PROJECT ZIONNOIZ

COURSE VOCABULARY

Compiled and written by Sandalwood

A/D CONVERTER - An Analog to Digital Converter (ADC) is an electronic device whose function is to convert signals from the analog domain (vocals, instruments, and stereo sources) into digital data. The data can then be recorded and manipulated within a computer audio workstation or stand alone digital recorder. The converters can be either built-in or standalone. The quality of these devices can vary substantially.

AIFF - Audioo Interchange File Format is a file format for storing digital audio data. It supports a variety of bit resolutions, sample rates and channels of audio. The format has been embraced by the Apple platforms, but is also widely used in professional programs that process digital audio data.

AM – Amplitude modulation consists of using the amplitude of a waveform to modulate the value of another signal or waveform, I.e., If the amplitude of wave A is at value x then change value of signal/wave B to y.

ASIO - Audio Stream Input/Output is a cross-platform, mullti-channel protocol for audio transfer that was developed by Steinberg and is now being adapted by many manufactures of audio/MIDI sequencing applications. It allows various programs to communicate with different sound cards and to recognize all of the inputs and outputs available on the sound card. The user can then assign these I/O ports as needed for recording or playback when using an ASIO-compatible software program.

ABSORBTION - In acoustics, the property exhibited by certain materials to absorb (as opposed to reflect) sound waves. Used by studio designers to control the sound energy in a given space. Also used in reference to the conversion of sound or radio frequency (RF) energy into heat.

ACTIVE - A circuit or devvice that uses transistors, integrated circuits or vacuum tubes to perform an action on an electrical source. Typically these systems require power to operate and are often used in amplifiers or active equalizers. The down side to using active components is the probability that noise and distortion will be introduced into the signal. Also refers to a type of speaker that has integrated amplification within the same enclosure as the speaker elements.

AFTERTOUCH - <MIDI data that is transmitted by a digital keyboard after a key has been struck and additional pressure is subsequently exerted on the key while it is being held down. Most often routed to control vibrato or volume, Aftertouch comes in two flavors, Channel (or Mono) being the most common implementation. Polyphonic Aftertouch allows for multiple keys to transmit individual amounts of modulation data simultaneously, but few keyboards offer this functionality today.

ALIASING - <In digital sampling and recording, aliasing is a digital distortion that occurs when the program material being sampled contains frequencies higher than one-half the selected sample rate (called the Nyquist Theorem). Most digital recording devices have filters that remove these frequencies that would otherwise cause aliasing to occur.

AMPLIFIER - An ammplifier is an electronic device that increases the voltage, current or power of a signal. Used in wireless communication, broadcasting and in audio equipment, they can be categorized as either weak-signal amplifiers or power amplifiers. Weak-signal amplifiers are used primarily in wireless receivers, acoustic pickups, audio tape players and compact disc players. Power amplifiers are used in wireless transmitters, broadcast transmitters and for sound reinforcement.

AMPLITUDE –

ANTARAS – Plug-in Developers, makers of 'TubeVST,' and 'FilterVST'

ARPEGGIATOR - A device for electronically creating a series of notes from a synthesizer. Rather than playing held notes simultaneously, the arpeggiator plays the notes in series. On some synthesizers this may be a simple iteration of the held notes in ascending or descending order, while on other synthesizers, very complex algorithms are employed to trigger notes in seemingly random and sometimes outrageous manners.

ATTACK – The measurement of time it takes for a signal value to fade in. Attack is the first stage in a standard ASDR envelope. Since, in most samplers and synthesizers there is typically an envelope generator pre-routed to modulate the amplitude of a sound, attack usually refers to the amount of time it takes a sound to fade in. Drums and percussive sounds have a short or sharp attack, while pads, strings, and other sweeping sound usually have an elongated attack time.

ATTENUATE – Attenuation is a general term that refers to any reduction in the strength of a signal, whether digital or analog. It is a natural consequence of signal transmission over long cable runs, or it may be purposely achieved with circuits to prevent overload and distortion in an audio signal path.

AUDIO – Audio is obviously sound, but in production is usually a reference to an actual raw audio file and/or waveform, some examples of which are 'wav' and 'aiff.'

AUTOMATION – User-defined, time-based modulation which is controlled via an automation controller lane within the DAW. Typically automation can be recorded live then edited, or drawn in manually by the user.

Example: Cubase SX3, Tonic Filter Cutoff Automation Lane

BPM - <Abbreviation for Beat Per Minute, a standard way to define tempo, often used in electronic music and sequencing software. The BPM is determined by the number of counts (beats) per minute. In typical 4/4 EDM a bpm of 130 translates to 130 quarter-quarter-notes per minute.

BAND - >A range of frequencies, as defined by a regulatory authority or by commonly accepted usage. In audio, the term usually refers to equalizers, in particular graphic EQ's

BANDPASS FILTER - An electronic device or circuit that allows signals between two specific frequencies to pass, but that attenuates signals at other frequencies. Bandpass filters that have amplifiers for boosting the levels of signals in the accepted frequency range are known as active filters. Devices that do not amplify and consume no power in doing their task are referred to as passive filters.

Example:

BAR – One measure of musical time. In most EDM with a time signature of 4/4, one bar is equivalent to four counts (quarter-notes), sixteen sixteenth notes etc.

Example of a bar/measure in Cubase SX3's Sequencer and Midi Event Editor Windows:

BASSLINE – Most of the definitions I could give here should be obvious, In EDM the bass usually refers to any sound that contains low frequencies. For example, in dubstep the bassline usually consists of midrange as well as low frequencies, but the sound is perceived as a whole, and considered bass. Anything can be part of the bassline!

BATTERY – Drum machine VST made by Native Instruments whose main strength lies in one shot programming and triggering.

BIT CRUSHER – Effect that creates 'digital distortion' by reducing the bit depth of the waveform. Classic video game sounds galore!

BIT DEPTH - In digital audio, the term is used to define the number of bits a digital device uses to process audio. While sampling frequency determines the outer frequency limits that a piece of hardware is capable of processing, bit depth refers to the dynamic range that can be captured during recording. The number of possible "levels" that can be recorded at 16-bit is 65,536, while this figure jumps to 16,777,216 using 24-bit hardware. The human ear is very sensitive to these levels, and given properly implemented converter designs, 24-bit recordings will sound more "open" than 16-bit recordings. However, it is also true that a top of the line 16-bit converter could sound better than a very poorly implemented 24-bit converter. Although bits and sampling frequencies are important specifications, the kinds of filters used, and the integrity of the audio path prior to the converters is also very important as to how a particular converter will sound.

BOUNCE – Usually a reference to a clip of audio which is 'bounced' to an audio file from the project. A bounce can be any elements of the track 'bounced' together or a single element solo'd or even the entire track. TIP: it can be usefull to make a bounce every time you do a major 'save-as' in your project, this way when you listen to your bounces later you can compare mixdowns and return to an earlier project file version if it was better than your newer one. Remember, save-as and save your ass! Also, don't forget to title your mp3 or wav EXACTLY like you title your project file for easy reference later

BREAK – A break is a reference to the drums or to a specific drum audio clip, there are many other definitions but for our purpose this is the most pertinent.

BREAKBEATS – Genre of EDM characterized by a 'broken beat' where the kick and snare do not play at the same time, drum n' bass and hip hop can be considered breakbeats though at present with relation to EDM, breakbeats usually refers to a specific genre with a bpm from around 125 to 145, bear in mind that these numbers as well as the definition of the genre itself fluctuate with time

BREAKDOWN – This refers to any moment in a song where the elements at play change up but more specifically the main elements are broken down and/or removed, ok, this is another one of those words whose roots are deep and there are many different definitions but at present in the production world when one says breakdown they are referering to the typically 16 or 32 bar parts or sections which divide parts A and B of a song,

BUILDUP – Any portion of a track/song in which the elements are perceived to be building up to a presupposed 'drop' or 'breakdown'

BUS – A bus is basically a combination of signal paths. The master bus refers to the final stage of the signal chain where all channels are combined.

CHAIN – The path that an audio signal follows from its source to the listener's ear, aka signal chain

CHANNEL – In most DAWs a channel in the mixer refers to a single track in the sequencer window and as such represents that tracks signal routing through the mixer. In general, it is the circuit path for a signal, or a functional unit that is designed to independently process a signal.

Example of Channel in Cubase SX3:

CHOP – The act of slicing an audio or midi 'events' into smaller 'slices' which can be rearranged and individually processed/pitched etc.

CHORUS – Modulation effect which modulates the waveform to create a multi-voice effect from one signal making it sound like a choir of voices common parameters include, waveshape, stage, and frequency

Example of Chorus in Cubase SX3:

CLIPPING - >Clipping occurs in analog and digital audio circuits when the incoming signal exceeds what a particular device can accommodate. Visually, it results in the flattening of the signal peaks, as if the waveform had been "clipped" off. In certain analog circuits light clipping can have a positive effect, producing a pleasing distortion. In digital circuits the general rule is that clipping is to be avoided at all costs, since it produces a nasty and harsh sound

CLIP – A segment of audio, aka 'audio clip'

COMPRESSOR – A circuit that performs compression of an audio signal. By setting the ratio and threshold controls, the user is able to tame large dynamic swings. For instance, a 2:1 ratio means that if the program material rises by two decibels, the output will only rise by one decibel, once the threshold setting has been exceeded. There are many uses for compressor, from controlling the large dynamics of live performances, increasing the overall level of a signal, increasing the sustain on a guitar or just evening out a performance. Other controls such as attack and release times will further modify the source material.

Example: The Sonalksis SV-315 Stereo Compressor

CONSONANCE – The percieved (and physical, though for what we're doing perceived consonance is most pertinent) positive harmony of two or more elements that the listener finds to be 'working' or 'in-tune' This term is completely relative in today's musical world where there is consonance between dissonant sounds I.e., experimental soundscapes or harsh basslines that do not follow any traditional musical rules or physical harmony but they still 'work' in the listener's ears, this could be refered to as perceptual consonance, and that is what we will work toward.

CONVOLUTION REVERB – Type of reverb which uses extremely detailed sonic models of actual rooms or spaces through measurements of the space's surfaces and dimensions, to make any sound you give it appear to lie in the actual real-life space that was modeled. In the room where you are right now, the ceiling is a certain height, the walls a certain length, the floor a certain material, and convolution reverb records frequencies within a space to impulse files.

CROSSOVER - <An electrical device that divides the audio spectrum of a particular source into smaller groups of frequencies, making it easier for down stream components to handle the load. The most common use of crossovers is in amplifier/speaker systems, which allows the separate components to function more efficiently. For instance, a mid-range speaker will function better if it does not have to deal with low frequency content, and visa versa. Also natively, one can create a crossover by using a phase-accurate equalizer to split the signal into multiple frequency specific signals. This can be extremely usefull for splitting sounds, I.e., one could split a bass sound into sub, mid, and high to process each individually as each frequency range can dictate different proccessing techniques.

CUBASE – Steinberg made DAW (Digital Audio Workstation)

CUTOFF – This typically refers to the 'frequency cutoff' on a filter, and is the frequency point at which the cutoff slope of the filter begins, the cutoff changes the frequency of the filter slope(s) so it is the main and most recognizable parameter of a filter

DAW - <Digital Audio Workstation. Usually refers to a computer with audio recording, playback and editing features. Nowadays, entire projects can be completed 'natively' on a DAW.

DE-ESSER – A de-esser is used to get the 'ess' out of a recording and typically uses a frequency specific compressor to attenuate specific 'ess' frequencies.

DECAY – The second stage in a standard ADSR envelope that controls the the amount of time the signal stays, before fading out. For example if you have a short attack, a short decay, and no sustain with low release, it will be a percussive sound, as the sustain does not keep the signal value at peak during triggering.

Example:

DELAY – The repetition of audio which causes an echoing effect, there are many ways to accomplish this effect but the standard approach is to use a delay plugin which typically offers synced or unsynced delay times, feedback adjustment, multi-tap delays, and dry/wet parameters. It should be noted that if you have delays hitting at the same time as the source material you will run into phase issues ACK, you can avoid this by using a modulator delay which modulates the pitch of the delay to keep it from phasing out the source.

Example: Cubase SX3's straightforward ModDelay

DIAPHRAGM = The portion of a microphone that is mechanically moved by sound waves. The resulting interaction with a backplate or moving coil (depending on the microphone type) allows the conversion of sound energy to electrical energy. This energy eventually gets to a loudspeaker or headphone, where a roughly equivalent reverse process takes place as the cone moves in response to the electrical signal and produces sound energy.

DIRECT BOX - Often abbreviated as DI (short for Direct Inject) used primarily as a device for matching the impedance of a source to the inputs of a tape machine or mixer. Typically, the output of a bass or electric guitar is a high impedance, unbalanced signal, that needs to be converted into a low impedance balanced signal, either for long cable runs to a live console, or for imputing into a recording device. The process also allows the electronics on these instruments to function at their correct levels, thus often improving the sound

DISC-AT-ONCE - <A method of "burning" a CD, disc-at-once writes to the disc in one pass - the laser in the CD burner never turns off, even in silent passages. Required by mass duplicators of Red Book audio CDs. Although CDs written track-at-once will generally play in consumer CD players, the duplicators at mass manufacturers will reject such a disc as fatally flawed. You do want your mix to be seamless right? Hopefully you guys already know about this. =)

DISSONANCE – The perceived 'negative' or 'clashing' harmony between two or more notes or sounds, In some of the harder and darker genres, for example, dissonant harmonies cause the listener to perceive tension, sadness, or even anger and frustration within the music so in this case as well as many others dissonance can be a very powerful tool! \m/|^_^|\m/

DROP – In EDM the drops come after the intro and/or breakdowns and are usually the first time the listener hears the main 'groove' or 'meat' of the track.

DUCKING - <A system for controlling the level of one audio signal with another. For example, background music can be made to "duck" whenever there is the need to hear a voice over.

DYNAMICS – Any change in a signal over time. Usually it refers to change in amplitude.

DYNAMIC RANGE - The range in dB between the noise floor of a device and its defined maximum output level.

DYNAMIC MICROPHONE - A type of microphone that consists of a diaphragm connected to a coil that operates in a magnetic field. Any movement of the diaphragm due to sound pressure levels moves the coil within the magnet, thus producing an electric current. Dynamic microphones do not require external power to operate, are generally more robust, and therefore favored for live use (although several manufactures are making condenser microphones specifically for live use.) The downside is that due to their construction, dynamic microphones are less sensitive to fast transients and don't have the high frequency response of the condenser variety.

EARLY REFLECTIONS - The initial sound reflections from walls, floor and ceiling, created when an acoustic event happens in an acoustically reflective environment. Often a parameter that can be adjusted in units that electronically simulate acoustic spaces (reverb processors.)

ENVELOPE GENERATOR - All sounds can be described in a variety of ways. One of them is the manner in which a signal or waveform evolves amplitude-wise, starting from silence to full value to final decay. Or how the harmonic content changes over time. In synthesizers, these changes to an oscillator or filter are achieved using envelope generators. The most typical envelope generator consists of the parameters attack, decay, sustain, and release, (ADSR envelope)

Example:

EQUALIZER (EQ) - Hardware device or computer plug-in used to alter the frequency balance of an audio source. An equalizer has the ability to boost or cut specific frequency ranges based around a center frequency and can be used either creatively, to drastically alter a source, or in a corrective manner, such as in a mastering situation, to even out anomalies in a mix. Equalizers come in various forms, including parametric and graphic, active or passive.

Example: Sonalksis SV-517 Equalizer

EVENT – In Cubase, an event is an instance of audio or midi.

Example:

FADER – As opposed to a knob, which is circular, a fader is a straight line. =)

FEEDBACK - In acoustics, the undesirable leakage of audio from loudspeakers, back into the same microphone which is being used for originally capturing the audio. If too much feedback occurs, the system can go into self-oscillation, causing unpleasant howling or squealing. In electronics, such as power amplifiers, feedback can be used to achieve specific results, such as performing input/output comparisons.

FILTER - <An electronic circuit designed to attenuate a sound source's energy at a particular frequency. A true filter is always passive, in that it does nothing to add to the signal. However, most filters these days have amplifiers attached to them to allow the user to both boost and cut particular frequencies (active filters.) Multiple filters can be combined to create equalizers that are either passive, active or both.

FLANGING - <Flanging is an audio process where two copies of the same signal are played together, with one variably delayed against the other. Originally created using two tape machines and "leaning" gently on the flange of one of the tape reels, today the effect is produced using digital effect processors. Feeding the processed signal back into the device to be processed again can deliver a more intense effect, although many are of the opinion that the original tape based method is still superior.

FM SYNTHESIS - Originally developed by John Chowning of Stanford Univversity, and later popularized by Yamaha's FM7 synthesizer, FM synthesis is a method of sound generation where a sine wave is modulated by one or more sine waves to produced a large variety of waveforms. Later incarnations of the process used many other types of waveforms for the carrier and modulators, producing an even wider palette of sounds. Know primarily for the pure bell-like and electronic piano tones

FORMANT - An emphasized frequency component of an instrumental oor vocal sound that does not change with pitch, and which helps to distinguishes one instrument from another, and gives voices their unique characteristic. Problems arise in the audio world where pitch shifting is common, (samplers, DAW editing) since in this case the formant characteristic is pitch-shifted along with the overall pitch of the signal, making the resulting audio file sound unnatural. Various manufactures of pitch shifting processors have tried to address this issue with a modicum of success.

FREQUENCY - <In audio the indication of how many cycles of a repetitive waveform occurs during one second. A waveform which repeats once per each second has a frequency of 1Hz (Hertz.) Frequency can also be interpreted as pitch.

FREQUENCY RESPONSE - A measurement of the frequency range that can be handled by a specific piece of electrical equipment or loudspeaker when referenced to amplitude. A graph of all the frequencies plotted versus level is the Frequency Response Curve of a particular piece of equipment.

GAIN - <The extent to which a circuit amplifies a signal. Usually part of an amplifier specification, its value is most often expressed in a decibel value.

GATE - <A dynamic device that has the ability to stop audio passing through it based on a certain threshold. Originally designed to shut down audio output in passages with no program material (where tape hiss might be evident) or to lower bleed on drum microphones. Gates can also been used creatively, notably the gated reverb of Phil Collins' 80s drum sound.

GLIDE – Also referred to as portamento, glide is the amount of time it takes for an instrument to shift from one note to another without retriggering.

GUITAR RIG – Plug-in by Native Instruments which emulates a rack of guitar amplifiers and effects, it even emulates cabinet miking.

HARMONIC - <A harmonic is a wave whose frequency bears a whole number relationship to the frequency of a reference signal. Complex sounds, such as the human voice or the sound of a stringed instrument always consist of a fundamental frequency and then a number of harmonics, which, depending on their amplitude, will make up the basic characteristic of that sound. So the second harmonic is always two times the fundamental, and so on through the rest of the harmonic series. Discordant sounds have several or many harmonic waveforms that do not bear the whole integer relationship present in the basic sound.

HEADROOM - The difference expressed in dB between the nominal opeerating level of a device, and the maximum level that can pass through the device without being distorted.

HERTZ (Hz) - A unit of frequency, named after Heinrich Hertz, a 19th century German physicist. So if a complete single cycle of a waveform occurs over 1 second, the waveform is said to have a frequency of 1Hz.

HIGHS – This merely refers to the high frequencies of a sound.

HIGHPASS FILTER - A filter that attenuates frequencies below a certain cutoff point, while passing on frequencies above the cutoff unaffected. Sometimes referred to as low-cut filter.

Example:

HOOK – This is the part of the song most often remembered, sometimes it is intentional and sometimes it is not. A hook can be anything from a vocal chorus, to a synth, to a drum roll.

HOST BASED - Used in reference to computer based recording systems. In the early days of computer recording, much of the processing work had to be done on additional hardware cards, while the computer merely provided visual feedback. But because of the unprecedented power that is available in today's computers, it is entirely possible to have a virtual studio within the computer, using only the computers processing power. Host based systems are still hampered to some degree when compared to their hardware card equivalents, but as computer power increases, so host based systems become more and more economical

I/O - <Abbreviation for input/output. In audio, the term refers to the physical inputs/outputs of a particular piece of equipment. Also used to describe any operation, program or device that transfers data to and from a computer.

IMPEDANCE - <An expression of the opposition that an electronic component, circuit or system offers to AC or DC current. Impedance contains both resistive and reactive components, although generally only the resistive part of the circuit is usually quote in specifications as Ohms. So the higher the resistance, the higher the impedance.

INITIALIZE (INIT) - To restore a piece of equipment to its factory default settings, or to restore a plug-in to to default settings.

INSERT - <A connector at a particular point of a circuit that allows for the introduction of a piece of external equipment, so that the original signal now flows and is processed by the external equipment prior to being returned back into the original circuit.

INTERFACE - <A device that acts as an intermediary to two or more pieces of equipment. An audio interface for a computer allows signals generated by a preamplifier for example, to be communicated to the computer software. The software itself is also an interface, but in this instance it is between the operator and the computer itself.

INTER-MODULATION - <A process that can result in distortion. Inter-modulation is the result of two or more frequencies inter-reacting with themselves and generating new frequencies that are not present in the original signal. These are invariably based on the sum and difference of the original frequencies.

KHZ - <The kilohertz is a unit of alternating current or electromagnetic wave frequency equal to one thousand hertz. The unit is used in measurements of bandwidth, but in audio can also refer to the pitch of a particular tone.

KEYMAP - <Term is used in reference to a synthesizer or sampler that uses sample data for the raw building blocks of the sound generation. It is a means to assign each sample to a particular key or range of keys. So a piano keymap would theoretically have each tone from the entire piano keyboard mapped to exactly the same keys on the synthesizer or sampler. A second keymap might contain similar information, except that each note was sampled using a stronger/lighter strike of the piano keys. Of course, it is not always necessary to assign one sample per key. In fact one could assign a single sample across the entire keymap. Different manufactures refer to keymaps by other names, such as Key Group or multi-sample.

KNEE - <Describes the action of a compressor as the signal level crosses the threshold setting. A compressor functions by processing a signal above a certain threshold. Without a soft knee setting, the compressor would immediately begin processing the moment the threshold was reached. In fact this is how a hard knee setting works. But in certain circumstances this may be unmusical, so the soft knee setting allows compression to begin gradually and reach full processing only after the signal has reached a predetermined level above the threshold.

KNOB – As opposed to a fader, a knob is round. =)

KONTAKT – Sampler made by Native Instruments

LFO - <Low Frequency Oscillator. An oscillator that is designed primarily to operate below the threshold of human hearing (though not exclusively) and to provide modulation function. Often found in synthesizers and effect devices. For instance, this example could be assigned to a lowpassfilter's cutoff frequency, and would create somewhat of a wah-wah sound as the LFO goes up and down carrying the filter cutoff up and down with it.

Example: Sinewave LFO in Kontakt 2 cycling at 3 eighth-notes

LATENCY - <Latency is an issue that can be found in several areas of audio production. In its broadest sense it means the delay that increases response time beyond the time desired. For instance, in a MIDI keyboard instrument, there is a slight delay, or latency, between when a key is struck and when the actual sound is produced. In computer based recording systems that use native processing, a delay exists between an audio event being imputed, and when the same event arrives at the monitoring stage. The delay will increase if the computer has to deal with any real-time processing. To avoid the discomfort that is experienced by this delay, many systems employ input-only monitoring during overdubbing. It should be noted that native latency caused by your interface can be compensated for using buffers

LIMITER - <Similar in principle to a compressor, a limiter is an audio processor that prevents the amplitude of an audio signal from rising above a certain threshold, regardless of what is happening to the amplitude of the source audio. Dynamics below the threshold are more or less unaffected. Certain compressors can in fact function as limiters if their ratio can be set to infinity:1. Uses for limiters include maximizing levels for CD release, optimizing recording levels for imputing into a DAW or when going to tape, or to protect users of in-ear monitors from sudden volume surges.

LOOP – A section of repeating audio.

LOWPASS FILTER - A filter that attenuates frequencies above a certain cutoff point, while passing on frequencies below the cutoff unaffected.

Example: Kontakt 2's 4-Pole Lowpass Filter

MASSIVE – Synth made by Native Instruments with powerful macro controls.

MASSLINE – In certain bassline making practices a massline is created by recording extended periods of audio where many different modulations are occuring. Masslines are later chopped and rearranged to make the final bassline.

METRONOME (CLICK TRACK) – Used as a timing device during recording to keep musicians in time.

MIDI - <Musical Instrument Digital Interface. Originally developed in the early 1980s to control one digital synthesizer from another, today MIDI is used to transmit almost every aspect of a musical performance. However, it must be understood that MIDI data is all about how a sound will be produced, not the actual sound itself. So data sent from one device to another could find itself being played with a piano sound while the original information was actually a drum sequence. General MIDI was in part introduced to alleviate this problem, except that the subset was really a consumer format and of not much use to the professional community. Amongst the command sets of MIDI are note-on, note-off, key velocity and pitch, modulation such as pitch bend, program changes, timing and many more. Its use has moved outside of strictly music and is used for lighting cues amongst other applications. The one great advantage of MIDI, apart from its ubiquity, is that file sizes are relatively small compared to what an actual audio file would be. The MIDI protocol uses eight-bit serial transmission with one start bit and one stop bit, has a 31.25 KBPS data rate, and is asynchronous. Connection is made through a five-pin DIN plug, of which only three of the pins are generally used.

MIDI CHANNEL – In many DAWs, MIDI channels are used to control native plug-ins. The channel is pointed to a certain module, on a certain channel (1-16).

MIDS – Refers to the midrange section of frequencies within a sound.

MIXDOWN (MIX) – Loosely defined as the coexistence of separate entities within a single audio file. In engineering, achieving a good mixdown means fitting the elements within your mix well together.

MIXER - <A device for summing two or more electrical signals. In general audio usage, a device to process and sum the outputs of two or more microphones or line level sources

MODLINE – I made this term up to refer to massline clips that are bounced without the subbass part of the sound. If you have your sub and mids already split, it can be usefull to bounce many variations of the midrange portion of the sound, without the sub, and with different modulations. This way the sound of the sub bass isn't affected by the modulating upper ranges.

MODULATION - <Modulation is the addition of a control signal to an electronic or optical signal carrier. In electronic synthesis, one example might be the sine wave output of a low frequency generator (LFO) being added to a pitched note produces vibrato. Another form of synthesis uses the principle of frequency modulation (FM) to generate a whole range of sounds, by modulating the frequency of an audible frequency with the frequency of another signal. AM and FM radio both employ modulation to broadcast their signals.

MODULE – Any instrument, device, or plug-in that affects the signal.

MONITOR - In audio applications, the term is synonymous with a reference loudspeaker that is used for recording and mixing. They come in various shapes, sizes, configurations and can be passive (requiring an amplifier) or powered (built-in amplifiers.)

NATIVE - <In reference to digital audio and computers, the term means software that uses the processing power of the computer, and does not require additional hardware. Also sometimes referred to as host based. However, plug-in architectures that are written for native systems are not technically native themselves, since they require the presence of other software to actually function.

OSCILLATOR - <An electronic circuit designed to generate a period electrical waveform at a particular frequency. Oscillators are found in computers, wireless receivers and transmitters, and music synthesizers. Early synthesizers used oscillators as the raw source for creating sound, using filters and envelops to shape the sounds.

PAD – Describes the quality of a sound which is 'sweeping' or 'slow-moving' and drawn-out in effect. Synthesized strings with slow attacks and long releases are the standard 'pad' sound.

PAN - <To pan, or panning refers to the act of moving the perceived location of a sound source within a stereo soundstage. Generally works by reducing or making louder the particular sound source in either the left or right channel of a stereo output. Although slightly more sophisticated electronics are used to control this movement accurately, the net result is the same. If a source is panned hard left, then it will appear at only the left speaker, and likewise with the right side. The amounts of signal present in both speakers will determine the exact location of the sound source in between the left and right sides in the stereo field.

PASSIVE - <An electronic device that does not use any amplification circuits. Applied mostly to filters, it describes a cut-only design, and because of this, passive circuits are less prone to distortion. In practice, even though a filter is described as passive, it may none the less have make-up gain circuitry at its output to compensate for the loss in power that cutting can cause.

PATCH - <Also called a program, a patch refers to a single programmed sound on a synthesizer or sampler that can be recalled by a program change command. Also refers to a temporary fix for software that is publicly released, in which a bug was not previously found during the testing cycle. The patch is usually incorporated in the next software revision.

PEAK - Maximmum instantaneous level of a signal, peak is the maximum value, either positive or negative that a waveform achieves. Important in audio in that when a signal peaks beyond what a circuit can handle, distortion appears.

PHASE - <Waveforms are repetitious. That is, they proceed through regular cycles. Phase is defined as to how far along a cycle the waveform is, with 360 degrees being the point of a completed cycle. Most engineers take phase into account while capturing an audio source with multiple microphones, since audio hitting different microphones even with a small delay, can put the summed audio out of phase, which results in certain frequencies of the original sound source being attenuated or even cancelled. In fact, if a waveform is combined with an exact copy of itself but with the two being 180 degrees out of phase, they will cancel each other out completely.

PITCH – Refers to a specific frequency as separated by semitones, which can then further be separated by cents.

PITCHBEND - <A control message within the MIDI specification that changes the pitch of a synthesizer in response to the movement of a lever or pitch bend wheel.
Plug-In An application that runs within a parent application and adds functionality. In digital audio, plug-ins have become ubiquitous, with several manufactures providing standards for developers to write plug-ins for various platforms. These include TDM, VST, DirectX, Audiosuite and MAS and cover functions as diverse as reverb, dynamics, time based effects, EQ, limiting, dither, guitar amplifier emulation, virtual synthesizers and more.

PLUG-IN - <An application that runs within a parent application and adds functionality. In digital audio, plug-ins have become ubiquitous, with several manufactures providing standards for developers to write plug-ins for various platforms. These include TDM, VST, DirectX, Audiosuite and MAS and cover functions as diverse as reverb, dynamics, time based effects, EQ, limiting, guitar amplifier emulation, virtual synthesizers and more.

POLYPHONIC - The ability of an instrument to play more than one note simultaneously

PRE-AMP - <An electronic device used to amplify low-level signals. Commonly used to bring microphone outputs up to levels that subsequent equipment can utilize.

PROCESS - Treating an electrical signal by changing its dynamics or frequency content. Examples of processors include compressors, gates and equalizers. In some DAWs this also refers to the act of sending a signal offline, to a module then replacing the source with the processed material.

Q - <Refers to a measure of the sharpness of the resonant peak of an electronic circuit. One of the adjustments available in parametric equalizers. With a narrow Q, gain or cut affects fewer frequencies adjoining the center frequency, while a wide Q will affect a greater number of adjoining frequencies. Expressed as a ratio, a higher Q factor indicates a narrower bandwidth, while a lower number indicates a wider response. Thus, assuming a constant center frequency, Q is inversely proportional to bandwidth.

QUANTIZE – Moving notes so that they line up with a predetermined grid. It is primarily used to 'fix' human recordings of midi notes that are off-time. Quantize grooves can be created from chopped loops allowing all other elements of a track to be synced to the drums, for example.

RANDOMIZER – A plugin that takes midi events or audio clips and randomizes their order, or makeup.

RELEASE – The release portion of the ADSR envelope determines how long it takes for the envelope to return to a zero position. So if the envelope generator is controlling the amplitude of a sound, the release will determine how fast or slow a sound will take to become silent.

Example:

RESAMPLING – The act of processing a sound, bouncing it to an audio file, then reinserting it back into the signal path to be processed again differently.

RESONANCE - <Resonance is the tendency for a system or object to vibrate at a specific frequency or frequencies when excited (like a bow and violin string,) with the resonant frequency being determined by the physical parameters of the object or system. For example, when music is played at a loud volume in a space, certain features of the room may resonate to a greater extent than other aspects of the room. For instance, this in turn may cause bass buildup that would need to be removed by acoustic treatment.

REVERB - <Reverberation is the result of a sound source being instantiated within an acoustic environment. It usually consists of multiple primary reflections that are the result of the first interaction of the sound waves with the acoustic space, followed by more spaced out and rapidly diminishing echoes. A reverb response can be short and loud, similar to a slap-back echo produced by a highly reflective environment such as a tiled bathroom, or long and slowly fading, such as that produced inside a large cathedral. The human brain is very sensitive to this information, extracting size information very rapidly. That is why budget reverb devices sound budget, and why a good electronic reverb simulation device can cost many thousands of dollars.

REWIRE - >Developed by Steinberg, ReWire is an inter-application communication engine for allowing one application to interact with another. For example, audio begun within Reason or Fruity Loops can have its outputs ReWired into the inputs cubase for further processing, all without having to deal with competing audio formats

REX/RX2 FILE – File type developed by Propellerhead which sets chop points on an audio file, allowing for a loop to be played at different tempos without changing the pitch.

SPL (SOUND PRESSURE LEVEL) - A standard measurement of the amplitude of sound, expressed as the ratio in decibels between the measured sound pressure and a standard reference.

SAMPLE - <The process that is performed by an analog to digital converter where the instantaneous amplitude of a sound source is measured at periodic intervals, the latter being know as the sample rate. The word also refers to an audio file that has been sampled in a sampler for instance.

SAMPLE-RATE - <The rate at which an analog to digital converter measures the instantaneous amplitude of a source signal. Measured in samples per second, the higher the sample rate, the higher the frequency content of the corresponding digital data. The default rate for CD production is 44.1kHz, or put another way, the source material is sampled at 44,100 times a second. Since the highest frequency that can be captured is one half the sampling rate, a CD will reproduce audio up to about 21kHz, the actual perceived range of human hearing. Arguments rage as to whether signals outside the range of human hearing have any bearing on the sounds humans do hear, and if they do, then filtering out everything above the Nyquist threshold, damages the accurate reproduction of the source.

SAMPLER – An instrument which inputs recorded audio, and lays it out over key zones, so it can be played at different pitches etc.

SAW – A type of waveform that resembles a saw.

Example:

SEND – Sending a copy of a signal to a different chain or module. Adjusting the send levels will result in a dryer or wetter signal after it is returned to the DAW.

SEQUENCER - <A device that triggers a series of events in a particular order. Early audio sequencers were quite primitive, used control voltage to trigger voltage controlled oscillators, but had a certain musicality to them. These days software sequencers are MIDI based and offer a high degree of sophistication.

SIBILANCE - <A high frequency component of certain vocal sounds that can cause problems while recording. Usually words that start with an "s" can produce sibilance, and some vocalists are more prone to it than others. A de-esser is a device specifically designed to dynamically correct the problem without affecting the main vocal content too much.

SIDECHAIN - <Also know as key input, a sidechain is a part of a circuit that splits off a portion of the main signal to derive a control signal. It can also be a secondary physical input on a processor, such as a compressor that allows control over the compressors functions according to the sidechain input. Examples are ducking and de-essing.

SIGNAL-TO-NOISE RATIO - In electrical systems SNR is a measure of the ratio of the maximum signal level relative to the self-noise of the system. Usually expressed in decibels (dB.)

SINE – A type of waveform that has an eliptical cycle, and has a pure, almost sterile sound without modification.

Example:

SNAP – Enabling snap typically causes any midi events or audio clips that are moved around to be snapped to predetermined values. Typically by bar, quarternote, eighthnote, and so-on.

SOFT SYNTH - A software application that emulates some type of hardware synthesizer. Since computer power has increased radically in the last few years, it is now feasible to have a host computer do the work previously done using hardware. Some virtual synthesizers mimic a particular vintage synthesizer, while others are more generic in nature. Modular synthesis is also supported and as computers become more and more powerful, so more and more of these virtual instruments will appear. All function in either stand-alone mode or as plug-ins.

SPECTRAL ANALYSER – A visual representor of an audio wave. It enables one to see the frequencies of a sound at any given moment.

SQUARE – A type of waveform that sounds somewhat like a gameboy, and is square looking in shape.

Example:

STAB – This describes the quality of a sound with a relatively short decay. Stabs are often placed at the beginning of musical phrases to emphasise the downbeat.

STEP MODULATOR – This is a type of modulator that adjusts values based on a step by step system. Usually the steps are attributed to sixteenth notes or whole notes etc.

SUSTAIN – The third stage in an ADSR envelope, sustain determines lenth that the value stays at after the decay is completed.

Example:

SYNTHESIZER - A type of electronic instrument that originally used oscillators and control voltages to create tones. These days most synthesizers use digital circuits to produce a their sounds.

TAP TEMPO - A function found in some sequencers and effect devices that have time based effects, where tapping a virtual button or an actual physical one can change the governing tempo. From two or more successive taps, the program or device will extrapolate a tempo based on beats per minute.

TEMPO – The speed of a piece of music, represented in BPMs.

THRESHOLD - A parameter that is found on dynamic based processors such as compressors, limiters and gates. The setting determines at what level the processor will begin to function. On a compressor for instance, when the source signal passes the amplitude threshold set by the user, the compressor begins to operate on the signal, and conversely, when the signal falls bellow the threshold, processing stops.

TIMESTRETCH – An algorithm that allows the stretching of audio via the addition or subtraction of samples. Over stretching audio can cause a very commonly desired glitch sound.

TRANSPOSE – The act of moving midi notes up or down a specific number of semitones.

UV-22 - <With the advent of 24-bit recording, the issues of how best to lower the resolution of audio to 16-bit for CD manufacture has prompted several responses. UV-22 is a patented process developed by Apogee that is similar to many dithering schemes although they differ in where the added noise is placed. Apogee adds an inaudible, high-frequency "bias" to the digital bit stream, placing an algorithmically-generated "clump" of energy around 22 kHz.

UNBALANCED - <To convey an electrical signal through wire, two conductors are required. In unbalanced circuits, one conductor carries both signal and supplies ground, unlike in balanced connections. Because of this unbalanced circuits are less expensive to produce, but the down side is the cables are susceptible to noise, especially if lengths of over 30 feet are involved.

UNITY – Keeping a signal at unity means that it has not been attenuated throughout its chain, and is still at its highest level, 0db.

VALUE – In midi, controller lanes operate on values from 1 to 127. Not all DAWs use this value system for modulation, however the term value applies to the position of any specific parameter at any given time.

VELOCITY – The strenth of the midi note, from 1 – 127. Velocity is typically pre-routed to control the amplitude of a sample. The softer you hit the midi controller keys, the lower the amplitude of the sample played. Velocity can also be routed to control any other parameter available, I.e., filter cutoff, lfo-rate etc.

VOCODER - <An audio processor that extracts the basic component of one audio signal and then superimposes this element onto another signal. To do this, the first audio signal (a vocal for instance) is sent through a series of parallel signal filters that create a signature of the input signal, based on the frequency content and level of the frequency components. This set of filters is then used to process the second signal (a string ensemble.) The result is that the vocal imprint now modulates the string ensemble.

VST – A type of virtual instrument developed by Steinberg. VSTs include samplers, synthesizers, and drum machines.

WAV FILE - An audio file format created by Microsoft. The standard on Windows machines, the format is used for everything from system and game sounds to CD quality audio. The format has also been accepted as a viable interchange medium for other platforms such as the Mac. The file is identified by the file name extension .wav.

WAVEFORM - <A representation of how alternating current varies over time. The simplest and most familiar waveform is the sine wave, but any electrical signal of any complexity will also have a waveform. In digital audio, the graphical representation of the waveform has contributed greatly to acceptance of medium, since it has become very easy to edit material while looking at a graphical representation of it.

WHITE NOISE - A sound that contains every frequency within the range of human hearing in equal amounts. To many people white noise sounds as if it has more high frequency content, but this is because each successive octave has twice as many frequencies as the one preceding it. Pink noise is similar except that the white noise is filtered to reduce the volume at each octave. This is done to compensate for the increase in the number of frequencies per octave. Each octave is reduced by 6dB, resulting in a noise sound wave that has equal energy at every octave.

XLR - A namme originally trademarked by Cannon that refers to a type of connector. Used in audio for sending balanced signals and microphone feeds, an XLR connector consists of three pins housed in a barrel and often having locking components. The male side is for sends, and the female is always a receiving connector. Unfortunately manufactures have not standardized which pin, 2 or 3 is hot. Most equipment wants to see pin 2 hot, but there are exceptions, and it is important to have the correctly wired cable for it to pass signal.

ZERO-CROSSING – Any point in time where the amplitude of the waveform crosses the value '0.' Chopping audio at these points ensures that there will be no 'blip' in the audio caused by drastic spikes in the signal.