM within withoutF wordO wouldS write writing written yourH zipper converterI activeT active sensingT additiveP additive synthesisP after after listen aftertouch aliasing ampere amplitude antiz delay harmonic harmonic distortion headroom hertz hertz highpassi highpass filteri holdb impedance in/out input input limiter lineo listen localT local on/offT locator looping lowpassi lowpass filteri master microphone midiT modeT modulation modulator monoT modeT multiT multi modeT multitimbral antization quantization noise registered rejection release reverb chain slave smpte spectrum sustain unbalanced userp bitsp DEFINITION TMP TXT termB definitionB xrefB tmp txtB Active sensing A/D converter erter A/D converter mni Pattern Figure eight pattern detailsB YesfJ YesfJ Sunday Monday Tuesday Wednesday Thursday Friday Saturday January February March April August September October November December 1st Quarter 2nd Quarter 3rd Quarter 4th Quarter 3/14/20021 overviewB YesfJ YesfJ lockB YesfJ YesfJ AC (A/C) Abbreviation for alternating current (flowing in alternating directions at a certain frequency, measured in Hertz). An example of an AC source is the power supplied by electrical wall outlets. DC (D/C) Impedance | Algorithm In computer terminology, a set of instructions that are followed in a specific order to accomplish some task. An example of a signal processing algorithm is the simulation of ambience in reverb units. | Amplitude W`The strength of a signal level, expressed in dB. Amplitude is interpreted by the ear as volume. Z*Envelope Tremolo Comb filter Modulation | Bandwidth A more general term for frequency response. For example, an audio component s bandwidth may be 20 kHz. The outer limits are defined by a drop in output level of 3 dB. In computer context, bandwidth refers to the maximum possible data throughput. Z%Frequency response Aliasing Equalizer Bouncing access privileges access privileges Active sensing converter about glossary active sensing additive synthesis after listen aftertouch algorithm aliasing ampere amplitude aliasing filter arpeggiator ascii attack autolocator balanced bandpass filter bandwidth select frequency binary bouncing break point breath controller cardioid pattern range envelope envelope generator filter formant frame frequency response harmonic headroom hertz interpolation locator modulation off-line on-line overdub overload phase potentiometer quantization saturation signal/noise ratio smpte spectrum subtractive synthesis threshold transient voice A signal bleeding into another channel. Crosstalk happens wherever two or more channels are used at the same time and is measured in dB. The greater the figure, the better, because it is the amount of attenuation that counts. For example, if you can faintly hear the drum part on the neighboring vocal track of your multitrack, crosstalk is to blame. Typical crosstalk figures at 1 kHz are about 60 dB for a mixer and 45 dB for analog tape. An acronym for Digital Audio Tape, it refers the small digital cassette tape standard. More properly, the DAT format is called R-DAT, because it involves a rotating head mechanism. Sample rate A/D converter R-DAT s, containing a mix from many individual sources. | crosstalk Default LIn computer terminology this denotes a value proposed by the system for any parameter requiring some set value. Default values are in effect until they are changed by the user and include such things as 4/4 time signature or 120 bpm for many sequencers, or synthesizers always powering up to the first patch (or the last one used). Ratios, such as signal/noise, are given in dB; a tape recorder may have a signal/noise ratio of 60 dB. Z;Crosstalk Cutoff frequency Amplitude Signal/noise ratio Default LIn computer terminology this denotes a value proposed by the system for any parameter requiring some set value. Default values are in effect until they are changed by the user and include such things as 4/4 time signature or 120 bpm for many sequencers, or synthesizers always powering up to the first patch (or the last one used). Dropout A loss or degradation of information on a piece of tape. Dropouts can occur because of dirt, fingerprints, magnetic fields, stretching the tape, or a manufacturing defect. Depending on the severity, a dropout may produce mild effects such as a temporary attenuation of high frequencies (on analog tape) or total loss of signal. On digital tape, small dropouts are compensated for by error correction; but during severe dropouts, the output will be muted. Dynamic range The range of levels that can be represented in an audio system. Measured in dB, it is typically limited by a noise floor and distortion at the outer extremes. The dynamic range of the ear is about 140 dB, limited by the threshold of hearing and the threshold of pain of soft and loud sounds, respectively. Dynamic ranges of tape recorders are about 60-70 dB (analog), 90-100 dB (analog with noise reduction), and 90-96 dB (16 bit digital). R-DAT W see: DAT. Break point see: Envelope. Notch filter see: Filter. Highpass filter see: Filter Lowpass filter see: Filter Bandpass filter see: Filter Partial see: Harmonic. Time stretching see: Time Dilation. Time dilation lA (non-real time) process in which the duration of a signal is lengthened or shortened without affecting its pitch. In music production, time dilation is used to match tempi of samples, such as drum loops, or to fit a selection of sound into a predefined time window, such as a 30 second commercial. To calculate time dilation factors, click the 'sequencing' tab. Time stretching | MIDI file see: Standard MIDI file. Pitch W&The ear's representation of frequency. Z Frequency overtone should be avoided. spectrum Headroom uction), and 90-96 dB (16 bit digital). formant Interpolation WmThe unit in which frequencies are measured. To avoid large numbers when dealing with high frequencies, the multiplication factors Kilo (K, x 1000) and Mega (M, x 1,000,000) are used. Human hearing ranges from about 20-30 Hz to 15-16 kHz, although an optimistic upper range of 20 kHz is often given. In this range, frequencies are interpreted by the ear as pitch. Z Frequency Interpolation Hertz (Hz) mThe unit in which frequencies are measured. To avoid large numbers when dealing with high frequencies, the multiplication factors Kilo (K, x 1000) and Mega (M, x 1,000,000) are used. Human hearing ranges from about 20-30 Hz to 15-16 kHz, although an optimistic upper range of 20 kHz is often given. In this range, frequencies are interpreted by the ear as pitch. Z Frequency Interpolation headroom uThe process of smoothing out discrepancies between adjacent points of a waveform. This is used in error correction circuitry of digital audio devices, like CD's and digital tape players, when discontinuities would be heard as clicks. Other examples include the changes of an envelope generator's level between break points, or the portamento feature on some synthesizers. An acronym for Musical Instrument Digital Interface. A standard digital serial communication protocol that allows compatible equipment to exchange data. Although optimized for musical purposes, the MIDI protocol can be adapted to a variety of applications. Transmitted data for music instruments include such things as notes, expression devices (wheels and knobs), and timing information. ctive sensing Note number Note on/off Aftertouch Breath controller Continuous controller General MIDI Local on/off Omni mode Mono mode Poly mode Multi mode Non registered parameter Off-line Indirectly accessible information. An example of off-line information is a sample you have stored on disk. It is only accessible after it has been loaded into your sampler s memory, at which point it becomes on-line. On-line On-line Directly accessible information. An example of on-line information is a patch on your synthesizer which can be instantly accessed by pushing a button, or sending a program change command. Off-line Overdubof off-line information is a sample you have stored on disk. It is only accessible after it has been loaded into your sampler s memory, at which point it becomes on-line. On-line On-line Directly accessible information. An example of on-line information is a patch on your synthesizer which can be instantly accessed by pushing a button, or sending a program change command. Off-line Overdub An arpeggio in music is a broken chord (notes played one after another as opposed to simultaneously). An arpeggiator scans the notes currently being held on a keyboard and plays them sequentially. Most arpeggiators allow for this stepping action to be extended across several octaves and enhanced in various ways, such as up, down, up/down, random directions, or more complex textures that include some chords and some single notes. d rhythm guitar. Overload Wnc with a previous recording. The term is sometimes also used to distinguish lead instruments, vocals, solos, etc. from basic backing tracks, which contain instruments like drums, bass, piano, and rhythm guitar. Overload Expressed in degrees, it is used to describe an offset in a waveform s cycle. A complete cycle is 360 degrees; therefore, waveforms at 0 degrees or multiples of 360 degrees offset are said to be in phase, while any other number would result in waves that are out of phase. Many mixing consoles provide a switch to invert the phase of a signal by 180 degrees. This is often useful in multiple microphone recording, when signals arrive at two or more mics out of phase, causing frequency canceB llation. Balanced Flanger Quantization Any rounding procedure in digital systems. Very fine quantization occurs in PCM audio systems to represent continuous waveforms as a series of closely spaced numbers. An example of very coarse quantization is the timing correction function of drum machines.rs in PCM audio systems to represent continuous waveforms as a series of closely spaced numbers. An example of very coarse quantization is the timing correction function of drum machines.of phase, causing frequency canceB llation. Potentiometer (pot) A variable resistor that attenuates an applied voltage. Common uses for potentiometers include volume controls, equalizers, or record level adjustments. Quantization Any rounding procedure in digital systems. Very fine quantization occurs in PCM audio systems to represent continuous waveforms as a series of closely spaced numbers. An example of very coarse quantization is the timing correction function of drum machines. | Real time @A process happening in and at the time of delivery. An example of a real time performance would be a pianist playing a song, as opposed to a non-real time or deferred time performance by a band in a multitrack studio, where the music is pieced together over a period of time that is greater than the length of the song. An acronym for Read Only Memory. The content of this type is memory is fixed and may not be altered. Related classes of ROM chips include PROM (Programmable Read Only Memory) which can be stored into once, EPROM (Erasable PROM) whose memory can be erased using high intensity light, and EEPROM (Electronically EPROM) whose memory contents can easily be changed. The difference between these and RAM chips is that they don t need external power to retain data. Saturation unencoded union unique unitJ unitsB universal unless unlimitedh unnecessarily unreliables untilK unused up/down uponc upperR usedH usefulZ userK uses[ using_ usuallyF valueK values signal bleeding another channel crosstalk happens measurement compares values quant@ across@ aiff@ acronym american standard information interc@ acronym musical instrument digital interface@ effects device which reduces dynamic range and/or@ rounding procedure digital systems@ associated@ attack audio/synthesis@ being@ circuitry@ clipping@ connection@ ily overload tape or electronics, causing distortion. Overload Distortion Headroom um. The ear s representation of spectrum is timbre. harmonic #| Threshold Voice DNormally, this refers to a synthesizer channel. For example, a 16 voice synthesizer can play up to 16 notes simultaneously. Confusingly, voice is sometimes used to refer to the number of presets on a synthesizer which is nothing more than a collection of parameters that determine what your hear when you press down a key. DC (D/C) WaShort for Direct Current (a current flowing in only one direction). A battery is a source of DC. AC (A/C) Envelope In audio/synthesis, the evolution of a specific parameter over time. Amplitude and filter cutoff are the most commonly used parameters, changing the volume and the spectrum over time, respectively. The points where the direction of an envelope changes are called break points. Z@Envelope generator Break point Sustain Release Decay Attack Envelope generator Wrator what your hear when you press down a key. DC (D/C) smpte songT position pointerT spectrum standardT standard fileT stretching striping subtractivei subtractive synthesisi sustain synthesisP threshold timbre stretching transient tremolo unbalanced userp bitsp velocity vibrato wah-wah clock zipper zipper noise ile rejecting others. Common filter types include low pass, hi pass, band pass, and band reject (notch) designs, which filter out high, low, and high/low frequencies, respectively. The point at which the frequencies are attenuated by 3 dB is called the cutoff frequency of the filter. Z Frequency break points. Envelope Filter striping subtractivev subtractive synthesisv sustain synthesisv system threshold through timbre time^ dilation stretching transient transposing tremolo unbalanced to as a number of poles , where each pole is equivalent to 6 dB/oct. Filter The Q (for quality) factor of a filter, also called resonance or emphasis, describes the amount of boost around the cutoff frequency of a filter. Cutoff frequency LFO Common slopes are 6, 12, and 24 dB/octave. Sometimes the slope is referred to as a number of poles , where each pole is equivalent to 6 dB/oct. Filter The Q (for quality) factor of a filter, also called resonance or emphasis, describes the amount of boost around the cutoff frequency of a filter. cutoff frequency Comb filter WtA filter with many sharp peaks and dips in its response (making its frequency vs. amplitude graph look like a comb). Phaser Short for Automatic Double Tracking. Using delay processors, ADT simulates the effect of natural instrumental or vocal doubling. Digital delay line Doubling SMPTE An acronym for Society of Motion Picture and Television Engineers. The term refers to a number of synchronization standards, whose pulse frequencies, called frame rates, are 30, 29.97, 25, and 24 fps (frames per second). 30 fps is used in b/w TV (the number of frames actually broadcast per second), 29.97 fps (drop frame), is used in color TV and video, 25 fps is used in European broadcast TV, and 24 fps is used in film. Each SMPTE frame specifies an exact position in hours, minutes, sec color TV and video, 25 fps is used in European broadcast TV, and 24 fps is used in film. Each SMPTE frame specifies an exact position in hours, minutes, seces, sec Expressed in dB, the term is used in two different ways. It may either express the margin between 0 VU and the point at which distortion sets in, or it may indicate the margin between a current signal level and distortion. Because signal levels normally fluctuate, the amount of headroom constantly changes in inverse proportion. To avoid distortion, signal levels are adjusted so that there is always some headroom left. Z/Distortion Signal/noise ratio Clipping Overload ecBfonds, and frames. For example, the frame 02:10:32:09, means 2 hours, 10 minutes, 32 seconds, 9 frames. Short for Frequency Shift Keying. FSK defines a simple form of synchronizing two machines, using two alternating frequencies, usually at 24 pulses per quarter note. In contrast to SMPTE sync, the tempo information in FSK is fixed. SMPTE Frame rate Subtractive synthesis 3The shaping of sound using a rich sound as a starting point and selectively filtering out parts of it. Traditionally, subtractive synthesis is found on analog synthesizers. The basic waveforms (such as sawtooth or square), being rich in harmonics, are subjected to filtering to create a variety of sounds. Additive Synthesis Additive synthesis OThe shaping of sound using combinations of simple sounds for creating complex sounds. Additive synthesis is rarely found in commercial synthesis gear because of the hardware requirements and complexity of parameters. A simple form of additive synthesis can be found on drawbar organs, where each drawbar represents a single harmonic. Subtractive Synthesis Harmonic presents a single harmonic. Subtractive Synthesis Harmonic oltages. In digital audio, DAC s are used to recreate audio waveforms from streams of digital numbers stored on DAT tape, CD s, etc. Short for Digital Signal Processing. DSP happens in virtually all modern studio equipment. It creates ambience in digital reverbs units or transforms simple sounds into never-heard-before textures. Wity of parameters. A simple form of additive synthesis can be found on drawbar organs, where each drawbar represents a single harmonic. Short for Digital Signal Processing. DSP happens in virtually all modern studio equipment. It creates ambience in digital reverbs units or transforms simple sounds into never-heard-before textures. Wple form of additive synthesis can be found on drawbar organs, where each drawbar represents a single harmonic. Short for Digital Signal Processing. DSP happens in virtually all modern studio equipment. It creates ambience in digital reverbs units or transforms simple sounds into never-heard-before textures. QShort for Central Processing Unit, the CPU is the central chip of a desktop computer and other electronic devices, such as digital effect processors. Each CPU has a specific instruction set (like adding or multiplying numbers) and communicates with other devices, such as I/O devices (screens, keyboard, mouse), and memory (RAM or ROM). A/D converter Short for Analog to Digital Converter. A circuit that converts analog voltages into binary numbers, so that they can be used for computer storage and processing. In digital audio, ADC s are used to convert audio waveforms into streams of binary numbers for storage on DAT tape, CD, etc. Z/D/A converter Aliasing Anti aliasing filter Short for Attack, Decay, Sustain, Release, ADSR describes the basic elements of a contour (envelope) in a sound which may be applied to such parameters as volume or timbre. Z8Envelope generator Attack Decay Sustain Release Envelope Polar pattern see: Directional pattern. Noise floor WRThe residual amount of noise which remains at a constant level in an audio signal. Z-Noise Dynamic range Signal/noise ratio Dither Doubling The process of copying an instrumental or vocal performance onto another track. Doubling makes a sound fatter, and is sometimes artifically created by using a digital delay line. In this case, doubling is referred to as ADT (automatic double tracking). Digital delay line ouble tracking). Digital delay line or amplitude or filter changes. When individually measured for all keys, aftertouch becomes poly pressure. Poly pressure Channel pressure see: aftertouch Aftertouch The unit of electrical current. Anti aliasing filter A filter which is applied before A/D conversion which limits the high frequencies to the range of the converter (approximately half the sampling rate). aliasing ASCIIgiator An arpeggio in music is a broken chord (notes played one after another as opposed to simultaneously). An arpeggiator scans the notes currently being held on a keyboard and plays them sequentially. Most arpeggiators allow for this stepping action to be extended across several octaves and enhanced in various ways, such as up, down, up/down, random directions, or more complex textures that include some chords and some single notes. ASCIIken chord (notes played one after another as opposed to simultaneously). An arpeggiator scans the notes currently being held on a keyboard and plays them sequentially. Most arpeggiators allow for this stepping action to be extended across several octaves and enhanced in various ways, such as up, down, up/down, random directions, or more complex textures that include some chords and some single notes. ASCII ASCII An acronym for American Standard Code for Information Interchange, the code defines the binary data that keys pressed on a computer keyboard generate, so that keyboards and data are compatible among different systems. Attack The initial phase of a sound during which the sound normally reaches maximum amplitude. The attack phase is usually followed by a decay phase. Attacks can have very short durations (such as that from a drum) or very long ones (such as that of an airplane approaching). Z-Decay Sustain Release Envelope generator Locator A user definable point in a recording which may be recalled by hand or by the use of an autolocator. Locators are normally used to mark important structural points in a piece of music. Autolocator Punch in/out Autolocator The process of mixing several tracks from a multitrack recorder (or sequencer) together to one or two tracks to free up tracks for more recording. Analog tape bouncing adds some hiss each time (at least 3 dB), therefore it is usually done no more than once or twice. In the digital domain, bouncing can be done without degradation of sound, but the levels must be carefully adjusted to avoid distortion. An electrical wire onto which many electrical signals can be summed. The main stereo outputs from a console are busses, containing a mix from many individual sources. Group lines are out of phase with respect to one another. unbalanced bias frequencyving device are wired in a balanced manner, any noise which is picked up by the cable is canceled out at the receiving end, because the plus and minus lines are out of phase with respect to one another. unbalanced bias frequency WXShort for beats per minute, BPM is the most common way to define tempo in western music. Breath controller WfA MIDI control device which converts breath pressure into MIDI data to apply effects, such as vibrato. W4A single digit, representing a string of eight bits. Binary Cardioid pattern A directional pattern of microphones which are most sensitive to sounds coming at them 'on axis', i.e. directly from the front. The name comes from the pickup pattern, which looks like the shape of a heart. ZHDirectional pattern Omni Pattern Figure eight pattern Dynamic microphone Short for Control Voltage. Control voltages are used in analog synthesizers to change parameters such as frequency, amplitude, or spectrum. Common control voltage types include 1 Volt/octave and 5 Volt/octave, but there are also other 'standards'. Condenser microphone Chasing Chasing is employed whenever two or more pieces of equipment need to be synchronized. When the master starts playing, the slaves chase the master in order to achieve 'lock' (stable synchronization). Chord Two or more notes played at the same time. The most common chord types in western music are triads, where three notes are sounding. Chorus An effect that thickens the input signal by delaying and detuning a copy and mixing it with the original. Chorusing effects are based on digital delay lines. Digital delay line Chord Two or more notes played at the same time. The most common chord types in western music are triads, where three notes are sounding. Chorus, the slaves chase the master in order to achieve (stable synchronization). Chord Two or more notes played at the same time. The most common chord types in western music are triads, where three notes are sounding. Chorus Decay The second stage in the evolution of a dynamic contour of a sound (after the initial attack). During the decay, sound decreases in volume. Some sounds will end with the decay, others enter the sustain phase, during which no average change in volume occurs. Z.Attack Sustain Release Envelope generator Defragmenting Rewriting data to a computer disk so that all files occupy contiguous disk space. If files are heavily fragmented, operation speed is unnecessarily reduced. Some operating systems have defragmenting routines built in, on others it is an option. Fragmenting option. Fragmenting ragmenting disk space. If files are heavily fragmented, operation speed is unnecessarily reduced. Some operating systems (such as samplers) have defragmenting routines built in, on others (like most home computers) it is an option. Fragmenting computers) it is an option. Fragmentation DI box Wnting $Rewriting data to a computer disk so that all files occupy contiguous disk space. If files are heavily fragmented, operation speed is unnecessarily reduced. Some operating systems (such as samplers) have defragmenting routines built in, on others (like most home computers) it is an option. Fragmentation DI box Wthat all files occupy contiguous disk space. If files are heavily fragmented, operation speed is unnecessarily reduced. Some operating systems (such as samplers) have defragmenting routines built in, on others (like most home computers) it is an option. Fragmentation DI box Wagmented, operation speed is unnecessarily reduced. Some operating systems (such as samplers) have defragmenting routines built in, on others (like most home computers) it is an option. Fragmentation DI box decay This term has two meanings: 1. cue mix - a signal buss from the mixing console which feeds the performer's headphones during recording. 2. in film scoring, a selection of music. One distinguishes between 'source' music (music that is perceived as belonging to a scene, e.g. a musical performance in the film), and 'score' music, i.e. music which enhances the story (and is often not consciously perceived by the viewer). Foldback Digital delay line r doubling. Because the sound is temporarily stored in memory, long delay times can also be used to be play back short phrases indefinitely. A black box which matches the output of an electric instrument, such as an electric guitar, to the input of a receiving device. Typically, DI (direct injection) boxes are used to plug instruments directly into the mixer for recording or PA applications. digital delay line WkShort for Audio Interchange File Format, AIFF describes a standard format for audio files on the Macintosh. Dither lThe human ear rates noise on analog tape decks much more favorably than the quantization noise on digital systems. In digital audio, dithering is the process of adding small amounts of white noise to the signal. Even though the noise floor increases slightly, the subjective impression of audio quality improves, because quantization noise is effectively masked. Quantization noise Zipper noise see: Quantization noise. Quantization noise Pitch bend Quantization noise Noise introduced as a result of rounding in digital audio systems. Quantization noise increases with low resolutions and poor filter design. Zipper noise Dither noise Quantization noise Pitch bend Ducker A special patch of a compressor and a side chain or key input. During ducking the level of the input is reduced as a function of another signal connected to the side chain input. A common application is the level reduction of music when a voice over is taking place. Side chain Compressor Dynamic microphone In dynamic microphones, sound is transduced by sound pressure moving a small diaphragm attach to a moving coil within a magnetic field. The normal directional response of a dynamic mic is the cardioid pattern. Condenser Microphone Early reflections 7Early reflections (ER) describe the phase of a sound between the initial (dry) sound and the onset of reverberation. ER may be heard distinctly, if they are spaced sufficiently far apart, e.g. in a very large hall with highly reflective surfaces. Some digital reverbs offer precise control over ER parameters. Reverb Exciter dynamic microphone The Q (for quality) factor of a filter, also called resonance or emphasis, describes the amount of boost around the cutoff frequency of a filter. Cutoff frequency Filter Short for Low Frequency Oscillator. s are used in synths and samplers to modulate a sound. For example, an LFO may be applied to frequency (pitch) to create a vibrato, or to amplitude (volume) to create a tremolo. Sample and hold Tremolo Vibrato Modulation In audio terms, modulation means change. When parameters such as frequency, amplitude, spectrum, etc. are changed, they are being modulated. imes the slope is referred to as a number of poles , where each pole is equivalent to 6 dB/oct. Filter Frequency WxAn effects device that generates artificial harmonics and mixes it with the input signal, resulting in a brighter sound. Harmonic distortion Expander gAn effects devices which increases dynamic range by attenuating low level signals. Expanders are often used to clean up noisy tracks, based on the assumption that the noise will be quieter than the desired signal. When the signal source stops, the expander can reduce the volume of the noise. When the source is present, it will (hopefully) mask the noise. Z*Compressor Compander Side chain Noise gate Standard MIDI file A standard that describes the data format for MIDI sequences. Because most sequencers can read and write MIDI files, this allows sequences to be exchanged among sequencers from different manufacturers. MIDI file rs while the engineer applied pressure to one of the deck s flanges (sides of a reel), causing pitch fluctuations. Foldback Foldback 6Active sensing Pitch bend Channel pressure Multitimbral Velocity Song position pointer Standard MIDI file Bank select Poly pressure Program change Note number Note on/off Breath controller Continuous controller General MIDI Local on/off Omni mode Mono mode Poly mode Multi mode Non registered parameter This term has two meanings: In the context of electronic keyboards, it refers to the 'key-down' state which is used to trigger a sound. The word is also used as a short hand for noise gate. Noise gate Expander Noise gate 3A device which increases dynamic range by reducing the soft portions of a signal. In contrast to an expander, this reduction is stronger and usually not even adjustable. Noise gates are used to silence background noise, such as amplifier hum or air conditioner rumble, in the pauses of the desired signal. Threshold such as amplifier hum or air conditioner rumble, in the pauses of the desired signal. r second. Frequencies are measures in Hertz. Hertz (Hz) This term has two meanings: In the context of electronic keyboards, it refers to the key-down state which is used to trigger a sound. The word is also used as a short hand for noise gate. noise gate General MIDI [An extension to the MIDI specification which provides basic sound compatibility between sound modules from different manufacturers. To be general MIDI compatible, among other things, a device must have a minimum of 127 patches (sounds) which must be mapped to specific patch numbers, be 16-part multitimbral, and have at least 24-voice polyphony. Ground loop A common wiring problem in recording studios or live performance situations where more than one path to ground exists. Since no ground connection is perfect, the voltage difference between different ground connections creates a current which is audible in the form of hum and buzz. Noise DI box yphony. Ground loop Short for Inches Per Second, ips measures the speed at which tape moves past the heads of an analog tape recorder. An increase in tape speed provides better frequency and transient response on analog machines, and a reduced probability of dropouts on digital machines. Lower speeds are used for less critical material to conserve tape. Common tape speeds include 30 ips, 15 ips, 7.5 ips, and 3.75 ips. re plugged in. Smaller consoles usually have only one (if any) insert points which are connected just after the input gain. Larger consoles offer another insert point after the EQ section. Limiter An effects device which reduces the dynamic range to a safe level by preventing overload during signal peaks. Compressor are essentially the same as limiters. When the compression ratio is greater than about 20:1, it is generally referred to as limiting rather than compression. Compressor Local on/off HA software switch which allows the connection (local on) or disconnection (local off) between a MIDI keyboard and its internal sound generator. Local mode is usually set to off for sequencing purposes, so that a sound is not played twice (once from the keyboard and once by the sequencer echoing the note back to the keyboard). ather than compression. Compressor Local on/off WfShort for MIDI time code, it is the equivalent of SMPTE time code, embedded into the MIDI data stream. SMPTE Multitimbral #A term used in the context of MIDI instruments, which describes the instrument s ability to play different sounds on different MIDI channels. To be multitimbral, a module must be able to receive at least two channels simultaneously, although most modern devices receive on all 16 channels. General MIDI Note number MIDI modules encode each key on a black and white keyboard as a note number, where middle C is note number 60. To see which notes are mapped to which number, you can click the 'misc' tab above which also shows their equivalent in Hertz. although most modern devices receive on all 16 channels. Note number Note on/off A MIDI message that is generated when a key on a MIDI keyboard is pressed down or released, respectively. MIDI note on/off messages can be recorded and/or generated by sequencers or other software to control synthesizers remotely. Program change A MIDI message that instructs the receiving MIDI device to switch to a different preset. The MIDI spec allows for 128 patch different patch numbers, however, this range can be extended with the use of a bank select command. Patch change Bank select Multisample WcA method of creating more realistic samples by taking several samples across an instrument s range. Normalizing WZScaling a digital signal so that its maximum level reaches exactly 0 dB headroom (0db FS). WcA method of creating more realistic samples by taking several samples across an instrument s range. normalizing WQScaling a digital signal so that its maximum level reaches exactly 0 dB headroom. oscillator Print through XA process where layers of magnetic tape transfer part of their magnetic patterns to adjacent layers on a reel. This leads to faint echos on analog tape which can be heard during pauses, but is normally masked by program material. Print through can be minimized by storing analog tapes 'tail out', rewinding before use, and using thicker tape. Punch in/outhos on analog tape which can be heard during pauses, but is normally masked by program material. Print through can be minimized by storing analog tapes 'tail out', rewinding before use, and using thicker tape. Punch in/outis normally masked by program material. Print through can be minimized by storing analog tapes tail out , rewinding before use, and using thicker tape. Punch in/out An acronym for Small Computer Systems Interface, SCSI defines a standard protocol for computer peripherals, such as hard disks or CD ROM drives to a host computer. SCSI devices must be set to a unique ID in a chain and the last device must be terminated to mark the end of the chain. | Sibilance Excessive high frequency content on vocal tracks during 's' or 'sh' sounds. Sibilance normally occurs when excessive high frequency boost is employed. It can be reduced by the use of a de-esser. De-Esser Side chain A jack which is connected to the control circuitry of dynamic processors, such as compressors and expanders. Side chains allow the dynamics of the input signal to be controlled by another signal. A common application of this type is ducking. Z-Ducker Compressor Expander De-Esser Key input | Key input see: Side Chain. is used and can be reduced by the use of a de-esser. Side chain Short for Radio Frequency. In audio context, this term is usually associated with noise interference, such as radio stations being picked up by unbalanced lines. Noise Unbalanced Omni pattern WWA directional pattern in microphones which picks up sounds equally from all directions. Z9Directional pattern Cardioid Pattern Figure eight pattern Directional pattern W~An important characteristic of a microphone which describes its pickup pattern (sensitivity to sound from various directions). ZSOmni pattern Cardioid pattern Figure eight pattern Dynamic microphone Polar pattern Distortion A change in sound as a result of excessive signal gain. Distortion is usually avoided in recording by leaving enough headroom. ZqHeadroom Clipping Harmonic distortion Transient Dynamic range Bouncing Signal/noise ratio Overload Saturation Overtone see: Harmonic. stortion is usually avoided in recording by leaving enough headroom. Fragmentation Striping WfRecording continuous SMPTE time code on an audio track of a multitrack deck for later synchronization. SMPTE | Equalizer yA device which can boost or cut specific frequencies in an audio spectrum. Common designs include the graphic equalizer, where several fixed frequency bands are controlled using individual sliders (giving a graphic representation of the response curve), and the parametric equalizer where the desired band(s), amount of boost/cut, and bandwidth are selected using rotary pots. see: Equalizer. Z Equalizer Group A buss on a mixing console carrying a submix from several sources, whose output level is controlled by a dedicated fader. The group outputs usually feed the inputs of the multitrack recorder. see: Non Registered Parameter. Non registered parameter Wgistered parameter Phaser #An effects device which passes a duplicate of an input signal through a comb filter and mixes it with the input signal. The bands of the filter are swept, usually by an onboard LFO. The resulting phase cancellations at changing frequencies give the phasing effect its characteristic sound. see: Pre fade listen. Pre fade listen nA monitoring mode provided on most mixing consoles that lets the engineer listen to only those sounds whose PFL switches are engaged. In contrast to solo mode, PFL is non-destructive to the mix and the sounds are monitored raw, i.e. as they enter the board, but after the input gain control. PFL monitoring is used to optimize the signal level to its input channel. After fade listen SoloSolo ere all channels are muted except those whose solo function is engaged. This allows the engineer to focus on specific instruments in a mix, along with any applied effects. PQ codes are subcodes written along with the audio data to a CD and include such things as track and index markers, table of contents, total running time, etc. Ring modulator An effect device which takes two inputs and outputs the sum and difference of the signals. Because the sum and difference are usually not in any harmonic relation to an input signal, dissonant or inharmonic frequencies are generated. Sample rate The frequency at which digital samples of a waveform are taken per second. Common sample rates include 44.1 kHz (CD), 48 kHz (DAT), and 96 kHz in newer hi-end equipment. Lower sample rates are used in some samplers to conserve memory. Aliasing Anti aliasing filter Sample and hold r inharmonic frequencies are generated. ring modulator Sustain Wd hold mA circuit used in analog synthesizers with takes a snapshot of a random fluctuating voltage source (such as white noise). Digital synthesizers mimic this behavior by generating random numbers. Usually, this action is combined with an LFO so that snapshots are taken at regular intervals. Typically, sample and hold circuits are used to modulate pitch and timbre. Sustain Wnthesizers mimic this behavior by generating random numbers. Usually, this action is combined with an LFO so that snapshots are taken at regular intervals. Typically, sample and hold circuits are used to modulate pitch and timbre. Sustain this behavior by generating random numbers. Usually, this action is combined with an LFO so that snapshots are taken at regular intervals. Typically, sample and hold circuits are used to modulate pitch and timbre. Sustain WBfonds, and frames. For example, the frame 02:10:32:09, means 2 hours, 10 minutes, 32 seconds, 9 frames. Z%User bits Frame rate Striping Short for Frequency Shift Keying. FSK defines a simple form of synchronizing two machines, using two alternating frequencies, usually at 24 pulses per quarter note (PPQ). In contrast to SMPTE sync, the tempo information in FSK is fixed. color, e.g. we say that cymbals have a 'bright' timbre. point in a sample and repeating this section. Loops can help conserve memory in samplers, but sometimes the technique becomes obvious, because of dynamic or timbral differences between the loop points. crossfade looping crossfade looping Tremolo W6Periodic modulation of amplitude, usually with an LFO. Transposing OTo shift all notes of a musical piece by the same amount which is normally specified in semitones. For example, a setting of +7 on a keyboard would transpose the keyboard up a perfect fifth, so that pressing middle C will now actually play a G above that. Click the 'circle of fifths' tab for help with transposing to different keys. Unbalanced CA wiring system where there are only two leads in a cable, one being hot (+) and the other being ground. Unbalanced wiring is susceptible to picking up noise which is induced into the cable from outside sources, such as power supplies or radio stations, and increases with factors like cable length and poor cable quality. Balanced ctors like cable length and poor cable quality. Balanced Velocity On MIDI keyboards, velocity is the speed at which a key is pressed down. This can be used to control volume and/or other parameters. Velocity has a resolution of 127 steps (with a velocity of 0 being equal to a note off command) and is interpreted by MIDI devices and sequencers along with note information. Most keyboards are velocity-sensitive (measuring velocity). Those that are not, output every note with a velocity of 64 unless otherwise specified. W Velocity has a resolution of 127 steps (with a velocity of 0 being equal to a note off command) and is interpreted by MIDI devices and sequencers along with note information. Most keyboards are velocity-sensitive (measuring velocity). Those that are not, output every note with a velocity of 64 unless otherwise specified. 4Short for Universal Serial Buss, USB defines a protocol for communication among computer peripherals with the host computer. Similar in function to SCSI, USB offers up to 127 addresses for devices and hot-swapping (being able to connect or disconnect devices without rebooting) at the expense of some speed. Short for Total Harmonic Distortion, THD describes the sum total of all harmonics introduced into the signal because of distortion. Harmonic distortion Harmonic distortion A type of distortion whereby harmonic frequencies are introduced into the signal which are not present in the original. Harmonic distortion is often used as an effect, most prominently in guitar amps and fuzz boxes and in exciters. Pitch bend Pitch shifter WdAn effects device which alters the frequency of an input signal without affecting its overall tempo. Phantom power $A +48V voltage source that feeds microphones using the signal cable. It is called phantom because there is no visible power line. Not all microphones require phantom power (e.g. dynamic mics), but if a properly wired balanced mic cable is used, applied power does not damage the microphone. Condenser microphone | Poly mode One of four modes a MIDI device may be set to, poly mode lets a device respond to any number of notes simultaneously (up to the maximum number of voices available) on a single MIDI channel. Omni mode Mono mode Multi mode lets a device respond to a single note at a time on a single channel. Mono mode is used by older MIDI equipment when polyphonic response on simultaneous channels was not common or possible. Omni mode Poly mode Multi mode Multi mode embedded Wur modes a MIDI device may be set to, omni mode lets a device respond to notes on any channel up to the maximum polyphony. Omni mode is the most basic of all modes and used as a default for older MIDI equipment on power up. Z poly mode Vocoderbe set to, omni mode lets a device respond to notes on any channel up to the maximum polyphony. Omni mode is the most basic of all modes and used as a default for older MIDI equipment on power up. Z poly mode Vocoder One of four modes a MIDI device may be set to, omni mode lets a device respond to notes on any channel up to the maximum polyphony. Omni mode is the most basic of all modes and used as a default for older MIDI equipment on power up. Z poly mode Vocoder In the context of recording, solo describes a special monitoring mode where all channels are muted except those whose solo function is engaged. This allows the engineer to focus on specific instruments in a mix, along with any applied effects. Z Solo safe fill up available sequencer memory. Aftertouch tors ( house sync ) are often used to which other pieces of equipment resolve. Poly pressure $A MIDI message that measures how hard individual keys are pressed down after their initial attack. Poly pressure can be an effective way to create complex modulations, but it can quickly generate large amounts of MIDI data which can cause MIDI logjam and fill up available sequencer memory. Aftertouch attack. Poly pressure can be an effective way to create complex modulations, but it can quickly generate large amounts of MIDI data which can cause MIDI logjam and fill up available sequencer memory. | PA system Short for Public Address, a PA system is the collection of amplifiers, speakers and other sound reinforcing equipment used in concerts. About this glossary Click and hold the popup menu to bring up a scrolling list of terms used in audio production. Slower computers may take a moment to display the list D/A converter Short for Digital to Analog Converter. A circuit that converts binary numbers into continuous voltages. In digital audio, DAC s are used to recreate audio waveforms from streams of digital numbers stored on DAT tape, CD s, etc. A/D converter Wah-Wah An effects device which processes an input signal with a high Q bandpass filter. The filter s center frequency is swept with a foot pedal. The effect is usually applied to a guitar and therefore the filter s frequency response is optimzed for that of a guitar. efore the filter s frequency response is optimzed for that of a guitar. show xref sort term show details goto overview exit A open file reverb modulator s/pdif sample sample saturation sibilance chain signal/noise ratio single ended noise reduction smpte position pointer spectrum striping subtractive synthesis sustain threshold timbre transient transposing tremolo unbalanced velocity vocoder voice wah-wah clock zipper noise limiter local on/off locator dulation multisample multitimbral noise registered parameter normalizing number on/off off-line on-line oscillator overdub overload patch change phase phaser potentiometer listen print through normally unused embedded smpte signal notation goto overview close file BA sort term status bar show details [A show xref formant network Close: Cancels6 This file cannot be opened because the main menu was not found. Please make sure that all studio system files are in the same folder. YesfE Helvetica Geneva Avant Garde s\s\w~ s]s=b VWVx s]s=b VWVx RWVwZ o=o<o< RVVwZ k<k< k<o=f k<o]k k<o]k s]w^s=o (LIST LISTA transposing VDEFA( transpose? 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Pro 5.0 USENGLSH.MPR Spelling potentiometer listen print through program change punch in/out quantization quantization noise r-dat release reverb modulator s/pdif sample sample saturation sibilance chain signal/noise ratio single ended noise reduction slave smpte position pointer spectrum standard striping subtractive synthesis sustain threshold timbre dilation stretching transient transposing tremolo unbalanced velocity vibrato vocoder voice wah-wah clock zipper noise appearance ghost frequencies alias digital audio defragmenting digital delay dither dropout ducking dynamic microphone dynamic range early reflections envelope envelope generator equalizer exciter expander figure eight filter flanger foldback formant fragmenting frame frequency frequency response fundamental general ground group harmonic harmonic distortion headroom hertz impedance insert interpolation input limiter local on/off locator dulation multisample multitimbral noise registered parameter normalizing number on/off off-line on-line oscillator overdub overload patch change phase phaser potentiometer listen print through DA MIDI message which instructs the receiving sound module to change its pitch up or down. The pitch bend command is normally activated from a keyboard s pitch wheel or lever. Because of the ear s sensitivity to zipper noise, pitch bending has a 16 bit resolution rather than the 8 bit resolution of other MIDI controllers. clock zipper@ channel mixing console collective defining standards media production such@ device reduces sibilance vocals generally filter sharp peaks response maki@ message instructs receiving device notation system which represents quantities using bleeding another channel crosstalk happens measurement compares values quant@ across@ aiff@ acronym american standard information interc@ acronym musical instrument digital interface@ effects device which reduces dynamic range and/or@ rounding procedure digital systems@ associated@ attack audio/synthesis@ being@ circuitry@ clipping@ connection@ A digital clock signal embedded in to AES-EBU and S/PDIF data streams which assures proper timing synchronization between digital audio and video devices. The word clock includes timing information, as well as word length and channel information of digital audio samples. In larger studio setups, dedicated word clock generators ('house sync') are often used to which other pieces of equipment resolve. Poly pressure $A MIDI message that measures how hard individual keys are pressed down after their initial attack. Poly pressure can be an effective way to create complex modulations, but it can quickly generate large amounts of MIDI data which can cause MIDI logjam and fill up available sequencer memory. Channel pressure The unit of electrical power. Ampere combn filtern common common rejection compander compressor condenser condenser microphone continuous continuous controller controller converterz crossfade crossfade looping crosstalk cutoffj cutoff frequencyble quality. balanced channel pressure@ figure eight pattern@ harmonic@ midi@ potentiometer MSPC@ MSPC@ MSPC@ MSPC@ exit open file network status bar close file show xref sort term show details goto overview exit A open file Close: Cancels6 This file cannot be opened because the main menu was not found. Please make sure that all files are in their original folder and have not been renamed. converterI crossfade crossfade looping crosstalk cutoffJ cutoff frequencyJ converterz de-esser decay defragmenting delayo digitalo digital delay lineo directional directional pattern minutes, secBfonds, and frames. For example, the frame 02:10:32:09, means 2 hours, 10 minutes, 32 seconds, 9 frames. User bits Frame rate Short for Frequency Shift Keying. FSK defines a simple form of synchronizing two machines, using two alternating frequencies, usually at 24 pulses per quarter note (PPQ). In contrast to SMPTE sync, the tempo information in FSK is fixed. SMPTE | Solo safe A channel on a mixing console is said to be solo safe when it is not muted by other channels whose solo function is engaged. Typical candidates of solo safe channels include effect returns, so that soloed channels can be heard with their associated effects. Patch change see: Program change. m change WmShort for Sound Pressure Level, SPL describes the relative loudness of a sound source and is measured in dBs. Song position pointer A MIDI message that transmits the current position in a sequence to receiving devices when the sequence is started from the middle. re Level, SPL describes the relative loudness of a sound source and is measured in dBs. Song position pointer A MIDI message that transmits the current position in a sequence to receiving devices when the sequence is started from the middle. xrefs Mterm and xref are reversed in at module. can't put desired xrefs in this box! definition Single ended noise reduction WVA type of noise reduction that is applied during playback only on an unencoded signal. Noise gate S/PDIF +Short for Sony/Phillips Digital Interface Format. S/PDIF is a protocol for the transmission of digital audio data in consumer and semi-professional equipment, with up to 24 bits resolution per channel and any sample rate, transmitted either over coaxial cables with RCA connectors or optical cable. Word clock =An acronym for Random Access Memory. The content of this type is memory is changeable, either under program control or by the user. If the power is turned off, memory content is lost. Programmable synthesizers and other equipment use internal batteries to keep memory contents intact while the power is turned off. Dropping in and out of record mode to rerecord small portions of a previous take. Punching in and out can be done manually or using pre-defined locator points for pinpointing the exact position. Release Similar to decay, release describes the final phase of a sound during which the sound dies away. We normally refer to release, if a sustain portion has preceded the release, otherwise it is called decay. Z,Attack Decay Sustain Envelope generator Oscillator An electric circuit (or its software equivalent) that generates periodic waveforms of a certain shape. Typical waveforms include sine, triangle, square, and sawtooth waves. Bias frequency Pan (Panorama) describes the relative left/right position in a stereo field. The pan position is usually controlled by a knob on the mixing console, but in MIDI modules it can also be controlled by MIDI messages (normally controller # 10). print through Active sensing 4A MIDI message that confirms proper communication status to the receiving device. If the stream of active sensing messages is interrupted (e.g. by power failure or cable disconnection), the receiving devices turns all notes off. This message is ignored by some devices and generally thought of as outdated. Z/Attack Decay Release Envelope generator Looping Looping .The process of defining a start and an end point in a sample and repeating this section. Loops can help conserve memory in samplers by artificially lengthening the sustain phase of a sound, but sometimes the technique becomes obvious, because of dynamic or timbral differences between the loop points. modernx modes modulatel modulatedm modulationY modulations module modules moment monitored monitoring monitors moreD related_ relation relative releaseh released relevant remainsN remotely repeating represent\ representationb representedM representingY representsw require requirementsw requiringK rerecord residual resistance resistor[ resolution resolutions resolve resonancek respect respectivelyM respond responseD resultZ resulting results retain_ returns reverbB reverberation reverbsx rewind rewinding rewriting rewriting computer files occupy rhythmW richb rotary[ rotatingI rounding\ routines rumble runningX runningX Potentiometer (pot) A variable resistor that attenuates an applied voltage. Common uses for potentiometers include volume controls (in the form of faders), or equalizers and record level adjustments (in form of rotary knobs). d result in waves that are out of phase. Many mixing consoles provide a switch to invert the phase of a signal by 180 degrees. This is often useful in multiple microphone recording, when signals arrive at two or more mics out of phase, causing frequency canceB llation. Potentiometer (pot) A variable resistor that attenuates an applied voltage. Common uses for potentiometers include volume controls (in the form of faders), or equalizers and record level adjustments (in form of rotary knobs). aliasing filterz attack autolocator balanced bandpassi bandpass filteri bandwidth bankT selectT bendT frequency binary bitsp bouncing breakg break pointg breathT breath controllerT cardioid cardioid pattern chain changeT channelT channel pressureT chasing chorus clipping clock combC filterC common common rejection compander compressor condenser condenser microphone continuousT continuous controllerT controllerT digitalo digital delay lineo directional directional pattern digital delay digital analog converteru directional pattern envelope equalizer filter harmonic registered parameter listen program change quantization noise chain standard dilation segmentsh select selectablec selected selection selectivelyv semi-professional semitones sendingV sends sensing| meanings those though thought| three thresholdJ through throughputD timbral timbreM through throughputD timbral timbrebre A MIDI message consisting of two controllers, number 98 and 99, which in combination can control a receiving device in a manner not possible with standard MIDI messages. NRP messages are used, for example, to select patch numbers in instruments which have more than 128 patches. notation system which represents quantities using patch point console where external effects plugge spectrumN process happening delivery^ process where layers magnetic transfer recording previous recordingW selectable signal level above below which functionc selectable signal level above below which functionc limiter see: After Fade Listen. Aftertouch see: Channel pressure. Channel pressure lThis MIDI message, also called aftertouch, measures the sum total of how hard keys are pressed down on a MIDI keyboard at any given time after their initial attack. This pressure is used as a modulation source to apply effects like vibrato or amplitude or filter changes. When each key's pressure is measured individually, channel pressure becomes poly pressure. Poly Pressure Aftertouch the sum total of how hard keys are pressed down on a MIDI keyboard at any given time after their initial attack. This pressure is used as a modulation source to apply effects like vibrato or amplitude or filter changes. When each key's pressure is measured individually, channel pressure becomes poly pressure. Poly Pressure Aftertouch Pressure Z<Headroom Distortion Compander Expander Compressor Noise gate easured in dB, it is typically limited by a noise floor and distortion at the outer extremes. The dynamic range of the ear is about 140 dB, limited by the threshold of hearing and the threshold of pain of soft and loud sounds, respectively. Dynamic ranges of tape recorders are about 60-70 dB (analog), 90-100 dB (analog with noise reduction), and 90-96 dB (16 bit digital). Z3Headroom Distortion Compander Compressor Noise gate he signal level is also proportional to the setting of the channel fader. Bias frequency A high frequency signal which is generated by a bias oscillator and mixed into the signal on analog tape recorders to optimize the recorded signal. Binary A notation system which represents quantities using only two digits, 0 and 1. Higher values are represented by stringing several digits together. All information in computers are processed internally using binary numbers. A/D converter WTA single digit in a binary numbering system. Also the smallest unit of information. Binary S/PDIF quantities using only two digits, 0 and 1. Higher values are represented by stringing several digits together. All information in computers are processed internally using binary numbers. A/D converter WTA single digit in a binary numbering system. Also the smallest unit of information. Binary ct to one another. unbalanced Bias frequency notchi noteq notesT notes played two-stage type] typesi typicalH typicallyM unbalanced unchangedN under] undesired unique unitJ unitsB universal unless unlimitedh unnecessarily unreliables untilK unused up/down uponc upperR usedH usefulZ userK uses[ using_ usuallyF valueK values structural studio^ studios subcodes subcodesodesstem subcodescodes totalL trackH trackingo tracksF traditionallyv transduced transfer transformsx transient transientsd translate transmission transmits transmittedT transpose transposing tremolol triads triangle trigger turned] turns| twelve | Crosstalk Wlectrical wire onto which many electrical signals can be summed. The main stereo outputs from a console are busses, containing a mix from many individual sources. | Crosstalk W therefore it is usually done no more than once or twice. In the digital domain, bouncing can be done without degradation of sound, but the levels must be carefully adjusted to avoid distortion. An electrical wire onto which many electrical signals can be summed. The main stereo outputs from a console are busses, containing a mix from many individual sources. | Crosstalk Ampere The unit of electrical current. Anti aliasing filter A filter which is applied before A/D conversion which limits the high frequencies to the range of the converter (approximately half the sample rate). Aliasing Aliasing The appearance of ghost frequencies ('alias') in a digital audio signal as a result of missing or improper filtering during A/D conversion. Filtering is necessary to limit the frequency response to just under half the sampling rate in order to allow for sufficient samples to be taken during a waveform cycle. For example, a bandwidth of 20 kHz is obtained by sampling at 44.1 kHz in CD players. Anti aliasing filter Arpeggiator Arpeggiator W| Chromatic W=A musical scale comprising all twelve equal-tempered pitches. Clipping Distortion that occurs from applying to much gain to a signal. Clipping should especially be avoided in digital systems, because there is no headroom available. Distortion Common mode rejection WeExpressed in dB, CMR is used to measure the effective noise reduction of balanced lines and circuits. Z| Compander XA two-stage processor (the word is a contraction of compressor and expander) which compresses the dynamic range of a signal during recording and expands it during playback. This technique is effectively used in noise reduction systems for analog tape recorders, because their normal dynamic range is insufficient for some musical applications. Compressor Expander Compressorompressorompressor pressorange is insufficient for some musical applications. Compressor Expander Compressor Compressor cutoff frequencyj filterC flanger floor foldback formant fragmenting framep frame ratep frequencyD frequency responseD fundamental gateM generalT general midiT generatorg ground ground group Formant Wange The range of levels that can be represented in an audio system. Measured in dB, it is typically limited by a noise floor and distortion at the outer extremes. The dynamic range of the ear is about 140 dB, limited by the threshold of hearing and the threshold of pain of soft and loud sounds, respectively. Dynamic ranges of tape recorders are about 60-70 dB (analog), 90-100 dB (analog with noise reduction), and 90-96 dB (16 bit digital). Headroom Distortion Formant W levels that can be represented in an audio system. Measured in dB, it is typically limited by a noise floor and distortion at the outer extremes. The dynamic range of the ear is about 140 dB, limited by the threshold of hearing and the threshold of pain of soft and loud sounds, respectively. Dynamic ranges of tape recorders are about 60-70 dB (analog), 90-100 dB (analog with noise reduction), and 90-96 dB (16 bit digital). Headroom Distortion Formant Figure eight pattern A standard that describes the data format for MIDI sequences. Because most sequencers can read and write MIDI files, this allows sequences to be exchanged among sequencers from different manufacturers. Figure eight patterne expander can reduce the volume of the noise. When the source is present, it will (hopefully) mask the noise. Compressor Compander Side chain Standard MIDI file A standard that describes the data format for MIDI sequences. Because most sequencers can read and write MIDI files, this allows sequences to be exchanged among sequencers from different manufacturers. Figure eight patternd write MIDI files, this allows sequences to be exchanged among sequencers from different manufacturers. Figure eight pattern it will (hopefully) mask the noise. WcA buss on a mixer which normally carries a cue mix for musicians s headphones or on-stage monitors. Fragmenting A computer disk is said to be fragmented when the files which are stored on it occupy discontiguous space. This happens when some files are erased and space is freed up which is later used to partially write new data to. Frequent erasing and writing of small files significantly contributes to a fragmented disk. Depending on the severity of the fragmentation, this can lead to slower operation or even hardware failure. Fragmented disks can be defragmented using specialized software. Defragmenting Fundamental WcThe portion of the sound that we hear as pitch. The fundamental is also called the first harmonic. Harmonic u| Frequency WRThe number of cycles of a waveform per second. Frequencies are measures in Hertz. Z_Hertz (Hz) Sample rate Ring Modulator Sample and hold Modulation Comb filter Pitch Equalizer z| Impedance W1The A/C equivalent to resistance in D/C circuits. Insert A patch point in a console where external effects are plugged in. Smaller consoles usually have only one (if any) insert points which are connected just after the input gain. Larger consoles offer another insert point after the EQ section. Wresistance in D/C circuits. Insert A patch point in a console where external effects are plugged in. Smaller consoles usually have only one (if any) insert points which are connected just after the input gain. Larger consoles offer another insert point after the EQ section. earsN easily_ echoing echos eeprom_ effectK effective effectively effectsL eight eitherQ electric electricalA electric electricalA The term refers both to the acoustic phenomenon of sound bouncing off reflective surfaces and to equipment that simulates this effect. Digital reverbs usually offer a great deal of control over the reverb characteristics. Early reflections Vocoder An effects device with two inputs, normally labeled carrier and analysis. The analysis signal (often the human voice, hence the name) imposes its spectral characteristics on the carrier signal which results in a 'talking' instrument. Word clock Vocoder An effects device with two inputs, normally labeled carrier and analysis. The analysis signal (often the human voice, hence the name) imposes its spectral characteristics on the carrier signal which results in a 'talking' instrument. Word clock Wy labeled carrier and analysis. The analysis signal (often the human voice, hence the name) imposes its spectral characteristics on the carrier signal which results in a 'talking' instrument. Word clock see: Common mode rejection. Common mode rejection Master This word is used in two ways: 1. the media containing the final mixdown of a project (master recording). 2. in a synchronization setup, the device which provides the master clock to connected slave devices. Slave SMPTE Chasing Frame rate Slave In a synchronization setup, a device which follows the master's timing signals to achieve sync. An example would be a sequencer which is slaved to the timing information recorded on a multitrack tape recorder (master). Master SMPTE Chasing Frame rate Slave In a synchronization setup, a device which follows the master's timing signals to achieve sync. An example would be a sequencer which is slaved to the timing information recorded on a multitrack tape recorder (master). Master SMPTE Chasing across action activatedc activation active| actuallyp adaptedT adc'sz addingy additivew address addresses addsF adjacentS adjustable adjustedF adjustments[ adsrh aes-ebu affectc affecting afterU after listen special monitoring mixing aftertouch example audio component's bandwidth form[ formantsN formatI forward foundv fourh fragmentation fragmented framep framesp freeF freed frequenciesL frequencies measures hertz frequencyA frequent fromF front function\ functions fundamentalN digits dilation dipsn directf directionf directional directionsA directlyV directly accessible informationV dirtL disconnect disconnection| discontiguous discontinuitiesS discrepanciesS diskU disks display dissonant distance distinctly distinguishW distinguished distinguishes distortionF distortion caused excessive signal levels` distortion usually avoided recording leaving enough distortion occurs applying signa distributionb dithering domainF don't_ convertsz copying correctionL countsH course createh created createsx creatingw creative critical crossfading crosstalkH currentA currently curvej cutoffg cycleZ cycles cymbals converts@ delays@ device digits@ don'td ears@ electronic@ embedded equipment@ expanders@ extremes@ fluctuations gain@ headphones@ higher@ synchronization setup device which follows master@ audio/synthesis evolution specific parameter information@ inputs@ introduced@ lift@ locator media@ message| modern@ mostX normally unused embedded smpte signal notch@ notese keyboards velocity speed which patterns@ perfect@ picture@ power patterns@ perfect@ picture@ power circuitryS circuits class classes_ clean click click popup bring scrolling clicksS short direct current current flowing direcf short frequency shift keying defines simple short inches second measures speed which short frequency oscillatorl short equivalent smpte short public address system collection short pulses quarter describes short radio frequency short serial copying management system short sony/phillips digital interface format describes short universal serial defines protocol shouldP shows sibilance side-chain sides signalB signal/noise audio/synthesisg autolocator automatico automaticallyc available averageJ avoidF avoidedP background backingW balanced band^ bandpass bands bandwidthD based basicW bassW batteries] batteryf beats becauseH becomesU beenU before behavior reduce reduced reduces reducing reductionM refer` referencedJ referredX refersD reflections reflective regardlessN registered regular wavesZ waysQ western whatP wheel wheelsT whenR whenever whereJ whereby whereverH whichG off-lineU offer offers offsetZ oftenR older Any undesired signal component in an audio signal. Usually, one distinguished between electrical noise (such as hissing or buzzing guitar amplifiers, ground loops, or RF interference) and mechanical noise (such as a squeaking kick drum pedal). Z9Ground loop Noise floor Common mode rejection Balanced distortion dither doubling ducker dynamicJ dynamic microphone dynamic rangeJ early early reflections eight envelope envelope generatorg equalizer exciter expander figure figure eight pattern fileT A recording made in sync with a previous recording. The term is sometimes also used to distinguish lead instruments, vocals, solos, etc. from 'basic' or 'backing' tracks, which contain instruments like drums, bass, piano, and rhythm guitar. Overload Running a piece of electronic gear out of its range, inducing distortion. Overloading can sometimes be used as an artistic effect, as in guitar distortion, but in most cases it is avoided by leaving enough headroom. When analog tape is overloaded, it is often referred to as saturation. Z'Distortion Saturation Limiter Transient An acronym for Pulse Code Modulation, PCM describes a method for encoding audio in a digital format by representing it as a series of numbers that approximate a continuous waveform in the analog domain. Quantization Phase Wlock zipper noise informationL inharmonic initial initiatedc injection inputc media megaR membranes memoryU message project prom_ prominently proper| properlyI proportionQ proportional proposedK protocolT provideZ provided provides public pulseY pulsesq punching purposesT pushingV qualityk quantities quantityJ quantization\ 1000R 1000000R 15-16R 16-part 20-30R 24-voice 29.97p 60-70M 90-100M 90-96M synchronized synchronizingq synthesisv synthesizerV synthesizersK synthsl systemK systems\ table taken takes taking talking tapeF tapes taskB technique televisionp tempi tempoq temporarily temporaryL termD significantly silence similara similar decay release describes final phase simpleq simplys simulate simulateso simulationB simultaneous simultaneouslye since singlew ations slaver slaved slaves sliders slightly slopej slopesj slower smallI smaller smallest smoothingS smptep snapshot snapshots societyp society/european softM softesta software soloed solosW someB sometimesW song^ sonic sony/phillips soundF synchronization setup device which follows master audio circuit passing certain frequencies while rejectii audio terms modulation means change parameters acronym american standard information interc acronym digital audio refers small digitaI acronym digital audio refers small digitaI keyboards velocity speed which on-lineU on-stage on/off onboard onceF modes device modes device multi modes device modes device onlyU onset ontoG operate operating operation opposed^ optical optimisticR optimize optimizedT optimzed option optional patterns pauses peakN peaksn pedal perceivedd off-line on-line oscillator overdub overload patch change phantom power phase phaser pitch pitch shifter potentiometer listen print through program change punch in/out quantization quantization noise release reverb modulator s/pdif sample sample saturation sibilance chain signal/noise ratio single ended noise reduction smpte position pointer spectrum striping subtractive synthesis sustain threshold timbre transient transposing tremolo unbalanced velocity voice zipper noise Frame rate The number of frames per second that are transmitted by the master and read by the slave in synchronizing two or more machines together. SMPTE bShort for Pulses Per Quarter note, PPQ describes the rate at which pulses are transmitted between two devices to achieve synchronization. A simple, now outdated, method for synchronizing two machines, was simply called 'PPQ', with 24, 48, or 96 pulses per quarter note. This method is unreliable for tape sync, because of its susceptibility to dropouts. see: A/D converter. W!see: Digital to Analog Converter. : Digital to Analog Converter. f synchronizing two machines, using two alternating frequencies, usually at 24 pulses per quarter note. In contrast to SMPTE sync, the tempo information in FSK is fixed. SMPTE ization phase phaser potentiometer listen print through headphones headroomQ heads hearH heardS hearingJ heart heavily hence hertzA hi-end highL high/lowi mA black box which matches the output of an electric instrument, such as an electric guitar, to the input of a receiving device, like a mixing console. Typically, DI (direct injection) boxes are used to plug instruments directly into the mixer for recording or PA applications. They usually include a switch to lift the signal ground to aid in ground loop problems. Ground loop Digital delay line ^A digital processor which makes a copy of an input signal and plays it back after a user specified time. Delays can be used for several different effects, including echo, flanging, chorus, or doubling. Because the sound is temporarily stored in memory, long delay times can also be used to be play back short phrases indefinitely (phrase sampling). Delay Flanger Chorus Reverb light_ likeS limit limitedM limiters limiting limitsD lines listen} loadedU local locator Short for 'Serial Copying Management System', SCMS is a code embedded into the digital audio data stream to prevent compatible equipment from making a digital copy from a copy. Under SCMS, only a copy from the master is allowed. SCMS is usually ignored by professional equipment. | User bits Normally unused bits embedded in a SMPTE time code signal, which can be set by the user to identify different tapes with the same time code ranges. SMPTE Delay see: Digital delay line. Digital delay line see: Standard MIDI File. AES EBU Audio Engineering Society/European Broadcast Union. A collective for defining standards in media production, such as the format of digital signals. Word clock Noise seeoise seriesY setsQ setting setup setups severalF severeL severityL shapeh shapingN sharpn shield shiftq shortf short analog digital converter circuit convertz short attack decay sustain release describes short audio interchange format describes short automatic double trackingo short beats minute common short central processing central short control voltage central short control voltage short digital delay control voltage short digital delay equipmentO equivalentj erasable_ erased_ erasing errorL especially essentially` europeanp every evolutiong exactp exactly exampleA examplesS excepta excessive` excessive frequency content vocal tracks during exchangeT exchanged exciters exists expander exciters exists expander cable| cables calculate calledI short sound pressure level describes relative short total harmonic distortion describes short universal serial defines protocol shortened shouldP shows sibilance side-chain sides signalB signal/noiseoisenoiseW signal/noisenoise velocity vibrato vocoder voice wah-wah extremesM factork factorsR fade} fader faders[ failure| faint faintlyH fatter favorably featureS feeds field fieldsL fifth fifths figureH figuresH files filmp filterg filter's filteringv final fine\ fingerprintsL finite firstK fixed_ flanges flanging flawless floorM flowingA fluctuateQ fluctuating fluctuations Cutoff frequency Wio, a circuit passing certain frequencies while rejecting others. Common filter types include low pass, hi pass, band pass, and band reject (notch) designs, which filter out high, low, and high/low frequencies, respectively. The point at which the frequencies are attenuated by 3 dB is called the cutoff frequency of the filter. ZXEnvelope Cutoff frequency Comb filter Wah-Wah Subtractive synthesis Quantization noise Cutoff frequency Wlease Filter PIn audio, a circuit passing certain frequencies while rejecting others. Common filter types include low pass, hi pass, band pass, and band reject (notch) designs, which filter out high, low, and high/low frequencies, respectively. The point at which the frequencies are attenuated by 3 dB is called the cutoff frequency of the filter. ZXEnvelope Cutoff frequency Comb filter Wah-Wah Subtractive synthesis Quantization noise Cutoff frequency In the context of recording, solo describes a special monitoring mode where all channels are muted except those whose solo function is engaged. This allows the engineer to focus on specific instruments in a mix, along with any applied effects. Z+Solo safe Pre fade listen After fade listen ections envelope envelope generator equalizer exciter expander figure eight filter flanger foldback formant fragmenting frame frequency frequency response fundamental general ground group harmonic harmonic distortion headroom hertz impedance insert interpolation input limiter local on/off locator looping master modulation multi multisample turation signal/noise ratio smpte spectrum subtractive synthesis threshold transient voice zipper noise pattern phantom phantom power phase phaser pitch pitch pitch shifter point pointer polar polar pattern pressure position potentiometer[ potentiometer power listen pressure print change punch in/out quantization quantization noise release reverb modulator s/pdif sample sample saturation sibilance chain signal/noise ratio single ended noise reduction smpte position pointer spectrum striping subtractive synthesis sustain threshold timbre transient transposing tremolo unbalanced velocity voice zipper noise picturep pieceL pieced^ pieces pinpointing pitchP pitches place playe playback played playersS playing^ plays plugged pointQ pointsS polej polesj polyphonic polyphony popup portamentoS portion portions positionp possibleD post-fade potentiometers[ powerA frequency frequency response fundamental general ground group harmonic harmonic distortion headroom hertz impedance insert interpolation input limiter local on/off locator looping master see: Digital Delay Line. Digital delay line De-Esser A device that reduces sibilance on vocals or, more generally, high frequencies in audio signals. De-essing can also be performed using a compressor with an equalizer connected to the side-chain or key input. Compressor Equalizer Sibilance a resolution of 128 steps. see: Digital Delay Line. Digital delay line De-Esser A device that reduces sibilance on vocals or, more generally, high frequencies in audio signals. De-essing can also be performed using a compressor with an equalizer connected to the side-chain or key input. Compressor Equalizer Sibilance delays delivery^ denotesK densityN dependingL describeZ describedh describesY design designsi desired desktopy determinee determined determinesj detuning device| Wrminesj detuning device| "In condenser microphones, the distance between the two conductive membranes of a capacitor is changed as a function of sound pressure. Because the resulting fluctuations in electrical charge are small, condenser mics require power to operate, which is typically supplied via phantom power. Z Dynamic Microphone Phantom power ?A peak in a spectrum. In musical context this means an increased density of harmonics that remains unchanged regardless of the fundamental. Ears are very sensitive to formants which are important in recognizing speech and instrumental timbres. The human voice and vocal cavities change formants in shaping of vowels. Harmonic Frequency response WFAnother word for bandwidth, usually in the context of audio equipment. Z Bandwidth Harmonic vA specific frequency component of a sound. The first harmonic (i.e. what we hear as the pitch) is called fundamental; higher ordered harmonics contribute to the spectrum or timbre. Harmonics are also called partials or overtones, although because of the confusion in harmonic numbering (i.e. the first overtone is the second harmonic), the term overtone should be avoided. ZLSpectrum Additive Synthesis Partial Formant Exciter Fundamental Overtone Headroom noiseM noise floor noise gateM registered parameterT normalizing notchi notch filteri noteT numberT on/offT numberT off-line omniT modeT pattern on-line on/offT overload overtone parameterT partial patch patch change pattern phantom phantom power phase phaser pitchT pitch bendT pointg pointerT polar polar pattern listen pressure~ program program change quantization quantization noise ratep ratioQ registeredT rejection release responseD reverb saturation sensingT chain signal/noiseQ signal/noise ratioQ One of four modes a MIDI device may be set to, multi mode lets a device respond to several notes at a time on multiple channels. Multi mode is standard on most contemporary MIDI instruments. Omni mode Poly mode Mono mode | Omni mode One of four modes a MIDI device may be set to, omni mode lets a device respond to notes on any channel up to the maximum polyphony. Omni mode is the most basic of all modes and used as a default for older MIDI equipment on power up. Poly mode Mono mode Multi mode associated assumption assures attach attackh collective defining standards media production common wiring problem recording studios perform computer fragmented files Distortion caused by excessive signal levels. Essentially the same as overload, this term is commonly used to refer to tape distortion. Overload Distortion Signal/noise ratio Expressed in dB, it is similar to dynamic range, except that the range between the noise floor and 0 VU (rather than distortion) is measured. Typical signal/noise ratios are about 55 dB for an analog tape deck without noise reduction and 90 dB for 16 bit digital tape. In order to look better on paper, some consumer equipment may give you the dynamic range spec as the signal/noise ratio. In digital signal systems, there is less or no difference between the two, because there is no headroB om above 0 dB. Spectrum The distribution of harmonics of a sound. A sound with many harmonics is said to have a rich spectrum. The ear s representation of spectrum is timbre. Z5Harmonic Timbre Modulation Sample and hold Formant #| Threshold electronicX electronically_ electronicsd elements{ embedded and/or anotherH another bandwidth usually context audio stream| streamsz strengthC stretchingL string stringing stronger ound fatter, and is sometimes artifically created by using a digital delay line. In this case, doubling is referred to as ADT (automatic double tracking).es artifically created by using a digital delay line. In this case, doubling is referred to as ADT (automatic double tracking). pressure filter sharp peaks response makin frequency signal which generated oscilla which connected control circuitry dynami degradation information piece tapeL method creating realistic samples taking severa microphone's directional response pattern which equally control device which converts breath pressure message consisting controllers number message confirms proper communication status message confirms proper communication status FoldbackW An effect which makes a copy of the input signal and delays it slightly (between about 1 and 20 milliseconds) while sweeping the frequency of the copy. The resulting sweeping sound is caused by frequency cancellation. The term dates back to the days when the effect was created by recording the sound onto two identical tape recorders while the engineer applied pressure to one of the deck s flanges (sides of a reel), causing pitch fluctuations. Foldback distortion dither doubling dropout ducker dynamicM dynamic microphone dynamic rangeM early early reflections eight ended envelope envelope generatorh equalizer exciter expander figure figure eight pattern filter flanger floor foldback formant fragmenting framer frame rater frequencyO frequency responseO fundamental general general generatorh glossary ground ground group harmonic harmonic distortion headroom hertzR hertz highpass highpass filter impedance in/out input insert interpolation input details overview detailsB YesfJ YesfJ equivalent resistance circuits phantom power phase phaser pitch pitch shifter polar pattern pressure potentiometer listen print through program change punch in/out quantization quantization noise release reverb modulator s/pdif sample sample saturation sibilance chain signal/noise ratio single ended noise reduction slave smpte position pointer spectrum striping subtractive synthesis sustain threshold timbre transient transposing tremolo unbalanced velocity vocoder voice wah-wah clock zipper noise situations slaver slaved slaves sliders slightly slopej slopesj slower smallI smaller smallest smoothingS smptep snapshot snapshots societyp society/european softM software soloed solosW someB sometimesW song^ sonic sony/phillips soundF | Mono mode One of four modes a MIDI device may be set to, mono mode lets a device respond to a single note at a time on a single channel. Mono mode is used by older MIDI equipment when polyphonic response on simultaneous channels was not common or possible. Omni mode Poly mode Multi mode Multi mode sibilance chain signal/noise ratio single ended noise reduction slave smpte position pointer spectrum striping subtractive synthesis sustain threshold timbre transient transposing tremolo unbalanced velocity vocoder voice wah-wah clock zipper noise quantization quantization noise reverb saturation signal/noise ratio smpte spectrum subtractive synthesis threshold transient voice zipper noise channel mixing console circuit analog synthesizers takes snapshot class control messages translate control messages translate control messages translate An effects device that decreases the dynamic range of an input signal by reducing the level of high level signals. Compressors are used to prevent distortion in recording, but may also be used as a creative effect. Z?Expander Compander De-Esser Ducker Threshold Limiter Side chain Continuous controller DA class of MIDI control messages that is used to translate continuous performance gestures, such as moving knobs, wheels, and sliders into MIDI data. Of course, the controls are not really continuous, but the steps are spaced closely enough to simulate a continuous change. MIDI controllers have a resolution of 128 steps. Crossfade looping +A special form of looping where the loop points are interpolated over a specified range in an attempt to hide the break point at which the waveform jumps back to the loop start marker. If the loop start and end markers are set at similar sonic material, crossfading can often create flawless loops. Looping Timbre The ear's representation of spectrum. Timbre describes a sound in terms of its color, e.g. we say that cymbals have a 'bright' timbre. Spectrum Harmonic imbre. Spectrum Harmonic multitimbral noise noise registered parameter normalizing number on/off off-line pattern on-line oscillator overdub overload overtone system patch change phantom power phase phaser pitch pitch shifter polar pattern noise release reverb The (optional) third stage in the evolution of a dynamic contour of a sound (after the decay). During the sustain phase no average level change takes place. Envelope generators can be set so that a sound does not fade away until a key on a keyboard is released. Using a technique known as looping in samplers, sounds which normally have a finite duration can be made to sustain indefinitely. Z4Attack Decay Release Envelope generator Looping Looping .The process of defining a start and an end point in a sample and repeating this section. Loops can help conserve memory in samplers by artificially lengthening the sustain phase of a sound, but sometimes the technique becomes obvious, because of dynamic or timbral differences between the loop points. Crossfade looping Sustain saturation signal/noise ratio smpte spectrum subtractive synthesis threshold transient voice zipper noise sA circuit used in analog synthesizers with takes a snapshot of a random fluctuating voltage source (such as white noise). Digital synthesizers mimic this behavior by generating random numbers. Usually, this action is combined with an LFO so that snapshots are taken at regular intervals. Typically, sample and hold circuits are used to modulate frequency and spectrum. ast TV, and 24 fps is used in film. Each SMPTE frame specifies an exact position in hours, minutes, secBfonds, and frames. For example, the frame 02:10:32:09, means 2 hours, 10 minutes, 32 seconds, 9 frames. User bits Frame rate Short for Frequency Shift Keying. FSK defines a simple form of synchronizing two machines, using two alternating frequencies, usually at 24 pulses per quarter note (PPQ). In contrast to SMPTE sync, the tempo information in FSK is fixed. After fade listen After Fade Listen (AFL) is a special monitoring mode on mixing consoles which, in contrast to PFL, takes into account the relative levels of all relevant sources. This is useful to check, for example, a headphone cue mix or signals going to an external effect unit. Pre fade listen Vibrato W2Periodic modulation of pitch, usually with an LFO. Z&LFO Channel pressure Breath controller Bank select WRA MIDI message which extends the normal range of 128 programs on some instruments. Program change 1. cue mix - a signal buss from the mixing console which feeds the performer's headphones during recording. 2. in film scoring, a selection of music. One distinguishes between 'source' music (music that is perceived as belonging to a scene, e.g. a musical performance in the film), and 'score' music, i.e. music which enhances the story (and is often not consciously perceived by the viewer). process copying instrumental vocal performance process defining start point sample process mixing several tracks multitrack recorF process smoothing discrepancies between adjacent quality factor filter called resonance range levels represented audio systM residual amount noise which remains constant process copying instrumental vocal performance second stage evolution dynamic contour meanings@ timbreP total@ twelve unencoded@ valuesJ waves@ which aliasing filter@ converter@ distortion@ filter@ harmonic@ noise@ poly@ smpte@ polar@ slave@ lave@ introduced inverseQ invertZ inverts involvesI polyT modeT pressureT positionT power listen pressureT programT program changeT punch punch in/out quantization quantization noisei r-dat rangeJ rateI ratioJ reflections registeredT rejection release responseD reverb modulator s/pdif sampleI sample holdb sample rateI saturation selectT sensingT sibilance chain signal/noiseJ signal/noise ratioJ slave OIn a filter, the point at which the frequencies are attenuated by 3 dB. The slope or curve of the filter determines how much the frequencies are attenuated. It is expressed in dB/octave. Common slopes are 6, 12, and 24 dB/octave. Sometimes the slope is referred to as a number of 'poles', where each pole is equivalent to 6 dB/oct. Filter Hertz (Hz) mThe unit in which frequencies are measured. To avoid large numbers when dealing with high frequencies, the multiplication factors Kilo (K, x 1000) and Mega (M, x 1,000,000) are used. Human hearing ranges from about 20-30 Hz to 15-16 kHz, although an optimistic upper range of 20 kHz is often given. In this range, frequencies are interpreted by the ear as pitch. Frequency Bandwidth AC (A/C) Frequency Bandwidth AC (A/C) A device which can automatically move to a specific point in a recording. On tape machines, this involves automatic activation of forward or rewind functions, and stopping the tape at the locator point. Locator Aux send IA buss on a recording console which is used to feed selected sources to an external or internal effects device. Aux sends may be set to either 'pre-fade', where the signal level is only determined by the setting of the aux control, or 'post-fade', where the signal level is also proportional to the setting of the channel fader. Balanced *A balanced line uses three conductors: plus, minus, and shield. When both the sending and receiving device are wired in a balanced manner, any noise which is picked up by the cable is canceled out at the receiving end, because the plus and minus lines are out of phase with respect to one another. Z&Unbalanced Common mode rejection Phase QA selectable signal level above or below which some function is activated. Typical applications include noise gates and compressors, which affect an input signal below and above the threshold, respectively, and sampling keyboards whose recording function may be automatically initiated upon receiving a signal level above the threshold. Z!Compressor Expander Noise gate $| Transient A sudden burst of energy in an audio signal, such as from a drum hit. Transients often don t add much to the perceived loudness of a signal, but can easily overload tape or electronics, causing distortion. Distortion A unit of measurement that compares two values. For any quantity given in dB, it must be referenced to some other quantity. If we say that a sound is 100 dB loud, we are really saying 100 dB spl (sound pressure level), which is 100 dB greater than the average threshold of hearing. Audio signals are measured in dBm, where 0 dBm = 1 milliwatt into 600 . Ratios, such as signal/noise, are given in dB; a tape recorder may have a signal/noise ratio of 60 dB. ZeCrosstalk Cutoff frequency Headroom Normalizing Dynamic range Filter Amplitude Signal/noise ratio In synthesizers, envelope generators are used to create envelopes of arbitrary shape and are described in terms of their level and time segments. Most envelope generators provide at least four segments and are usually called ADSR generators, which stands for Attack, Decay, Sustain, Release. Others may give you an unlimited number of segments. The points where the direction of an envelope changes are called break points. Z*Envelope Attack Decay Sustain Release Filter PIn audio, a circuit passing certain frequencies while rejecting others. Common filter types include low pass, hi pass, band pass, and band reject (notch) designs, which filter out high, low, and high/low frequencies, respectively. The point at which the frequencies are attenuated by 3 dB is called the cutoff frequency of the filter. ZeEnvelope Notch filter Cutoff frequency Comb filter Wah-Wah Subtractive synthesis Quantization noise A microphone s directional response pattern which is equally sensitive to sounds from the front and the back. Sound arriving from the sides is rejected. This pattern is often selectable as one of several patterns on condenser microphones. Z1Directional pattern Cardioid Pattern Omni pattern Flanger An digital delay based effect which makes a copy of the input signal and delays it slightly (between about 1 and 10 milliseconds), inverts the phase, and sweeps the frequency. The resulting sweeping sound is caused by frequency cancellation. The term dates back to the days when the effect was created by recording the sound onto two identical tape recorders while the engineer applied pressure to one of the deck s flanges (sides of a reel), causing pitch fluctuations. Digital delay line Phase Envelope Notch filter Cutoff frequency Bandpass filter Lowpass filter Highpass filter Comb filter Wah-Wah Subtractive synthesis Quantization noise harmonic harmonic distortion headroom hertz highpass filter impedance insert interpolation input limiter local on/off locator looping lowpass filter master stered parameter normalizing number on/off off-line on-line oscillator overdub overload patch change phase phaser potentiometer listen print through program change punch in/out quantization quantization noise release reverb modulator s/pdif sample sample saturation sibilance chain signal/noise ratio single ended noise reduction smpte position pointer spectrum standard striping subtractive synthesis sustain threshold transient voice zipper noise striping subtractive synthesis sustain threshold timbre dilation stretching transient transposing tremolo unbalanced velocity vibrato vocoder voice wah-wah clock zipper noise figure eight pattern filter flanger foldback formant fragmenting frame frequency frequency response fundamental general ground group headroom hertz impedance insert interpolation input limiter local on/off locator modulation multisample multitimbral noise normalizing number on/off off-line on-line oscillator overdub overload phase potentiometer print through program change punch in/out quantization quantization noise release reverb s/pdif saturation sibilance chain signal/noise ratio single ended noise reduction smpte position pointer spectrum standard striping subtractive synthesis threshold transient voice zipper noise channel pressure chasing chord chorus chromatic clipping filter common rejection compander compressor condenser microphone continuous controller crossfade looping crosstalk cutoff frequency converter de-esser decay default defragmenting delay digital delay directional pattern distortion dither doubling dropout ducker dynamic microphone dynamic range early reflections envelope envelope generator equalizer exciter expander modulation off-line on-line overdub overload phase potentiometer quantization quantization noise reverb saturation signal/noise ratio smpte spectrum standard subtractive synthesis threshold transient voice zipper noise modulation multi multisample multitimbral noise noise floor noise registered parameter normalizing notch filter number on/off off-line pattern on-line oscillator overdub overload overtone system partial patch change phantom power phase phaser pitch pitch pitch shifter polar pattern pressure s/pdif sample sample saturation sibilance chain signal/noise ratio single ended noise reduction smpte position pointer spectrum standard striping subtractive synthesis sustain threshold timbre transient transposing tremolo unbalanced velocity voice zipper noise