Glossary
- Page ID
- 379713
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\(\newcommand{\avec}{\mathbf a}\) \(\newcommand{\bvec}{\mathbf b}\) \(\newcommand{\cvec}{\mathbf c}\) \(\newcommand{\dvec}{\mathbf d}\) \(\newcommand{\dtil}{\widetilde{\mathbf d}}\) \(\newcommand{\evec}{\mathbf e}\) \(\newcommand{\fvec}{\mathbf f}\) \(\newcommand{\nvec}{\mathbf n}\) \(\newcommand{\pvec}{\mathbf p}\) \(\newcommand{\qvec}{\mathbf q}\) \(\newcommand{\svec}{\mathbf s}\) \(\newcommand{\tvec}{\mathbf t}\) \(\newcommand{\uvec}{\mathbf u}\) \(\newcommand{\vvec}{\mathbf v}\) \(\newcommand{\wvec}{\mathbf w}\) \(\newcommand{\xvec}{\mathbf x}\) \(\newcommand{\yvec}{\mathbf y}\) \(\newcommand{\zvec}{\mathbf z}\) \(\newcommand{\rvec}{\mathbf r}\) \(\newcommand{\mvec}{\mathbf m}\) \(\newcommand{\zerovec}{\mathbf 0}\) \(\newcommand{\onevec}{\mathbf 1}\) \(\newcommand{\real}{\mathbb R}\) \(\newcommand{\twovec}[2]{\left[\begin{array}{r}#1 \\ #2 \end{array}\right]}\) \(\newcommand{\ctwovec}[2]{\left[\begin{array}{c}#1 \\ #2 \end{array}\right]}\) \(\newcommand{\threevec}[3]{\left[\begin{array}{r}#1 \\ #2 \\ #3 \end{array}\right]}\) \(\newcommand{\cthreevec}[3]{\left[\begin{array}{c}#1 \\ #2 \\ #3 \end{array}\right]}\) \(\newcommand{\fourvec}[4]{\left[\begin{array}{r}#1 \\ #2 \\ #3 \\ #4 \end{array}\right]}\) \(\newcommand{\cfourvec}[4]{\left[\begin{array}{c}#1 \\ #2 \\ #3 \\ #4 \end{array}\right]}\) \(\newcommand{\fivevec}[5]{\left[\begin{array}{r}#1 \\ #2 \\ #3 \\ #4 \\ #5 \\ \end{array}\right]}\) \(\newcommand{\cfivevec}[5]{\left[\begin{array}{c}#1 \\ #2 \\ #3 \\ #4 \\ #5 \\ \end{array}\right]}\) \(\newcommand{\mattwo}[4]{\left[\begin{array}{rr}#1 \amp #2 \\ #3 \amp #4 \\ \end{array}\right]}\) \(\newcommand{\laspan}[1]{\text{Span}\{#1\}}\) \(\newcommand{\bcal}{\cal B}\) \(\newcommand{\ccal}{\cal C}\) \(\newcommand{\scal}{\cal S}\) \(\newcommand{\wcal}{\cal W}\) \(\newcommand{\ecal}{\cal E}\) \(\newcommand{\coords}[2]{\left\{#1\right\}_{#2}}\) \(\newcommand{\gray}[1]{\color{gray}{#1}}\) \(\newcommand{\lgray}[1]{\color{lightgray}{#1}}\) \(\newcommand{\rank}{\operatorname{rank}}\) \(\newcommand{\row}{\text{Row}}\) \(\newcommand{\col}{\text{Col}}\) \(\renewcommand{\row}{\text{Row}}\) \(\newcommand{\nul}{\text{Nul}}\) \(\newcommand{\var}{\text{Var}}\) \(\newcommand{\corr}{\text{corr}}\) \(\newcommand{\len}[1]{\left|#1\right|}\) \(\newcommand{\bbar}{\overline{\bvec}}\) \(\newcommand{\bhat}{\widehat{\bvec}}\) \(\newcommand{\bperp}{\bvec^\perp}\) \(\newcommand{\xhat}{\widehat{\xvec}}\) \(\newcommand{\vhat}{\widehat{\vvec}}\) \(\newcommand{\uhat}{\widehat{\uvec}}\) \(\newcommand{\what}{\widehat{\wvec}}\) \(\newcommand{\Sighat}{\widehat{\Sigma}}\) \(\newcommand{\lt}{<}\) \(\newcommand{\gt}{>}\) \(\newcommand{\amp}{&}\) \(\definecolor{fillinmathshade}{gray}{0.9}\)| Term | Definition |
|---|---|
| AAC | Advanced Audio Coding. A lossy digital audio compression format used by streaming platforms such as Apple Music and YouTube. |
| Acoustical Phase | The position of a waveform relative to a reference point in time within its oscillation cycle. |
| Acoustic Energy | Energy carried by sound waves through a medium such as air or water. |
| Active Mixer | A mixer that includes powered electronic circuits capable of amplifying and shaping signals. |
| ADAT | Alesis Digital Audio Tape. A digital optical connection capable of transferring multiple channels of digital audio between devices. |
| AES/EBU | Audio Engineering Society/European Broadcasting Union. A professional digital audio interface standard commonly transmitted through XLR connectors. |
| AIFF | Audio Interchange File Format. An uncompressed digital audio file format commonly used in professional recording environments. |
| Algorithmic Reverb | Digital reverberation generated using algorithms rather than recordings of real spaces. |
| Analog Audio | A continuous electrical representation of a sound wave. |
| Analog-to-Digital Conversion (A/D) | The process of converting analog sound signals into digital data. |
| Amplitude | The strength of a sound wave, which corresponds to perceived loudness. |
| Attack Time | The speed at which a compressor begins reducing gain after a signal exceeds the threshold. |
| Auditory Nerve | The nerve that carries electrical signals from the cochlea to the brain. |
| Auxiliary Bus | A routing path used to send signals to effects processors or monitor mixes. |
| Bass | The lowest region of the audible frequency spectrum. |
| Binary Code | A system of representing digital data using combinations of 0s and 1s. |
| Bit Depth | The number of bits used to represent each digital audio sample. |
| Bitrate | The amount of audio data transmitted per second, typically measured in kilobits per second. |
| Blu-Ray Disc | A high-capacity optical disc capable of storing large amounts of digital audio and video data. |
| Bus (Audio Bus) | A signal path that combines multiple audio signals into a single output. |
| Cardioid | A microphone pickup pattern that captures sound mainly from the front while rejecting rear sound. |
| Channel Strip | A section of a mixer or console containing controls for a single audio input. |
| Chromatic Scale | A musical scale consisting of twelve equally spaced pitches within an octave. |
| Clipping | Distortion that occurs when an audio signal exceeds the maximum level a system can handle. |
| Cochlea | A spiral-shaped structure in the inner ear that converts vibrations into electrical signals. |
| Compressor | A dynamics processor that reduces the dynamic range of an audio signal. |
| Condenser Microphone | A microphone that uses a capacitor element and requires external power such as phantom power. |
| Constructive Interference | When sound waves combine in phase, increasing amplitude. |
| Convolution Reverb | A digital reverb that recreates real acoustic spaces using impulse responses. |
| Decibel (dB) | A logarithmic unit used to measure sound intensity or signal level. |
| Delay | An audio effect that repeats a signal after a specified period of time. |
| De-Esser | A processor designed to reduce harsh “S” and “T” sounds in speech recordings. |
| Destructive Interference | Cancellation of sound waves when they are out of phase. |
| Digital Audio | Audio represented as numerical samples rather than continuous electrical signals. |
| Digital Audio Workstation (DAW) | Software used to record, edit, process, and mix digital audio. |
| Digital-to-Analog Conversion (D/A) | The process of converting digital audio data into an analog signal for playback. |
| Digital Signal Processing | Manipulation of audio signals using digital algorithms. |
| Direct Sound | Sound that travels directly from the source to the listener without reflections. |
| Dynamic Microphone | A microphone that generates signal through electromagnetic induction using a moving coil. |
| Dynamic Range | The difference between the quietest and loudest sounds a system can reproduce. |
| Early Reflections | The first reflections of sound arriving shortly after the direct sound in an acoustic space. |
| Equal Loudness Contours | Graphs showing how human hearing perceives different frequencies at varying loudness levels. |
| Equalization (EQ) | Adjusting frequency balance within an audio signal. |
| Expander | A processor that increases dynamic range by reducing the level of quiet signals. |
| Field Recorder | A portable recording device used for capturing audio outside the studio. |
| Filter | An electronic circuit used to remove or isolate certain frequency ranges. |
| Flanging | An audio effect created by combining a signal with a slightly delayed copy of itself. |
| Foley | The recreation of everyday sound effects for film and video production. |
| Frequency | The number of cycles of a sound wave per second, measured in Hertz. |
| Frequency Response | The range of frequencies a device can reproduce and how evenly it reproduces them. |
| Gain | Amplification applied to an audio signal. |
| Graphic Equalizer | An equalizer with fixed frequency bands controlled by sliders. |
| Harmonics | Frequencies that occur at integer multiples of a fundamental frequency. |
| Headphones | Personal monitoring devices used to listen to audio signals directly. |
| Hertz (Hz) | The unit used to measure frequency cycles per second. |
| High-Pass Filter | A filter that removes frequencies below a selected cutoff point. |
| Hypercardioid | A microphone pickup pattern with narrow front sensitivity and slight rear pickup. |
| Impedance | Electrical resistance to alternating current in an audio circuit. |
| Impulse Response | A measurement of how a space responds to a short sound burst. |
| Infrasound | Frequencies below the human hearing range (below 20 Hz). |
| Interaural Level Difference (ILD) | The difference in sound intensity between the two ears used for localization. |
| Interaural Time Difference (ITD) | The difference in arrival time of a sound at each ear. |
| Limiter | A processor that prevents signals from exceeding a specific level. |
| Line Level | Standard signal level used for connections between audio equipment. |
| Loudness Meter | A meter designed to measure perceived loudness of audio signals. |
| Low-Pass Filter | A filter that removes frequencies above a selected cutoff point. |
| MADI | Multichannel Audio Digital Interface. A professional audio communication protocol (also known as AES10) designed to transmit up to 64 channels of digital audio over a single coaxial (BNC) or fiber-optic cable. |
| Master Bus | The final summing path that combines all channels of a mix. |
| Mastering | The final stage of audio production where mixes are optimized for distribution. |
| Metering | Visual monitoring of signal levels within audio equipment. |
| Microphone | A transducer that converts sound waves into electrical signals. |
| MIDI | Musical Instrument Digital Interface. A communication protocol for electronic instruments and software. |
| Mixing | The process of combining multiple audio tracks into a balanced final recording. |
| Multiband Compressor | A compressor that applies separate compression to different frequency ranges. |
| Multitrack Recording | Recording multiple sound sources on separate tracks for later mixing. |
| Noise Gate | A processor that reduces or mutes signals below a specified level. |
| Nyquist-Shannon Theorem | A principle stating that sampling rate must be at least twice the highest frequency to reproduce audio accurately. |
| Omnidirectional | A microphone pattern that captures sound equally from all directions. |
| Oscillator | A device that generates test tones used for calibration. |
| Overtones | Frequencies above the fundamental that contribute to a sound’s timbre. |
| Panning | Placing a sound within the stereo field between left and right channels. |
| Parametric Equalizer | An EQ allowing adjustment of frequency, gain, and bandwidth. |
| Passive Mixer | A mixer that combines signals without providing amplification. |
| Phantom Power | A 48-volt DC supply used to power condenser microphones through XLR cables. |
| Phase | The relative timing relationship between waveforms. |
| Pitch | The perceived highness or lowness of a sound determined by frequency. |
| Plugin | Software used within a DAW to process audio signals. |
| Polar Pattern | The directional sensitivity of a microphone. |
| Post-Production | The stage after recording where editing, mixing, and sound design occur. |
| Preamp | A device that amplifies weak microphone signals to line level. |
| Pre-Delay | A short delay added before reverb begins. |
| Psychoacoustics | The study of how humans perceive sound. |
| Quantization | Converting continuous analog signals into discrete digital values. |
| Rarefaction | The low-pressure portion of a sound wave where particles spread apart. |
| Ratio | The amount of compression applied once a signal exceeds the threshold. |
| Release Time | The time required for a compressor to stop reducing gain. |
| Reverb | Reflected sound that creates a sense of space and ambience. |
| Ribbon Microphone | A microphone that uses a thin metal ribbon suspended in a magnetic field. |
| RT60 | Reverberation Time 60dB. The time it takes for reverberation to decay by 60 decibels. |
| Sample Rate | The number of samples captured per second in digital recording. |
| Sampling | The measurement of an analog signal at discrete time intervals to create digital audio. |
| Signal-to-Noise Ratio | The relationship between desired audio signal level and background noise. |
| Sine Wave | A pure tone containing a single frequency. |
| Sound Pressure Level (SPL) | A measurement of sound intensity expressed in decibels. |
| Spectrum | The full range of frequencies contained in sound. |
| Stereo Field | The spatial placement of sound between left and right speakers. |
| Streaming Audio | Continuous playback of audio transmitted over a network. |
| Submix | A group of channels controlled together within a mix. |
| Threshold | The level at which compression begins. |
| Timbre | The tonal quality that distinguishes different sound sources. |
| Transducer | A device that converts one form of energy into another. |
| Ultrasound | Frequencies above the human hearing range (above 20 kHz). |
| VU Meter | Volume Unit. A meter that measures average signal level. |
| Wavelength | The physical distance between repeating points of a sound wave. |
| Word Clock | A synchronization signal that keeps digital audio devices operating in time with one another. |
| XLR Connector | eXternal Line Return. A professional three-pin connector commonly used for microphones and balanced audio signals. Originally, it referred to the evolution of Cannon Electric's "X" series connectors: X (series), L (Latch), and R (Resilient rubber). |