key words Flashcards
1
Q
Absorbtion
A
The process by which an object, material or structure takes in sound energy when hit by a sound wave
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
3
Q
ADSR
A
Attack, Decay, Sustain, Release
The controls on an envelope generator that are used to shape a sound
4
Q
Aliasing
A
Artefacts created by a sample rate that is too low
5
Q
Ambience
A
The amount of reverb that sound contains either naturally from a room or artificially added by an effect
6
Q
Amplifier
A
A piece of equipment used to boost a signal
7
Q
Amplitude
A
The height of a waveform measured from its mean or zero position to its maximum displacement
8
Q
Analogue
A
When a signal or equipment uses a continuously variable physical quantity
9
Q
Anechoic Chamber
A
A room designed to completely absorb reflections of sound, minimising reverb
10
Q
Arpeggiator
A
A device that automatically plays the individual notes of a chord as an arpeggio/broken chord
11
Q
Artefacts
A
Unwanted sounds created as a by-product during audio processing
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
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
14
Q
Attenuation
A
A reduction in volume/gain
15
Q
Audio Interface
A
A device that connects a computer to audio peripherals such as microphones, speakers and musical instruments
16
Q
Automation
A
Programming adjustable parameters to operate automatically during playback and mixing
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’
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
19
Q
Balanced
A
A connection that has two signals in inversion to one another to reduce noise when put back into phase
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
21
Q
Bit Depth
A
The number of bits used in each sample in analogue to digital conversion
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
23
Q
Capacitance
A
The ability to store an electrical charge in a capacitor
24
Q
Capsule
A
The element of a microphone that responds to the sound vibrations
25
Capture
The initial stage of recording in which the sounds are input to the recording device
26
Cardioid
A microphone polar pattern, cardioid is roughly heart shaped and picks up sound from the front and sides
27
Chorus
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
28
Clipping
Overloading a signal so that the top of the waveform becomes squared and causes distortion
29
Coarse-Tuning
The control on a synthesiser or sampler that moves the tuning of a note in semitones
30
Colouration
The effect that equipment can have on the tonal characteristics of audio through its physical design and manufacture
31
Comb Filtering
The effect created when a slightly delayed version of a signal combines with the direct sound, causing destructive interface
32
Comping
The process of combining multiple takes of a recording into one take
33
Compression (Data)
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
34
Compression (Dynamics)
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
35
Condensor Microphone
A microphone that captures sound by measuring the changes in capacitance as the diaphragm moves
36
Convolution Reverb
A reverb that adds ambience by sampling the reflections in a room and calculating the response of sounds within those spaces
37
Crossfade
A crossfade creates a smooth transition between audio files by fading one out whilst the others fades in
38
DASH
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
39
DAT
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
40
DAW
Digital Audio Workstation
A piece of software for recording, editing and mixing audio and MIDI files
41
Decay
The amount of time that it takes from the peak to drop down to the 'sustain' level
42
Decibles (dB)
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
43
De-esser
The process of removing overly emphasised sibilant sounds (including 's' and 'sh' sounds) by applying a dynamics processor to certain frequencies
44
Delay
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
45
Depth (LFO)
On an LFO, the greater the depth, the wider the range of values for the modulated parameter
46
Destructive Editing
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
47
Diaphragm
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
48
Diffusion
Scatters sound waves over a large area
49
Digital Reverb
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
50
Direct Injection (DI) Box
A unit that converts high-impedance unbalanced signals (instrument level) into low impedance balanced signals (microphone level)
51
Distortion
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
52
Dithering
The introduction of small amounts of unobtrusive randomly generated noise into the analogue to digital conversion process
53
Dynamic Microphone
A microphone that has a moving coil attached to the diaphragm, within a magnetic field, that generates a small electrical signal
54
Dynamic Processing
The control of dynamics either manually, or with automated devices such as gates and compressors
55
Electromagnetic Induction
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)
56
Envelope Generator
A synthesiser element that changes a sounds attack, decay, sustain and release over time
57
Equalisation (EQ)
The balancing of the amplitude of different frequencies within a sound to alter the treble, mid and bass
58
Expander
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
59
Feedback (Delay)
Part of the delayed signal is fed back into the input of the delay. The greater the feedback, the greater the number of repeats
60
Feedback (Live Sound)
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
61
Figure-of-Eight
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
62
Fine-Tuning
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
63
Flanger
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
64
Frequency
The pitch of sound or the number of wave cycles in a second. Measured in Hertz (Hz) or kilohertz (KHz)
65
Frequency Response
The accuracy by which a microphone picks up frequencies
66
Gain Level
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
67
Gate
A process for controlling the dynamics of a sound. Gates silence a signal once it drops below a threshold to remove noise
68
Glide
Control on a synthesiser used to make one note slide smoothly into another if played one-after-another
69
Graphic EQ
Uses a bank of filters to individually cut and boost specific parts of the frequency spectrum. Commonly used in live sound
70
Hard Clipping
The waveform peaks and troughs are harshly cut-off. Hard clipping sounds harsher than soft clipping, and is exhibited by solid state/transistor amplifiers
71
High Pass Filter
A type of filter that removes only low frequencies below a set point (cut off frequency) and allows high frequencies through, unaffected
72
Hyper-Cardioid
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
73
Impedance
The amount of opposition that a circuit applies to a current when a voltage is applied to it
74
Jack Lead
A common connector used for audio. Can be used mono, stereo, balanced and unbalanced. Comes in two sizes for different purposes
75
Keyboard Tracing
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
Leslie Speaker
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
Limiter
A process for controlling the dynamic range of ac sound. it prevents the peaks of sound going above a pre-determined threshold
78
Line Level
An audio signal that has a higher level than microphone or instrument level and requires less amplification at the pre-amp stage
79
Logarithmic
A scale that is not linear, but based upon orders of magnitude
e.g.1,10,100,1000...
80
Looping
An audio or MIDI file of any length that repeats multiple times
81
Low Frequency Oscillator (LFO)
A control signal used to alter a parameter over time. commonly used to modulate other elements of the sound
82
Low Pass Filter
A type of filter that removes only higher frequencies above a set point (cut off frequency) and allows low frequencies through, unaffected
83
LSB
Least Significant Bit
In binary numbers, the least significant bit is the number furthest to the right
i.e. the smallest
84
Mastering
The final stage of production before music is released
85
Microphone Level
An audio signal that has a lower level than line and requires more amplification at the pre-amp stage
86
MIDI
Musical Instrument Digital Interface
A universal language used to communicate between electronic musical instruments
87
MIDI Message
Sent between electronic instruments to communicate information; types of MIDI message include note on/off, controller, program change and after touch
88
Mid-Side Pair
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
Mixing Desk
A device for changing relative levels, EQ and dynamics of a number of audio signals and blending them together
90
Modulation
Literally means 'changing' -but normally used to include effects with some movement to them such as chorus, flanger or an LFO
91
Monitoring
The equipment used to listen to audio during recording or mixing: speakers or headphones
92
Mono
A single sound source, speaker or channel
93
Monophonic
A synthesiser that can only play one note at a time
94
Moving Coil Microphone
Another name for a dynamic microphone
95
MSB
Most Significant Bit
In a binary number, the MSB is the furthest to the left
i.e. the largest
96
Multisampling
Several samples of a single sound source, usually at different pitches and velocities, to increase the realism of a sampled instrument
97
Nodes
The point on a wave with the minimum displacement
98
Noise
Unwanted sound
99
Normalising
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
Nyquist's Theorem
States that the sample rate of a digital audio system should be at least twice the highest frequency captured
101
Omnidirectional
A microphone that picks up sound from all around the capsule
102
On/Off Axis
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
One-Shot Sampler
A sample that plays without the end being truncated, no matter how long the key is pressed for
104
OSC
Open Sound Control
Used to control electronic instruments. It is more modern than MIDI, and is sometimes used in experimental musical controllers
105
Oscillator
A device found in a synthesiser that generates waveforms used for sound generation and modulation
106
Overdrive
A form of distortion when waveforms are deliberately clipped for artistic reasons
107
Overdubbing
The process of overlaying additional recorded parts. Not to be confused with recording additional takes
108
Pad
A switch on equipment that attenuates the gain by a set amount to prevent clipping
109
Panning
Placing a sound within the stereo field (left or right)
110
Panning Law
Determines how the volumes of the left and right signals in stereo change when panned across the stereo field
111
Parametric EQ
Used to boost or cut an adjustable frequency band around a variable centre frequency
112
Peak/RMS
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
Period
The period of an oscillation is the amount of time a single cycle takes. Calculated by working out 1/frequency
114
Phantom Power
48v provided by a mixing desk or an audio interface to provide power for condenser microphones and DI boxes
115
Phase Difference
Describes the 'sync' of two waves, often in degrees. Results in partial or complete cancellation of some or all frequencies
116
Phaser
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
Pick Up
A device that converts vibrations (magnetic, physical..) into an electrical signal for amplification and processing
118
Pitch Bend
A control on synthesisers to bend the pitch of a note up and down
119
Pitch-Mapping
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
Plosive
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
Polar (Pickup) Pattern
The direction(s) by which a microphone can capture sound
122
Polarity/Phase Switch
Used to invert the polarity of a signal on a mixing desk to avoid cancellation
123
Polyphonic
More than one note simultaneously
124
Pop Shield
A device for reducing plosive sounds when recording with a microphone. Placed between the performer and the microphone
125
Portamento
A control on synthesisers to continuously alter the pitch of a note by sliding between the original pitch and the destination pitch
126
Pre/Post
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
Pre-Amp
An amplifier for boosting signal to a level suitable for processing and further amplification
128
Pre-Delay Time
Gap between the sound and the onset of the early reflections and reverb tail. This is defined by the size of the room
129
Proximity Effect
The change in bass response captured by a directional microphone, depending on the distance of a sound source from the microphone
130
Psychoacoustic
The study of how the brain perceives different sound, and the psychological responses that occur when we hear something
131
Quantise
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
Rate (LFO)
Speed at which the modulation takes place; can either be synced to a note value or given an absolute value in Hz
133
Ratio
One value in relation to another. Commonly found on dynamics processors
134
Reflection
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
Release (Dynamics)
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
Release (Synthesis)
The length of time that the note continues after it has stopped being played, until it dies away to nothing
137
Resonance
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
Reverb/Reverberation
The ambience found within a sound. Either an acoustic space or an artificially created effect
139
Reverb Time
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
Reversing
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
Ring Modulation
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
Rumble Filter
Another name for a high pass filter, often used on a microphone to remove frequencies below 80-150Hz
143
Sample Rate
The frequency with which a reading of amplitude is taken for conversion into a digital signal. Measured in KHz
144
Sampling (1)
The conversion of analogue information into digital data
145
Sampling (2)
Using pre-recorded audio as the stimulus for new musical ideas
146
Sequencing
Programming information such as note and velocity to control an electronic instrument
147
Shelf Filter
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
Shock Mount
A device that suspends a microphone while on a stand to reduce noise from vibrations and other physical movements
149
Sidechain
An input that allows the processing to be triggered by an external source. Commonly found on dynamic processors and other effects
150
Signal Chain
The order in which processing occurs
151
Signal-to-Noise Ratio
The difference between the audio that is being captured and the noise captured simultaneously
152
Slope
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
Soft Clipping
The waveform peaks and troughs are 'rounded off' rather than cut. Value amplifiers soft clip the signal, giving a warmer overdrive
154
Sound Pressure Level (SPL)
A measurement of the sound against a reference level; measured in dB and represents how loud we perceive the sound to be
155
Spaced Pair
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
Spill
Signal that is captured unintentionally, usually from another sound source being captured simultaneously
157
Standing Wave
Can cause phase cancellation or increase the amplitude of a specific frequency as a signal reflects off a surface
158
Stereo
Left and right audio signals
159
Stuttering
When audio (normally a sample) is triggered repeatedly and quickly to make the audio sound like a stutter
160
Subtractive (synthesis)
Using filters and envelope generators to remove elements of a signal and shape the sound
161
Sustain
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
Sweep
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
Synthesis
Electronically creating musical sounds using oscillators and filters etc..
164
Tape Saturation
The effect of the aurally pleasing soft-clipping, caused by recording a signal to an analogue tape that is slightly overloaded
165
Threshold
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
Transducer
A device that converts between different types of energy; for example, a microphones capsule converts a sound into electrical energy
167
Transient
A high amplitude, short-duration sound at the beginning of a waveform
168
Transient Response
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
Transistor
An electrical semiconductor that is used for switching or amplification
170
Tremolo
An effect that is created through modulation of volume
171
Unbalanced
A cable that only has the signal cable and the connection to ground
e.g. An electric guitar cable
172
Valves
A component found in electronic musical equipment for amplification and switching
173
Velocity
How hard a note has been struck
174
Velocity Layering
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
Vibrato
An effect that is created through modulation of pitch
176
Vocoder
Vocoders analyse an incoming signal (the modulator) and apply elements of this signal to a carrier signal, producing a 'robot' voice effect
177
Wah Wah
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
Waveform
the visual representation of audio
179
XLR
A balanced connector commonly found on microphones, sometimes called a cannon connector
180
XY Pair
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
Zero Crossing
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
