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key words Flashcards

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1
Q

Absorbtion

A

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

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2
Q

ADAT

A

Alesis Digital Audio Tape
A standard that enables the recording of multitrack digital audio onto a VHS tape. Later ADAT (HD) recorders featured a hard disk

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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 by a sample rate that is too low

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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

Amplitude

A

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

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8
Q

Analogue

A

When a signal or equipment uses a continuously variable physical quantity

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9
Q

Anechoic Chamber

A

A room designed to completely absorb reflections of sound, minimising reverb

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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 by-product during audio processing

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12
Q

Attack (dynamics)

A

The length of time it takes once the threshold is crossed for the processor to apply its 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 specified in 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

Attenuation

A

A reduction in volume/gain

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15
Q

Audio Interface

A

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

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16
Q

Automation

A

Programming adjustable parameters to operate automatically during playback and mixing

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17
Q

Auto-Tune

A

The trade name for a famous pice of software that automatically changes the pitch to the nearest absolute pitch
Can also be used as a creative effect
Alternatives include ‘Melodyne, flex-pitch, variaudio’

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18
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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19
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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20
Q

Band Pass Filter

A

A combination of a low pass and a high pass filter that isolates a band around a centre frequency

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21
Q

Bit Depth

A

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

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22
Q

Bouncing Down

A

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

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23
Q

Capacitance

A

The ability to store an electrical charge in a capacitor

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24
Q

Capsule

A

The element of a microphone that responds to the sound vibrations

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25
Q

Capture

A

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

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26
Q

Cardioid

A

A microphone polar pattern, cardioid is roughly heart shaped and picks up sound from the front and sides

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27
Q

Chorus

A

A modulation effect that simulates 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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28
Q

Clipping

A

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

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29
Q

Coarse-Tuning

A

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

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30
Q

Colouration

A

The effect that equipment can have on the tonal characteristics of audio through its physical design and manufacture

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31
Q

Comb Filtering

A

The effect created when a slightly delayed version of a signal combines with the direct sound, causing destructive interface

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32
Q

Comping

A

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

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33
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 files are examples of ‘lossless’ compressed audio, and WAV files are examples of uncompressed audio

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34
Q

Compression (Dynamics)

A

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

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35
Q

Condensor Microphone

A

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

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36
Q

Convolution Reverb

A

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

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37
Q

Crossfade

A

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

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38
Q

DASH

A

Digital Audio Stationary Head
An open reel tape system introduced in 1982 as an early method of recording multitrack digital audio for mixing and mastering

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39
Q

DAT

A

Digital Audio Tape
Introduced in 1987 as a method of recording digital audio to a cassette tape. It supported two channel stereo recording, so was commonly used as a medium for mastering

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40
Q

DAW

A

Digital Audio Workstation
A piece of software for recording, editing and mixing audio and MIDI files

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41
Q

Decay

A

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

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42
Q

Decibles (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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43
Q

De-esser

A

The process of removing overly emphasised sibilant sounds (including ‘s’ and ‘sh’ sounds) by applying a dynamics processor to certain frequencies

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44
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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45
Q

Depth (LFO)

A

On an LFO, the greater the depth, the wider the range of values for the modulated parameter

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46
Q

Destructive Editing

A

Changes the audio file associated with the sample;
Processing is not normally reversible. Normally, editing in a DAW sampler editor is destructive. Physically making changes to a tape is another example of destructive editing

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47
Q

Diaphragm

A

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

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48
Q

Diffusion

A

Scatters sound waves over a large area

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49
Q

Digital Reverb

A

Models a reverb by using lots of delays, which are mathematically calculated. It was first seen in effect units made by Yamaha and Lexicon in the 1980s

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50
Q

Direct Injection (DI) Box

A

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

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51
Q

Distortion

A

The normal undesirable sound created when an audio signal overloads and clips, aliasing from poor digital to analogue conversion, or desirable distortion such as overdrive on an electrical guitar

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52
Q

Dithering

A

The introduction of small amounts of unobtrusive randomly generated noise into the analogue to digital conversion process

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53
Q

Dynamic Microphone

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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54
Q

Dynamic Processing

A

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

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55
Q

Electromagnetic Induction

A

The method by which microphones and pick ups capture sound and speakers produce it. A coil moves in the magnetic field and a varying electrical current is induced that is proportional to the changes in air pressure (or vice versa)

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56
Q

Envelope Generator

A

A synthesiser element that changes a sounds attack, decay, sustain and release over time

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57
Q

Equalisation (EQ)

A

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

Feedback (Delay)

A

Part of the delayed signal is fed back into the input of the delay. The greater the feedback, the greater the number of repeats

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60
Q

Feedback (Live Sound)

A

The characteristic ‘howl’ produced when the output from a speaker or monitor signal is picked up by a microphone or guitar pickup, while is in turn sent through the same speaker/monitor, forming an infinite loop

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61
Q

Figure-of-Eight

A

Picks up sound from in front of and behind the capsule. Commonly used in M/S (mid-side) recording techniques to give an adjustable stereo image of the sound

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62
Q

Fine-Tuning

A

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

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63
Q

Flanger

A

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

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64
Q

Frequency

A

The pitch of sound or the number of wave cycles in a second. Measured in Hertz (Hz) or kilohertz (KHz)

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65
Q

Frequency Response

A

The accuracy by which a microphone picks up frequencies

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66
Q

Gain Level

A

The amount of boot applied to the pre-amp 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 silence a signal once it drops below a threshold to remove noise

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68
Q

Glide

A

Control on a synthesiser used to make one note slide smoothly into another if played one-after-another

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69
Q

Graphic EQ

A

Uses a bank of filters to individually cut and boost specific parts of the frequency spectrum. Commonly used in live sound

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70
Q

Hard Clipping

A

The waveform peaks and troughs are harshly cut-off. Hard clipping sounds harsher than soft clipping, and is exhibited by solid state/transistor amplifiers

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71
Q

High Pass Filter

A

A type of filter that removes only low frequencies below a set point (cut off frequency) and allows high frequencies through, unaffected

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72
Q

Hyper-Cardioid

A

Picks up sound from in front of the capsule and gives some capture of sounds behind. Effective at providing partial isolation from other instruments but capturing some of the ambience of the room

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73
Q

Impedance

A

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

74
Q

Jack Lead

A

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

75
Q

Keyboard Tracing

A

Spreading a single sample out across the keyboard. The sample is pitch-shifted in response to the key played. Filters in synths also keyboard track so the cut off frequency stays in tune with the note

76
Q

Leslie Speaker

A

Contains a rotating horn, with two modes; tremolo (faster) or chorale (slower). Creates a slight shift in pitch and changes in volume and tone as the speaker spins, giving modulation

77
Q

Limiter

A

A process for controlling the dynamic range of ac sound. it prevents the peaks of sound going above a pre-determined threshold

78
Q

Line Level

A

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

79
Q

Logarithmic

A

A scale that is not linear, but based upon orders of magnitude
e.g.1,10,100,1000…

80
Q

Looping

A

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

81
Q

Low Frequency Oscillator (LFO)

A

A control signal used to alter a parameter over time. commonly used to modulate other elements of the sound

82
Q

Low Pass Filter

A

A type of filter that removes only higher frequencies above a set point (cut off frequency) and allows low frequencies through, unaffected

83
Q

LSB

A

Least Significant Bit
In binary numbers, the least significant bit is the number furthest to the right
i.e. the smallest

84
Q

Mastering

A

The final stage of production before music is released

85
Q

Microphone Level

A

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

86
Q

MIDI

A

Musical Instrument Digital Interface
A universal language used to communicate between electronic musical instruments

87
Q

MIDI Message

A

Sent between electronic instruments to communicate information; types of MIDI message include note on/off, controller, program change and after touch

88
Q

Mid-Side Pair

A

A cardioid and a figure-of-eight microphone set up at 90 degrees to one another. Stereo microphone technique that allows for a variable stereo field width

89
Q

Mixing Desk

A

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

90
Q

Modulation

A

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

91
Q

Monitoring

A

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

92
Q

Mono

A

A single sound source, speaker or channel

93
Q

Monophonic

A

A synthesiser that can only play one note at a time

94
Q

Moving Coil Microphone

A

Another name for a dynamic microphone

95
Q

MSB

A

Most Significant Bit
In a binary number, the MSB is the furthest to the left
i.e. the largest

96
Q

Multisampling

A

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

97
Q

Nodes

A

The point on a wave with the minimum displacement

98
Q

Noise

A

Unwanted sound

99
Q

Normalising

A

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

100
Q

Nyquist’s Theorem

A

States that the sample rate of a digital audio system should be at least twice the highest frequency captured

101
Q

Omnidirectional

A

A microphone that picks up sound from all around the capsule

102
Q

On/Off Axis

A

Placing a microphone at different angles changes the range of frequencies that are captured by the microphone. On-axis capture is brighter and off-axis is duller

103
Q

One-Shot Sampler

A

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

104
Q

OSC

A

Open Sound Control
Used to control electronic instruments. It is more modern than MIDI, and is sometimes used in experimental musical controllers

105
Q

Oscillator

A

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

106
Q

Overdrive

A

A form of distortion when waveforms are deliberately clipped for artistic reasons

107
Q

Overdubbing

A

The process of overlaying additional recorded parts. Not to be confused with recording additional takes

108
Q

Pad

A

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

109
Q

Panning

A

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

110
Q

Panning Law

A

Determines how the volumes of the left and right signals in stereo change when panned across the stereo field

111
Q

Parametric EQ

A

Used to boost or cut an adjustable frequency band around a variable centre frequency

112
Q

Peak/RMS

A

As compressor modes, peak reacts to the momentary amplitude of the signal.
Root Mean Square mode is based on an average measure of the signal level over time

113
Q

Period

A

The period of an oscillation is the amount of time a single cycle takes. Calculated by working out 1/frequency

114
Q

Phantom Power

A

48v provided by a mixing desk or an audio interface to provide power for condenser microphones and DI boxes

115
Q

Phase Difference

A

Describes the ‘sync’ of two waves, often in degrees. Results in partial or complete cancellation of some or all frequencies

116
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

117
Q

Pick Up

A

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

118
Q

Pitch Bend

A

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

119
Q

Pitch-Mapping

A

Sampler(s) that have been mapped across the MIDI keyboard by changing the pitch and length so that they can be played as a musical instrument

120
Q

Plosive

A

A sound which results from letters such as ‘p’, ‘d’ and ‘b’ which, when spoken directly into a microphone, causes a low frequency ‘pop’ sound, due to the string air movement on a microphone’s diaphragm

121
Q

Polar (Pickup) Pattern

A

The direction(s) by which a microphone can capture sound

122
Q

Polarity/Phase Switch

A

Used to invert the polarity of a signal on a mixing desk to avoid cancellation

123
Q

Polyphonic

A

More than one note simultaneously

124
Q

Pop Shield

A

A device for reducing plosive sounds when recording with a microphone. Placed between the performer and the microphone

125
Q

Portamento

A

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

126
Q

Pre/Post

A

When set on pre-fade, the volume of the send is not affected by the volume of the fader. Post-fade is when the volume of the send is affected by the fader

127
Q

Pre-Amp

A

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

128
Q

Pre-Delay Time

A

Gap between the sound and the onset of the early reflections and reverb tail. This is defined by the size of the room

129
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

130
Q

Psychoacoustic

A

The study of how the brain perceives different sound, and the psychological responses that occur when we hear something

131
Q

Quantise

A

The rounding of data. Commonly used to fix the timing or rhythms. Swing or percentage quantise can be used to create different patterns of sound

132
Q

Rate (LFO)

A

Speed at which the modulation takes place; can either be synced to a note value or given an absolute value in Hz

133
Q

Ratio

A

One value in relation to another. Commonly found on dynamics processors

134
Q

Reflection

A

Sound waves bounce off any reflective surfaces in a space. Reflections can cause cancellation or an increase in amplitude for a sound wave at a specific frequency, and many reflections create reverb

135
Q

Release (Dynamics)

A

The amount of time it takes once the signal falls below the threshold for the processor to stop functioning; for example, on a gate, when the signal falls below the threshold, the release is the amount of time it takes for the gate to close

136
Q

Release (Synthesis)

A

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

137
Q

Resonance

A

The extent to which frequencies around the cut off are boosted on a low or a high pass filter. Sounds ‘whistly’ and when set high, can introduce self-oscillation

138
Q

Reverb/Reverberation

A

The ambience found within a sound. Either an acoustic space or an artificially created effect

139
Q

Reverb Time

A

The amount of time taken for the reverb to fully decay to the point that we can no longer hear it. This is sometimes called RT60

140
Q

Reversing

A

Playing a piece of audio backwards. In a DAW, this is achieved digitally. With analogue technology, a tape was played backwards to create a reversed effect

141
Q

Ring Modulation

A

Adds and subtracts two frequencies to produce two new frequencies
e.g. If the original frequencies are 500Hz and 200Hz, the new ones will be 700Hz (500+200) and 300Hz (500-200)

142
Q

Rumble Filter

A

Another name for a high pass filter, often used on a microphone to remove frequencies below 80-150Hz

143
Q

Sample Rate

A

The frequency with which a reading of amplitude is taken for conversion into a digital signal. Measured in KHz

144
Q

Sampling (1)

A

The conversion of analogue information into digital data

145
Q

Sampling (2)

A

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

146
Q

Sequencing

A

Programming information such as note and velocity to control an electronic instrument

147
Q

Shelf Filter

A

A cut or boost beyond a specific frequency, which is then evenly applied until the end of the audio spectrum. High shelf/Low shelf filters alter each respective part of the frequency spectrum

148
Q

Shock Mount

A

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

149
Q

Sidechain

A

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

150
Q

Signal Chain

A

The order in which processing occurs

151
Q

Signal-to-Noise Ratio

A

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

152
Q

Slope

A

The slope of the filter determines how sharply the filter will act at its cut off frequency. It is usually measured in dB/Oct

153
Q

Soft Clipping

A

The waveform peaks and troughs are ‘rounded off’ rather than cut. Value amplifiers soft clip the signal, giving a warmer overdrive

154
Q

Sound Pressure Level (SPL)

A

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

155
Q

Spaced Pair

A

Two omnidirectional microphones placed around 30-60cm apart. A spaced pair gives a wide stereo image, but can leave a hole in the middle depending on how far apart the microphones are

156
Q

Spill

A

Signal that is captured unintentionally, usually from another sound source being captured simultaneously

157
Q

Standing Wave

A

Can cause phase cancellation or increase the amplitude of a specific frequency as a signal reflects off a surface

158
Q

Stereo

A

Left and right audio signals

159
Q

Stuttering

A

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

160
Q

Subtractive (synthesis)

A

Using filters and envelope generators to remove elements of a signal and shape the sound

161
Q

Sustain

A

The stage in an envelope ; 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

162
Q

Sweep

A

Moving a parameter quickly through a wide range of values. Commonly used on the filter cut off on a synthesise, or the centre frequency of a band pass filter for a wah wah effect

163
Q

Synthesis

A

Electronically creating musical sounds using oscillators and filters etc..

164
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

165
Q

Threshold

A

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

166
Q

Transducer

A

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

167
Q

Transient

A

A high amplitude, short-duration sound at the beginning of a waveform

168
Q

Transient Response

A

How quickly the diaphragm of a microphone can move when disturbed by a vibration. Small diaphragm condensers tend to have the quickest transient response; large diaphragm dynamics the slowest

169
Q

Transistor

A

An electrical semiconductor that is used for switching or amplification

170
Q

Tremolo

A

An effect that is created through modulation of volume

171
Q

Unbalanced

A

A cable that only has the signal cable and the connection to ground
e.g. An electric guitar cable

172
Q

Valves

A

A component found in electronic musical equipment for amplification and switching

173
Q

Velocity

A

How hard a note has been struck

174
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

175
Q

Vibrato

A

An effect that is created through modulation of pitch

176
Q

Vocoder

A

Vocoders analyse an incoming signal (the modulator) and apply elements of this signal to a carrier signal, producing a ‘robot’ voice effect

177
Q

Wah Wah

A

An effect that is created by the modulation of a band pass filter to alter a sound’s frequency content. Commonly adjusted with a foot controller

178
Q

Waveform

A

the visual representation of audio

179
Q

XLR

A

A balanced connector commonly found on microphones, sometimes called a cannon connector

180
Q

XY Pair

A

Sometimes known as a ‘coincident pair’. Two cardioid microphones placed so that the capsules are right next to each other; the polar pattern of the two capsules combines to create a wider stereo image with good mono compatibility

181
Q

Zero Crossing

A

The point at which a waveform has a displacement of 0. You can avoid a click whilst editing if you cut the waveform at this point

music tech revision (9 decks)

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