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Music Tech - Definitions > Glossary > Flashcards

Glossary Flashcards

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1
Q

Accidentals

A

Altering a pitch to one that is not in the key signature

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2
Q

Acoustic

A

A sound that is produced naturally with no additional amplification

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3
Q

ADSR

A

Attack , Decay, Sustain , Release - the controls on an envelope generator that are used to shape a sound

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4
Q

Aliasing

A

Artefacts created when a frequency has not been correctly recreated by an A/D convertor and back to a D/A convertor

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5
Q

Ambience

A

The amount of reverb that sound contains either naturally from a room or artificially added by an effect

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6
Q

Amplifier

A

A piece of equipment used to boost a signal

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7
Q

Absorption

A

The process by which an object , material or structure takes in sound energy when hit by a sound wave

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8
Q

Amplitude

A

The height of a waveform measured from its mean or zero position to its maximum displacement

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9
Q

Analogue

A

When a signal or equipment uses a continuously variable physical quantity

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10
Q

Arpeggiator

A

A device that automatically plays the individual notes of a chord as an arpeggio / broken chord

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11
Q

Artefacts

A

Unwanted sounds created as a byproduct during audio processing

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12
Q

Attack (Dynamics)

A

The length of time it takes once the threshold is reached for the processor to apply it’s process (e.g. when the signal goes above the threshold on a compressor, the attack is the amount of time taken to reduce the signal by the amount dictated by the ratio)

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13
Q

Attack (Synthesis)

A

The length of time it takes between a note being started and the point at which it reaches its peak

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14
Q

Audio Interface

A

A device that connects a computer to audio periphera mls such as microphones, speakers and musical instruments

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15
Q

Automation

A

Programming adjustable parameters to operate automatically during playback and mixing

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16
Q

AutoTune

A

The trade name for famous piece of software that automatically changes the pitch to the nearest absolute pitch. Can also be used as a creative effects. Alternatives include Melodyne, FlexPitch, VariAudio

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17
Q

Aux/Bus

A

An additional output channel for routing to effects , monitors or as an alternative output. Can be used as a method of grouping channels. Often the same as a bus channel

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18
Q

Backing Track

A

A pre-recorded piece of music to be performed over

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19
Q

Bandwidth (1)

A

A range of frequencies

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20
Q

Bandwidth (2)

A

The amount of data that can be transferred at one time

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21
Q

Balanced

A

A connection that has two signals in inversion to one another to reduce noise when put back into phase

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22
Q

Bit Depth

A

The number of bits used in each sample in analogue to digital conversion

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23
Q

Bouncing Down

A

The process of converting sounds to a new audio file embedding them all processing applied to them. Normally multiple tracks into fewer tracks but sometimes to print effects onto an audio track

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24
Q

Cardiod

A

The pattern by which some microphones capture sound. Cardioid is roughly heart shaped and picks up sound from the front and sides

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25
Q

Capacitance

A

The storage of an electrical charge in a capacitor

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26
Q

Capsule

A

The element of a microphone that responds to the sound vibrations

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27
Q

Capture

A

The initial stage of recording in which the sounds are input to the recording device

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28
Q

Channels

A

The individual tracks of music. Can be left and right in a stereo mix or individual instruments in a multitrack project

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29
Q

Chord extensions

A

Notes in a chord that are not in the triad (7th, 9th, 13th etc.)

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30
Q

Chorus

A

A modulation effects that stimulates multiple instruments or voices performing simultaneously by duplicating an audio signal. This creates a ‘shimmering’ or ‘thickening’ effect. One copy of the signal is slightly delayed and is also slightly detuned using an LFO. The wet and dry signals are then recombined

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31
Q

Clipping

A

Overloading a signal so that the top of the waveform becomes squared and distorts

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32
Q

Coarse-Tuning

A

The control on a synthesiser or sampler that moves the tuning of a note in semitones

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33
Q

Coincident Pair

A

A pattern for using two directional microphones simultaneously to capture the stereo image of a sound with the capsules 90 degrees apart placed as close together as possible.

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34
Q

Uses of Coincident Pair (XY) Technique?

A
  • Classical Music Recording:
  • Orchestral and Choral Performances
  • Live Concerts
  • Ambiance and Environmental Sound Recording
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35
Q

Colouration

A

The effect that equipment can have on tonal characteristics of audio through its physical design and manufacture (e.g. Sound differing from use of Microphone, Speakers, Headphones etc.)

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36
Q

Compi

A

The process of combining multiple takes of a recording into one master take

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37
Q

Compression (Dynamics)

A

A process for controlling the dynamic range of a sound. It reduces the volume of peaks of a sound above a threshold by a pre-determined audio

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38
Q

Compression (Data)

A

The process of encoding a digital audio file to take up less space but in doing so , often losing some audio information. MP3 files are examples of ‘lossy’ compressed audio. FLAC (Free Lossless Audio Codac) files are an example of ‘lossless’ compressed audio, and WAV files are an example of uncompressed audio

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39
Q

Concert Pitch

A

A universal set of frequencies and pitches in which A3 (the A above Middle C) is 440hz

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40
Q

Condenser Microphone

A

A mic that captures sound by measuring changes in capacitance as the diaphragm moves

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41
Q

Convolution Reverb

A

A reverb that adds ambience by sampling the reverb tail of a room and calculating the response of sounds within those spaces

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42
Q

Crossfade

A

A crossfade creates a smooth transition between audio files by fading one out whilst the other fades in

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43
Q

DAW

A

Digital Audio Workstation

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44
Q

Decay

A

The amount of time that it takes from the peak to drop down to the ‘sustain’ level

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45
Q

Decibels (DB)

A

The unit used to measure sound pressure level. This relates to what we perceive as ‘loudness’ or ‘volume’. Decibels are ,measured on a logarithmic scale

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46
Q

DeEsser

A

The process of removing overly emphasised sibilant sounds by applying a dynamic processor to certain frequencies

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47
Q

Delay

A

The process of delaying a sound electronically and then playing it back after a fixed period of time. Normally blended with the original signal to create an echo effect

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48
Q

Diahragm

A

A small flexible piece of material in a microphone that responds to physical vibrations of sounds which is then converted into an electrical signal

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49
Q

Direct Injection (DI)

A

A unit that converts high-impedance unbalanced signals (line/instrument level) into low impedance balanced signals (microphone level)

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50
Q

Distortion

A

The unwanted sound created when an audio signal overloads and clips , aliasing from poor DAC, or it can be wanted distortion such as overdrive on an electric guitar

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51
Q

Drum Replacement Software

A

Software than analyses the audio information from a drum recording and creates a MIDI file at each transient point that can then be assigned to new samples

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52
Q

Dynamic Mic

A

A microphone that has a moving coil attached to the diaphragm within a magnetic field that generates a small electrical signal

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53
Q

Dynamics

A

Changes of volume

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54
Q

Dynamics Processing

A

The control of dynamics either manually or with automated devices such as gates or compressors

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55
Q

Encoded

A

The conversion of information or data into a particular form - for example from an uncompressed WAV file to a compressed MP3 FILE

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56
Q

Envelope Generators

A

A synthesiser element that creates the way a sound changes over time by changing a sounds attack, decay, sustain and release

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57
Q

EQ

A

The balancing of amplitude of different frequencies within a sound to alter the treble, mid or bass

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58
Q

Expander

A

A process for controlling the dynamic range of a sound. Expanders increase the dynamic range by making quiet sounds even quieter; they do this by reducing the volume of anything that is below a set threshold level

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59
Q

Figure of 8

A

A polar pattern found on ribbon mics and some condensers. Sound is captured in the shape of a figure of 8 with capture occuring at the front and rear of the microphone and rejection from the sides

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60
Q

Filter

A

A device that removes frequencies from a sound. A filter’s slope is often measures in decibels per octave (dB/Oct)

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61
Q

Fine Tuning

A

The control on an electronic instrument that adjusts the smaller levels of tuning between fixed notes. Usually measured in cents (100 cents is 1 semitone)

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62
Q

Flanger

A

A modulation based effect that is created by altering the phase relationship between two signals by modulating a short delay. Flanging creates a distinctive tone caused by comb-filtering

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63
Q

Found Sounds

A

Sounds that are sampled from previous recordings and used in a new context or can be non-musical sounds sampled for use in a piece of music

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64
Q

Frequency

A

The pitch of a sound or the number of times a wave repeats in a second. Measured in Hertz (Hz) or Kilohertz (kHZ)

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65
Q

FM (Synthesis)

A

Frequency Modulation (FM) is a type of synthesis where one waveform is used to modulate another (called the carrier and modulator). FM Synths can be used to create a variety of sounds that are sometimes described as ‘bell like’ or ‘clashing’. They were commonly used in the 1980s

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66
Q

Gain Level

A

The amount of boost applied to the preamp stage of an audio channel. Used either to boost signals to an operable level or to boost beyond that point to drive a signal into distortion for musical purposes

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67
Q

Gate

A

A process for controlling the dynamics of a sound. Gates reduce the volume of a signal once it drops below a threshold

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68
Q

Genre

A

The style of music

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69
Q

Granulator

A

An effect that chops up audio up into small sections (grains) and plays them back in different combinations

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70
Q

Grid Sequencer

A

A method of inputting note data in which the subdivisions of a beat and different pitches are laid out in a grid form allowing notes to be manually entered at the correct point

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71
Q

Guide Track

A

A rough outline of a song recorded to give other performers something to work from for structure or tempo

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72
Q

Harmony

A

The accompaniment and implied chord structure of a piece of music

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73
Q

High Pass Filter

A

A filter that removes only bass frequencies below a set cut off frequency and allows high frequencies through unaffected

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74
Q

Hit-Points

A

Points of action or suspense in a piece of media that a composer will used to structure their piece of music to ensure synchronisation

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75
Q

Hyper-Cardioid

A

The pattern by which some mics capture sound. Hyper-Cardioid is narrower than cardioid and used when a more precise capture is needed. It captures mostly at the front and slightly from the rear

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76
Q

IEC Connector

A

The common name for three pin mains connectors commonly found on amplifiers, studio hardware and kettles

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77
Q

Impedance

A

The amount of opposition that a circuit applies to current when a voltage is applied to it

78
Q

Intonation

A

The tuning of an instrument or sound source while being played

79
Q

Jack Leads

A

A common connector used for audio. Can be used for mono, stereo, balanced and unbalanced signals. Comes in a range of sizes for different purposes

80
Q

Knee Control

A

The control on a compresor that allows the compression to begin gradually before the threshold or more harshly as the amplitude crosses the threshold depending on whether it is set to a soft or hard knee

81
Q

Leitmotif

A

A musical theme that is used every time a character, location or idea is referenced within the musical narrative

82
Q

LFO (Low Freq Osc)

A

A signal that oscillates below audible frequencies and found on a synth and modulation based effects. Commonly used to modulate other elements of a sound

83
Q

Limiter

A

A process for controlling the dynamic range of a sound. It prevents the peaks of sound going above a pre-defined threshold

84
Q

Line Level

A

An audio signal that has a higher level than microphone or instrument level and requires less amplification at the preamp stage

85
Q

Looping

A

An audio or MIDI file of any length that repeats multiple times

86
Q

Low Pass Filter

A

A filter that removes only treble frequencies above a set point and allows low frequencies through unaffected

87
Q

Mastering

A

The final stage of production before music is released. Used to ensure that all tracks are of a similar volume and have appropriate processing applied to them

88
Q

Master level

A

The output level of a complete project

89
Q

Melody

A

The tune

90
Q

Mic Level

A

An audio signal that has a lower level than line level and requires more amplification at the preamp stage

91
Q

MIDI

A

Musical Instrument Digital Interface - A universal language that is used by musical technology equipment and is used to send instrument and controller information

92
Q

Mid-side Pair

A

A stereo mic pattern that used a cardioid and a figure of 8 microphone simultaneously to capture the stereo image of a sound

93
Q

Mixing Desk

A

A device for changing the relative levels , affecting the EQ and changing the dynamics of a number of audio signals and blending them together

94
Q

Modulation

A

Literally means “changing” - but normally used to include effects with some movement to them such as chorus, flanger, or an LFO

95
Q

Monitering

A

The equipment used to listen to audio during recording or mixing like headphones or speakers

96
Q

Mono

A

A single sound source, speaker of channel

97
Q

Monophonic

A

A single musical line

98
Q

Multiband Compressor

A

A number of channels of compression that affect different bands of the frequency spectrum

99
Q

Multisampling

A

Several samples of a single sound source , usually at different pitches and velocities, to increase the realism of a sampled instrument

100
Q

Multitracking

A

Recording multiple audio tracks separately and then blending them after recording rather than mixing the channels prior to recording

101
Q

Nodes (1)

A

When data points cross

102
Q

Nodes (2)

A

The zero crossing of a wave , the point with the minimum displacement

103
Q

Noise

A

Unwanted sound

104
Q

Normalising

A

The boosting of audio by the same amount so that the relative volumes remain the same. Commonly used to boost to the peak volume to the maximum level before distortion (0dB)

105
Q

Notch Filter

A

A notch filter is used to sharply attenuate a very narrow range of frequencies. It has a high Q factor

106
Q

Off Axis

A

A mic not positioned directly in front of a sound source commonly at an angle of less than 90 degrees

107
Q

Omnidirectional Microphone

A

The pattern by which some microphones capture sound, picking up sound from every direction

108
Q

On-Axis

A

A mic positioned directly in front of a sound source, commonly at an angle of 90 degrees

109
Q

One-shot sample

A

A sample that plays without the end being transduced no matter how long the key is pressed for

110
Q

Oscillators

A

A device found in a synthesiser that generates waveforms used for sound generation and modulation

111
Q

Overdrive

A

An aurally pleasing form of distortion when waveforms are deliberately clipped for artistic reasons

112
Q

Overdubbing

A

The process of recording additional parts into a recording. Not to be confused with ‘takes’

113
Q

Pad

A

A switch on equipment that attenuates the gain by a set amount to prevent clipping

114
Q

Panning

A

Placing a sound within the stereo field (left or right)

115
Q

Peak meter

A

A device for measuring the loudest moments of audio at a specific moment

116
Q

Phantom Power

A

48V provided by a mixing desk or audio interface to provide power for condenser mics and DI boxes

117
Q

Phase Cancellation

A

When two audio signals are out of phase with each other resulting in a reduction in the level of the combined signal. The audio loses certain frequencies (or all frequencies) as the waves cancel each other out

118
Q

Phase difference

A

When two waves are not in sync with one another that has an audible effect on the audio but does not completely cancel out

119
Q

Phase inversion

A

A control to invert a waveform to counteract the effects of phase cancellation

120
Q

Phaser

A

Effect that modulates an audio signal in-and-out of phase to create an aurally pleasing effect of certain frequencies being amplified and reduced

121
Q

Pickup

A

A device that converts vibrations (magnetic, physical etc.) into an electrical signal for amplification and processing

122
Q

Pitch-Mapping

A

Samples that have been mapped across the MIDI keyboard by changing the pitch and length of a sample so that it can be played as a musical instrument

123
Q

Pitch bend

A

A control on synthesisers to bend the pitch of a note up and down by a predetermined amount

124
Q

Pitch-centre key (1)

A

The root note of a sample

125
Q

Pitch-centre key (2)

A

They key-note in a piece of music (tonic)

126
Q

Plosive

A

A sound which results from letters like P, D, and B which when spoken directly into a mic can result in a low frequency pop sound due to the strong air movement on a microphones diaphragm

127
Q

Plug-in virtual instruments

A

Software musical instruments used either standalone or within a DAW

128
Q

Polar pickup pattern

A

The direction by which a microphone can capture sound

129
Q

Polyphonic

A

More than one note in a musical line

130
Q

Pop shield

A

A device for reducing plosives

131
Q

Portamento

A

A control on synths to continuously alter the pitch of a note by sliding between the original pitch and the destination pitch

132
Q

Preamp

A

An amplifier for boosting signal to a level suitable for processing and further amplification

133
Q

Producer

A

Person responsible for the overall sound of a recording. Has a responsibility for the musical elements and the technical recording elements to ensure the best possible end result

134
Q

Proximity effect

A

The change in bass response captured by a directional microphone depending on the distance of a sound source from the microphone

135
Q

Psychoacoustics

A

The perceived differences in a sound regardless of actual measurable differences

136
Q

Quantise

A

The rounding of data, commonly used to fix the timing of rhythms

137
Q

Ratio

A

One value in relation to another, commonly found on dynamic processors

138
Q

Reflection filter

A

A device placed behind a microphone to reduce the amount of room noise and reflections captured during recording

139
Q

Release (Synthesis)

A

The length of time that the note continues after it has stopped being played until it dies away to nothing

140
Q

Release (Dynamics)

A

The amount of time it takes once the signal falls below the threshold for the processor to stop functioning (e.g. on a gate when the signal falls below the threshold , the release is the amount of time it takes for the gate to close)

141
Q

Remixing

A

Putting music into a new context, by either changing the style or backing track, or rearranging the music

142
Q

Reverb

A

The ambience found within a sound, either from an acoustic space or an artificially created effect

143
Q

Reversing

A

Playing audio backwards

144
Q

Rhythm Section

A

The section of a band accompanying the melody. Commonly includes a piano, guitar, bass guitar and drums

145
Q

Ribbon Microphone

A

A microphone that has a ribbon that moves within a magnetic field and generates a small electrical signal . Always has a figure of 8 polar pattern

146
Q

RMS Meter

A

A device for measuring the average volume of audio over a period of time

147
Q

Routing

A

Directing a signal from a source to or via another track, for example sending a kick drum through a drum sub group, or a number of backing vox tracks to a bus send with reverb before they are sent to the stereo output. It’s also possible to route aspects of a synth via an envelope or an LFO

148
Q

Sample rate

A

The frequency with which a sample of analogue information is taken for conversion into a digital signal. Measured in kHz

149
Q

Sampling (ADC)

A

The conversion of analogue information into digital data

150
Q

Sampling

A

Using pre-recorded audio as the stimulus for new musical ideas

151
Q

Sequencing

A

Programming note and velocity information to control an electronic instrument

152
Q

Shock Mount

A

A device that suspends a microphone while on a stand to reduce noise from vibrations and other physical movement

153
Q

Side-Chain

A

An input that allows the processing to be triggered by an external source. Commonly found on dynamic processors and other effects

154
Q

Signal chain

A

The order in which processing occurs

155
Q

Signal-to-noise ratio

A

The difference between the audio that is being captured and the noise captured simultaneously

156
Q

Slicing

A

Chopping audio into sections, usually at transients to alter the timing or to isolate a section of the recording

157
Q

Sound Pressure level (SPL)

A

A measurement of the sound level against a reference level; measured in dB and representing how loud we perceive the sound to be

158
Q

Spaced Pair

A

A pattern for using 2 mics simultaneously to capture the stereo image of a sound with microphones separated from one another

159
Q

Spill

A

Signal that is captured in the mic unintentionally, usually from another sound source like headphones

160
Q

Stereo

A

Left and right audio signals

161
Q

Stereo Field

A

Placing audio in a mix so they are perceived by the listener as either being central, left or right

162
Q

Stuttering

A

When audio (normally a sample) is triggered repeatedly and quickly to make the audio sound like a stutter

163
Q

Subtractive Synthesis

A

A form of synthesis that uses filters and envelope generators to remove elements of a signal and shape the sound

164
Q

Suspensions

A

Notes in a chord that feel like they need to resolve to one of the notes of the triad

165
Q

Sustain

A

Most commonly the volume at which the note is held until the key is released, but the sustain level can also refer to parameters such as cut off frequency or pulse width

166
Q

Sweeps

A

Moving a parameter quickly through a wide range of values, commonly used on the filter cut off on a synth

167
Q

Swing Rhythms

A

Two-note rhythms that have an uneven feel. The first note will be longer and heavily accented while the latter note will be shorter and weaker

168
Q

Syncopation

A

Rhythms that cross the beats of a bar

169
Q

Synthesis

A

Electronically creating musical sounds using oscillators and filters etc.

170
Q

Takes

A

Recording multiple versions of the same part to ensure the best version is captured, not to be confused with overdubbing

171
Q

Tape Saturation

A

The effect of the aurally pleasing soft-clipping caused by recording a signal to an analogue tape that is slightly overloaded

172
Q

T-Bar

A

A device for mounting two microphones on to a single mic stand , commonly used for stereo recording

173
Q

Tempo

A

The speed of music

174
Q

Texture

A

The thickness of music, created by variation in the amount of sounds layered together

175
Q

Threshold

A

The volume at which dynamics begin to operate- once the sound goes above or below the threshold, depending on the processor type, the processing will be applied

176
Q

Timbre

A

A sounds timbre (‘tone colour’ or ‘tone quality’) is given by its harmonic content. Different wave shapes will have different harmonic content, and it is possible to make alterations to the timbre of a sound through processes such as filtering

177
Q

Tonality

A

Whether a piece of music is major, minor or modal

178
Q

Transducer

A

A device that converts between different types of energy, for example a microphones capsule converts a sound into electrical energy

179
Q

Transients

A

The peaks in a waveform of an audio recording

180
Q

Transistors

A

An electrical semiconductor that is used for switching or amplification

181
Q

Tremolo

A

An effect that is created by the modulation of volume

182
Q

Tri-Tone substitution

A

A harmonic alteration commonly used in Jazz in which one dominant 7th chord is replaced with the dominant 7th chord of its tri-tone (C7-Gb7)

183
Q

Unbalanced

A

A component found in electronic musical equipment for amplification and switching

184
Q

Velocity

A

How hard a note has been struck

185
Q

Velocity Layering

A

The process of triggering a different sample for different note velocities to represent the timbral change when , for example , a key is played harder on a piano

186
Q

Vibrato

A

An effect that is created by the modulation of a ptich

187
Q

Wah-Wah

A

An effect that is created by the modulation of a band pass filter to adjust the amount of treble/bass within a sound. Commonly adjusted with a foot controller

188
Q

Warping

A

The process of changing the timing or pitch of an audio file

189
Q

Waveforms

A

Visual representation of audio

190
Q

XLR

A

A connector commonly found on mics and other balanced signals

191
Q

Zero Crossing

A

The point at which a waveform has a value of zero displacement. Used as the point to edit audio to avoid unpleasant clicks

192
Q

Zero Latency monitering

A

Audio is output directly to the monitoring system without going through the processor of a computer to avoid unnecessary lag during recording

Music Tech - Definitions (2 decks)

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