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Analog A sound recorded and reproduced as voltage levels that change continuously over time, such as with a cassette tape, vinyl record, or analog recorder.
A/D Analog to digital. An audio interface or other A/D converter can provide an analog-to-digital conversion when needed. The A/D converter changes an analog signal to a digital signal.
Click Often used to establish a consistent tempo when recording basic or rhythm tracks; referred to as a metronome.
Cochlea The snail-like structure of the inner ear that detects sound-pressure changes.
Comb filter An effect or acoustics issue which results in a series of very deep notches, or dips, in a sound or a room’s frequency response.
Compressed The reduction of an audio signal’s dynamic range or file size. In the digital world, an audio file can be compressed to save storage space, as with an MP3.
Control surface Allows the user to turn knobs and faders instead of clicking a mouse. Looks like a small mixing board; used in conjunction with a DAW.
DAW Digital audio workstation; used to describe a digital audio setup as opposed to an analog setup.
dBFS Decibels relative to Full Scale; measurement of audio levels in a digital system. 0 dBFS is the maximum level in the digital world. Go over zero and the waveform will be clipped, resulting in an unpleasant-sounding and typically unusable signal.
De-essing (-er) A plug-in or rack-mounted signal processor that helps remove unwanted sibilance (“s” and “sh” sounds); usually applied to a vocal track.
Digital A means of encoding data through the use of the binary number system. Digital audio isn’t continuous in that samples of the sound are taken and reconstructed to appear like a sine wave. Digital audio examples include CDs and MP3s.
Distortion Occurs when a signal is too strong or too hot for a particular audio device. It is part of the sound and is not considered noise. Many guitar players regularly use distortion as a part of their sound.
Duplication The process of burning or duplicating audio or data to a blank disc; what many people identify as CD-Rs; great for demos, rough mixes, and short-run CD projects.
Feedback A loop that occurs between the input and output of a signal; can occur if you point a mic at a speaker or a guitar at an amplifier.
Fletcher–Munson curve A group of subjective plots and curves that measure the ear’s average sensitivity to various frequencies at different amplitudes. In the early 1930s, Fletcher and Munson came up with this hearing test. According to the Fletcher–Munson curve, the average human ear hears best between 1.5 kHz and 4 kHz, especially at lower volumes. At about 85 dB, the average human ear hears all frequencies as equally as we are ever going to hear them without affecting the perceived pitch.
Flutter echo A term used for an acoustic problem caused by parallel walls and surfaces. If you clap your hands and hear a quickly repeating metallic-like sound, you know that the room exhibits flutter echo. Diffusion and other acoustic methods can be used to eliminate or control this issue.
Haas effect A psychoacoustic phenomenon that occurs when we can’t distinguish the direction of a single sound panned one way when combined with a second delayed signal panned the opposite direction. The Haas effect occurs when the delayed signal is under about 20 ms.
High-cut or low-pass filter (LPF) A button or switch often located on a console, preamp, or mic that, when selected, cuts high frequencies and passes low frequencies at a predetermined frequency setting. A high cut can be effective on bass, kick drum, and other instruments that do not need extreme highs.
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In-line console(s) A mixing console that allows a single channel to control both input and monitor signal paths. Many newer analog and digital mixers are in-line consoles.
In the box Phrase that indicates that all music production is completed in a DAW, or computer.
I/O Input(s) and output(s). Located on audio interfaces, recorders, and mixing boards.
Ips Inches per second; professional analog recorders generally record and playback audio at 15 ips and 30 ips. At 15 ips, a standard reel of two-inch tape yields about 33 minutes of recording time. At 30 ips, a standard reel of two-inch tape yields about 16½ minutes of recording time. Recording at 15 ips will provide a better bass response but with increased tape hiss; 15 ips is better for louder music. Recording at 30 ips provides a tighter low end and a decrease in noise; 30 ips is great for quiet and acoustic styles of music.
ISRC International Standard Recording Code (ISRC) is the internationally recognized identification tool for sound and music video recordings. An ISRC exclusively and permanently identifies the recording to which it is assigned regardless of the format. The ISRC code contains the song title, country it was recorded in, record label information, and track number.
Jitter A time-based error that can occur during the analog-to-digital conversion or when more than one digital device is hooked up to another.
Low-cut or high-pass filter (HPF) A button or switch often located on a console, preamp, or mic that, when selected, cuts low frequencies and passes high frequencies at a predetermined frequency setting. A low cut can be effective on some vocals, cymbals, electric guitar, or other instruments that do not need extremely low frequencies.
Low-frequency oscillator (LFO) A control that sweeps through a signal’s low-frequency range to create vibrato, tremolo, or other pulsing/rhythmic FX. A common control on synthesizers and effects pedals.
Masking A subjective phenomenon where one sound appears to hide another sound. This is common with two like instruments that occupy the same frequency range, as with two electric guitars.
Mbox A digital audio interface common with Pro Tools.
Midfield monitors Monitors typically used in larger control rooms that provide a louder, fuller sound; larger than common nearfield monitors.
Mix The result of blending instruments, sounds, and voices typically to two-track/stereo.
Mono or monaural A sound system with only one channel, regardless of the number of speakers used.
Oscilloscope A test instrument that allows you to see the size and shape of a sound wave.
Pan(ning) A knob, pot, or other control that allows a sound to be placed anywhere in a mix.
Pot Short for potentiometer; pots are knobs on a console or other audio component used for a variety of controls such as panning or gain adjustments.
Preamp An electronic amplifier typically used to increase the volume of an audio signal.
Producer Person in charge of the creative side of a session, but can also be a technical person. Unlike an engineer, a producer may get involved in the songwriting, song selection, and other internal aspects of the music. Often by default, an engineer may take on some roles of a producer.
Protocol A special set of rules defined for a specific use.
Punch (-in and-out) A punch-in or punch-out is the process of adding or deleting a part to a predetermined section of a recording. This process involves going into and out of record mode and is typically used to correct a part or add/overdub additional sounds.
Quantization Represents the amplitude component of digital audio; the higher the bit resolution, the smoother the digital representation of an analog signal.
Red Book The standard protocol for audio CDs. The Red Book contains the technical specifications for all CD and CD-ROM formats. It is named after a series of books bound in different colors. The Red Book standard for a CD is 44.1 kHz and 16 bit.
Replication The process of manufacturing professional CDs or DVDs. Think of this as the professional version of a duplicated CD. Replicated CDs are purchased through a disc manufacturer and usually require a minimum order of 300 discs.
Rpm Rotations per minute; determines the speed a vinyl record is meant to be played.
Sibilance An unwanted “s” or “sh” sound in the 4 kHz–10 kHz range that often accompanies a vocal; can be eliminated with a de-esser or other EQ methods.
Sine wave The simplest waveform in audio; consists of a single frequency and has a musical pitch, but a neutral timbre because no harmonics exist.
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Split console Unlike an in-line console, a split console has only one fader or monitor option per channel. A console is often “split” during recording, with half the channels acting as signal outputs to the recorder (sends) and half the channels acting as monitors (returns).
Standing wave Acoustic phenomenon that may be created by parallel walls and surfaces. A standing wave is produced by the interference and reflection of sound waves and is determined by dividing the speed of sound by 2(L). These waves are commonly referred to as room modes.
Stem Grouping or sub-mixing instruments or sounds. Stems may include grouping drums and bass together, grouping vocals together, or grouping any like sounds into a mono or stereo submix.
Stereo or stereophonic Refers to a sound or system that involves two separate channels. These channels are labeled left and right (L/R). A standard audio CD is stereo, containing two tracks, left and right.
Synthesis Associated with electronic music; occurs when a sound is created without an acoustic source (e.g., a synthesizer).
Take A recorded performance of a song; often described as a good or a bad take.
Tweeter The smallest speaker in a typical speaker or studio monitor that reproduces higher frequencies.
Woofer The larger of the two speakers on a typical studio monitor. The woofer reproduces lower frequencies below a certain frequency range.