1/4” connecters 119–20

3:1 distance rule 129, 161

5.0 surround 525

5.1 surround 520–4, 529–30, 553

7.1 surround and higher 525–6, 529–30, 553

45/45 cutting system 561–2

.aac 362

Ableton 267, 273, 312, 343, 345

absorption 6, 95–103, 505

Absynth 311

AC power 183, 397–9

AC3 codec 355, 529–30

accelerators 249

accent microphone 134, 139

accessories 263–4, 347

acetates 564

acoustics and studio design 72, 75–103, 327, 403–4, 494–6; absorption 96–101; audio for visual/gaming 77–8; distant miking 132–9; echo chamber 103; frequency balance 92–101; isolation 75, 80–90; mic techniques 123, 126; partitions 89–90; professional studio 4, 6, 76–7; project studio 78–9; reflections 93–6, 101–3; reverberation 101–3; symmetry 91–2, see also microphone techniques and placement; sound and hearing

active combining amplifiers 393

active crossovers 502–3, 526–7

Active Sensing messages 304

active traps 101

adaptive filter 446–7

ADAT lightpipe 213–14, 232

additive synthesis 311

ADK Z-251 171

administration 24

Adobe Audition 446

ADSR 59

Advanced Audio Coding (AAC) 362

AEA A440 169

AES 210–12

Aftertouch 298

AGC 387

.aif 208, 235, 357, 528

Akai MPC1000 312

AKG C214 109, 170

AKG C460B/CK61 116

AKG C3000 117

AKG D112 167

AKG D321 116

Alesis 214

Alesis DM Dock 341

Alesis IO Dock 340

Alesis SR-18 317

aliasing 200, 204

all-thread 84

Amazon 553, 569

ambience 6, 35, 101, 490; miking 134–6, 144, 149; stereo 141, see also room

Ampex 179, 192, 591–3

amplifiers (amps) 389–95, 420, 511–12; guitar 149; monitoring 502–3

amplitude 47–9, 52–4; DAW software 239, 241–3; effects 407, 411; envelope 59; quantization 198–9, see also equalization (EQ)

analog: aux send 409; and digital 244, 480, 483–4; effects 403–5; sync 372–3, 379, 385

analog tape recorder (ATR) 8–9, 30–2, 35–7, 175–93; backup/archiving 191–2; CLASP 192; cleanliness 189; degaussing 189; dynamic range 421; editing 189–90; emulation plug-ins 193; heads 180–2, 186, 188–90; mixing 456, 482–3; monitoring modes 183–4; plug-in emulation 420; print-through 186–7; punch-in 184–5; surround re-issues 531–2; sync 381–2, 387; tape noise 187–8; track width 185–6; transport 178–80; vinyl mastering 564

analog-to-digital (A/D) 44–5, 201–2, 204, 215–16

Anderton, Craig 288, 330, 582

animation 368

anti-aliasing 204

Aphex Aural Exiter 419

Aphex Expander/Gate 430

API 1608 Console 459, 474

Apogee UV22 203, 546

Apollo 192, 230, 250–2, 435, 440, 546, 550

Apple 208, 529, 569; DAW 223, 235, 248; multimedia 357, 361, 369, see also iOS; Mac

apps 15, 234–5, 337–47, 512, 596

archiving 192, 260–1, 584–5

Argosy Halo 585

arrangers 21

artists 21, 418–19, 452, 589–90; performances 582–3

artwork 40, 558, 577

ASCAP 572

ASIO 231–2

asperity noise 187–8

associations 28

ATH-M50x 500

ATT 362

attack 59, 423–6, 429–31, 448

attenuation pad 118

AU 248, 339

Audient 232, 461

audio books 18

Audio Cyclopedia 75

Audio Engineering Society (AES) 210–12

Audio Interchange File (AIF) 208, 235, 357, 528

Audio Stream Input/Output (ASIO) 231–2

Audio Units (AU) 248, 339

Audio-Video Interleave (AVI) 369

AudioBus 339

AudioSuite 248

Auria Pro 343

Auro3D 525–6

authoring 353, 355, 531

auto-locator devices 8

auto-tune 253, 439–40

AutoMap 316

automatic dialog replacement (ADR) 77

Automatic Gain Control (AGC) 387

automation 38–9, 221, 254, 441, 486–7, 490

auxiliary (aux) 409, 466–7

Avantone Active MixCubes 499

.avi 369

backup 259–61, 351–2, 584–5, 588; analog 191–2; patch data 305

baffles 32

balanced line 119–20

balanced power 401

balloon example 45–6

bandpass filter 57, 414

bandwidth 207, 413, 447

bantam connector 120, 478

Barinworx Modus EQ bx1 551

barriers 52–3, 81–2

bass 52, 145, 416, 424, 502; guitar 151, 417, 426–7, 468; proximity effect 123–4; subwoofer 509–11; surround 520, 523–7; traps 99–101

batteries 225–6, 400

BD-ROM 356

beat slicing 268–9

beats 68

beats-per-minute (bpm) 323, see also tempo

bedroom studio see project studio

Believe (Cher) 440

Bell, Alexander Graham 60

Bell, Mary C. 592–3

bells 56

Beyerdynamic 108, 168

bias current 182–3

BiCoastal Music 77

bidirectional microphone 113–14, 116; placement techniques 148, 158; proximity effect 124; stereo 141

binary 195–9, 204–5

binary-coded decimal (BCD) 374

binaural localization see spatial positioning

BIOS 226

biphase modulation 373

biscuit 565

bit 293–4

bit depth 197, 199, 202–3, 206–8, 421; mastering 545–6; mixing 477, 482; multimedia/web 356–8, 365

bit rate 202, 216, 236, 358, 360–2, 539

black burst 384–5

bleed see leakage

Blu-ray 207, 355, 357, 553; burning 559–60; surround 518, 528–9, 531

Blue Book 354

Bluetooth 289

Blumlein technique 103, 141, 551, 592

BMI 572

bongos 160, 417

bookings 24

books 18

Boot Camp 223

Bose SoundLink 499

Boston Symphony Hall 7

bounce see export

boundary effects 52, 55, 93–4, 100, 505; miking 136–7, 152; symmetry 91–2

brain see psychoacoustics

brass 146–8, 417, 424, 426

Bricasti M7 435

bricks 84, 97

Bridgeport Music et al. v. Dimension Films 314

Broadcast Wave Format (BWF) 208, 235–6, 357, 376

Brooks, Evan 377

Brown, James 317

brown-outs 399–400

buffer 232

Burl Audio 230

Bush, Billy 406

business 10–11, 25–6, 28, 41, 568–75, 586–9, 597

buzzes 397–402

bytes 293–4

Caballero, Emiliano 458

cabinets 150, 153–4

cabling 216–17, 226–9, 377, 478, 585–6; grounding/power 397–402; MIDI 286–93; sync 382

camera 376, 581; adapter 340–1

capacitor 109

Capitol Records 2, 32, 130

car 421, 501

cardioid microphone 114–16; placement techniques 149, 152, 158; proximity effect 124; selection 166–7, 169–71; stereo 140–1; surround Decca tree 144

career 26–9, 516, 586–9, 599

carving 489

cathode 389–90

caulk 83

CD 207–8, 279, 353–5, 421, 541, 553; burning 558–9; database (CDDB) 353; handling/care 560–1; manufacture 555–8

CD Baby PRO 572

CD Text 559

CD-Recordable (CD-R) 556

CD-RFS 354

CD-ROM/XA 354

CD-UDF 354

ceiling 86–7, 92–4

cello 58–9, 162

central processing unit see CPU

chairs 585

chamber 436

chamfer 84

change 1, 10–11

channel assignment 474–5; surround 521

channel fader 472–3, 481–2

channel input 463–6

Channel Pressure 298

Channel Voice 297

Cher 440

chirping 445

chorusing 433

Chrome 364

cinema see film

CinemaScope 517

circuits 397–402

clarinet 164

CLASP 192

Class Compliance 340

classical 133–4, 147, 164, 454, 537

cleaning 189

click track 323–4, 579

clicks 446

clipping 209, 391, 394, 480–3

clock 215–17, 303–4

close miking 126–31, 155, 454

Closed Loop Analog Signal Processor (CLASP) 192

cloud 260, 352

clutter 585–6

cochlea 64

codecs 338, 357, 359–63; surround 529–30; video 368–9

Cole, Nat King 592

combination tones 68

combing 433

communication 221, 349

compact disc see CD

complex waves 57

compositing (comping) 35, 185, 245, 451, 582

compression (dynamics) 33–4, 38–9, 421–8, 491; DAW 250–1; mastering 537, 539, 545, 548–9; microphones 151, 163; multiband 427–8

compression (file formats) 359–63, 368–9

compression (wave propagation) 46

computers 90, 222–6, 255–60, 350, 598; MIDI and 306–8; mobile 337–47; networking 260–1, see also hardware; software

concave surfaces 52, 93

concept album 536

concert see live performance

concrete 84, 97

condenser microphone 109–12; boundary 137; directional response 116; output characteristics 118; placement techniques 145, 148, 152; selection 169–71; transient response 117

congas 160, 417

constant bit rate (CBR) 360

construction 83–8

Continue messages 304

contracts 571

Control Change 298–300

control panel 309

control room 6–9, 494; noise isolation 90; reflections 95; symmetry 91–2

control room mix 457

controller ID 300–2, 332

controllers 233–5, 278–9; drums 318–19; editing values 331–2; effects 441; iOS 343–5; keyboard 314–16; MIDI 291–2, 308–9, 319–20

converters: analog-to-digital (A/D) 44–5, 201–2, 204, 215–16; digital-to-analog (D/A) 201–2, 205, 216

convex surfaces 51–2, 93

copy-and-paste 240–1, 329

copyright 314, 571, 577–8, 587

Core Audio 231–2, 338–40

corners 52, 91–2, 100

cost factors 75–6, 79

cover art 40, 558, 577

CPU 90, 223, 226, 255–6, 258, 406, 466; MIDI 308–9; signal processing 247–9

Crosby, Bing 592–3

cross-fade 243, 541

crosstalk 382

Cubase/Nuendo 209, 220, 239, 406; dither 203; effects 250–1; groove tools 267, 275; iOS 344; mastering 546–7; MIDI 245, 299, 321, 326; mixing 462, 470, 486; monitoring 508, 519; ReWire 254; sync 386

Cubasis 343

cue 33–4, 36; MIDI timecode 377–8; mix 457

Cuniberti, John 137

cut-and-paste 240–1, 329

cutoff frequency 413

cutting head 562–3

cycles 48, 51, 53–4

cymbal 59, 417

daisy chain 291–2

damping 155, 157–8

Dante 306

data 259–61, 352, 584–5, 588

data byte 294

databases 559

DAW see Digital Audio Workstation

DBX NR 188

DC 390, 394

de-esser 163, 251, 425

decay 59, 73–4, 102–3

Decca tree 143

decibel (dB) 60–4

decoder matrix 141–2

degaussing 189

delay 54, 70, 74, 251–2, 432–4; analog 404, see also latency

desert island reference 450, 488, 491, 506, 528; mastering 536, 543

Desiderata 599

desktop computer 225

difference tones 68

diffraction 52–3

diffusion 94, 506

Digidesign 231, 248, 594

Digidesign DINR 444

Digidesign ICON 459

Digidesign S6 235

Digital Audio Workstation (DAW) 6, 8, 11–12, 30–9, 136, 219–64, 596–8; analog integration 192, 405; dither 202; documenting within 262; effects 405, 441; hardware 221–6; integration 220–1; interconnectivity 226–9; interface 229–35; levels 209, 476; looping 267–73, 276–7, 280; mastering 541, 543–4, 547–8; MIDI 305, 326–8, 331–3; mixdown 459–60, 483–8; monitoring 512; portable 15, 342–4; project studio 79; punch-in 185; software 237–55; sound files 236–7; surround 522; sync 385–6; virtual insert point 465–6

digital delay lines (DDLs) 432–3

Digital Signal Processing (DSP) 171–2, 203, 219, 224, 266, 405; effects/plug-ins 247–52; noise reduction 443–4; signal paths 409–10

digital technology 195–217; amplifiers 394–5; analog and 175, 480, 483–4; dither 202–3; fixed- vs. floating-point 203; Nyquist Theorem 200–1; oversampling 201; quantization 198–9; recording/reproduction process 203–5; sampling 197–8; signal distribution 214–17; signal-to-error ratio 201; sound file basics 206–10; sync 385; transmission 210–14

Digital Theater System (DTS) 529

digital-to-analog (D/A) 201–2, 205, 216

digitally-controlled amplifier (DCA) 394

direct current (DC) 390, 394

direct injection (DI) 128, 131–2, 137, 150–1

direct insert 465, 471

direct monitoring 232, 471

direct signal 72–3, 102, 435

Direct Streaming Digital (DSD) 357, 359

directional response 112–16, 172; mic placement 145, 157; proximity/popping 124, 163

directories 259, 263, 328, 521

DirectX 248

disc cutting 561

Discogs 363

Disney, Walt 516

Display-Port 228

dissonance 56

distance rule 129, 161

distance techniques 9, 132–8, 149–50, 454; drums 155; strings 161

distortion 67, 118, 410–11; analog tape recording 183, 187–8; bit depth 207; clipping 391, 394; dither 202; jitter 215; loudness 209; mastering 546; mixing 462, 464, 480–3; Nyquist Theorem 200

distribution 40, 553–72; legal issues 569–72; online 565–9; signal 214–17

distribution amplifiers 393

dither 202–3, 546

DJing 18, 278–9, 346

docking 340–1

documentation 262–3, 278, 329, 405, 580–1

dogs 196

Dolby 356, 362, 517–18, 523–4

Dolby Atmos 525–6, 529

Dolby Digital (AC3) 355–6, 529–30

Dolby-A 188

domains 177

doors 87–8

double bass 162

doubling effect 433

down-mixing 530

downloads 40, 553–4, 565–9, 572, 597

DRA 356

drivers: audio protocols 231; monitoring 501–2; updating 257

DRM 361, 530

drum 135, 326; booth 155; controllers 318–19; hand 160–1; kit 154–60, 431; loops 276; machine 317; pattern grid 326; risers 86, see also floor-tom; hi-hat; kick drum; snare drum

dry track 138

DSP see Digital Signal Processing

DTS 355–6

DVD 212, 353, 355, 518, 528–9, 531, 553; burning 559–60

dynamic microphone 106–7; directional response 114; output characteristics 118; placement techniques 145, 149, 151–2; selection 166–7; transient response 117

dynamic range 33, 207–9, 249–51, 420–1; compression 421–8; expansion 429–31; limiting 428–9; mastering 545, 548–51; mic placement 156–7, 163; mixdown 37, 469, 477, 481; noise reduction 443

ear 45, 56, 64–74, 506–7, 579; direction perception 69–71; hearing loss 65–6, 507; loudness 60; psychoacoustics 66–8; space perception 71–4

earbuds 500

early reflections 72, 102, 435

Earthquake 523

EBU 210–12

echo 94, 434; chamber 103, see also delay

edit 441; MIDI 285–6, 329–32; nondestructive 239–41; software 238–43; tape 189–90

edit decision list (EDL) 381

effects 8, 38, 138, 247–52, 403–41; automation/editing 441; compression 421–8; delay 432–4; dynamic range 420–1; equalization 411–20; expansion 429–30; limiting 428–9; mixdown 466–7, 490; multiple 440–1; noise gate 431; pitch shift 437–40; psychoacoustic enhancement 437; reverb 434–6; signal paths 407–11

Ehrmann, Max 599

eight-to-fourteen modulation (EFM) 556

electret-condenser microphone 112, 137, 169

electro-acoustic devices 50

electromagnetic induction 106–7

electromagnetic interference 401–2

electromagnetic noise 119, 400

electronic instruments 153–4, 308–20; iOS 346–7; keyboards 310–11; percussion 317–19; samplers 312–14, see also MIDI

electrostatic noise 118–19

electrostatic principle 109

email 352

enclosures 501–2

End of Exclusive (EOX) 303, 305

engineer 21–3, 30, 32–3, 35–6, 38–9; assistant 23; maintenance 23–4; mastering 23, 535–40; mixing 453–4; monitoring 505; signal processing 418–19; tips/tricks 575, 578–83, 585

ensemble 21, 133, 244, 433, 454

envelope 59–60, 73

equal-loudness curve see Fletcher-Munson

equalization (EQ) 33, 37–9, 69; amps 392; analog 182; DAW 249–50; drums 157; mastering 442, 536, 547–8; mixing 467–9, 489–91; monitoring 494; signal processing 411–20, 432; vocals 163

equivalent noise rating 118

error correction 204–5, 556

Ethernet 351, 369; audio over (AoE) 228–32

ethnic music 161

Europe 375

European Broadcast Union (EBU) 210–12, 375–6

even harmonics 56

expander 250, 429–30

export 237, 247, 254–5, 584; loops 277–8

EZ CD Audio Converter 558

FabFilter Pro-Q 250

Facebook 28

faders 38–9, 489–90

fans 90, 258

Fantasia 516

Fantom-X7 311

Fantom-XR 312

far-field monitoring 496–7

Fast Fourier Transform (FFT) 444–5

feedback 145, 160–1; negative 391–2, 395

feeling, threshold of 65

ferrite beads 402

figure-8 113–14, 116, 167–8

files 206–10, 235–7, 518; loudness levels 209–10; size 358–61, 368–9; transmission 210–14, see also formats

film 16–17, 281, 421, 511, 516–18, 523, 525; acoustic studio design 77

filters 200–1, 204–5, 412–14, 464

finances 13–14, 576

FireWire 223, 225–6, 228, 230–1, 287–8, 306–7

FLAC 362, 529–30

flanging 433

flash card 355

flats 89–90, 128, 153, 157

Fletcher-Munson curve 66, 425, 507, 563

flipped mode 470, 473

floating 80, 84–5

floating point 203, 209

floor-tom 160, 417

floors, isolation 84–5

flute 164–5

flutter echo 94

FM synthesis 310–11, 364

FOH 345

foldback 471, 511

folders 259, 263, 328, 521

folding down 530

Foley 77

Form PA 571, 577

Form SR 571, 578

formants 146, 148, 161

formats 208; compressed 359–63; immersive audio 528–31; MIDI files 328–9, 364; uncompressed 356–9

Fourier analysis 57

frame rate 368–9, 372, 374–5

Fraunhofer 360, 362

Free Lossless Audio Codec (FLAC) 362, 529–30

freelance engineers 23–4

freewheeling 380, 387

freezing 247, 249

French horn 148

frequency 47–53, 55; balance 75, 92–101; EQ 411–18; isolation 81, 85–6; mixing 489; noise reduction 447; Nyquist Theorem 200

frequency response 49–50, 58, 66, 182, 493–4; boundary effects 136–7; microphones 116, 145, 156, 161–2

Front of House 345

front-to-back discrimination 115

functional traps 101

Funkhaus 73

Furman M-8Lx 399

furniture 585

Future Disc Mastering 40

gain 33–4, 391–2, 423–6, 429, 456, 464–5; changing 242, 250; optimization 462; structure 452–3; trim 463–4

Galaxy Studios 5, 17, 515

Galaxy Tape Echo 432

games 17–18, 77–8, 134, 518, 525

GarageBand 265, 346

gating 408, 431, 436, 447–8

gender 25

Genelec 497

General MIDI (GM) 284, 365–7

Germany 175, 592

gigs see live performance

Gilfoy Sound Studios 593

gobos 89–90, 128, 153, 157

Gone with the Wind 240

Good Rule 106, 130, 145, 416, 461, 468

Google 364, 597

Gracenote 353, 559–60

Grammys 363, 524

graphic equalizer 415

graphic user interfaces (GUIs) 272–3

graphics 367–8

Green Book 354

groove tools 265; controllers 278–9; hardware 270–1; into DAW 277–8; obtaining loops 279–80; software 271–7

grounding 397–402

grouping 475–6, 490

guitar 132, 148–51, 417, 426; bass 151, 417, 426–7, 468; effects 433; miking 148–51, 166; as transducer 43

gypsum 83–4

Haddy, Arthur 143

hall 436

Hammond organ 153

hand drum 160–1

hard drive 191, 223, 226, 256–60

hard knee 423

hardware 255–61; DAW 221–6; groove 270–1; MIDI 306–20; sequencers 320; sync 383, see also controllers

harmonica 166

harmonics 55–9, 67, 69, 417; bass guitar 151; clipping 391; effects 437–8; vocals 162

Harper, Ben 126

HDCD 354

headphones 33–6, 500, 511–12

headroom 482

HEAR 507

Hear Technologies 512

hearing see ear; sound and hearing

hertz (Hz) 48

hi-hat 160, 417, 424

High-Definition Audio 206–8, 553–4

high-pass filter 413–14, 464

history 591–5; immersive audio 516–18

Hit Factory Criteria 493

hitpoint markers 268

home studio see project studio

horns 146–8, 417, 424, 426

House Ear Institute 507

house sync 384–5

housekeeping 585–6

HRM-16 512

Huber, David Miles 458, 599

hum 119, 131–2

humanizing 330–1, 433–4

hums 397–402

hypercardioid pattern 114, 116, 160, 168

I/O 229, 232, 307, 461–2; iOS 340–1; patching 478–9

iConnect MIDI4plus 308

ID numbers 300–2, 332

iD22 507

imaging 91–2

immersive audio see surround

impedance (Z) 210–11, 216, 391; microphones 110, 112, 118–20, 131, 149

in-ear monitor 500–1

in-the-box 8, 37–8, 459–60, 519–20

indexes 555–6

industry see business

information 598

inner ear 64

innovation 11

input strip 461, 484, see also I/O

insert 407–10, 465

insertion loss 412

instrument controllers 234

insurance 588

integrated circuit (IC) 593

integration 220–1, 350

Intel 228

interaural differences 69–71

interface 285; digital audio 229–35; MIDI 307; surround 520–1

interleaving 204–5, 255

International Telecommunications Union (ITU) 522–3

Internet 3, 10–11, 18–19, 28, 229, 261, 279, 305; distribution 553–5, 565–9; multimedia 349, 351–2, 369–70; radio 569; trends 597–8

Internet Service Provider (ISP) 351–2

iOS 15, 234, 288–9, 337–47, 596–8

IP address 352

ISO-9660 354

IsoAcoustics 499

isolation 6, 31, 75, 80–90; cabinets 150; ceilings 86–7; control room 90; drums 85–6, 155, 157; floors 84–5; mic placement 128–31, 136, 149; mixing 454–6; partitions 89–90; for reverb 102–3; vocals 163–4; walls 82–4; windows/doors 87–8, see also leakage; noise

iTunes 362–3, 574, 597

iZotope Insight 209, 508

iZotope Ozone 552

iZotope RX5 445–6

jacks 478–9; MIDI 289–90

Jackson, Michael 130–1, 142

jam sync 308, 380, 387

Japan 375

jazz 147, 158, 454

jitter 206, 215–16, 385

Joliet 354

K-Stereo Ambience Recovery 551

key 267, 330

key input 408, 431

keyboard 310–11; controllers 234, 314–16; drum controller 318; electronic 153–4; mic selection 166; piano 151–3; sampling 312–13; workstation 320

Keys, Alicia 4

kick drum 417, 426, 431; miking 155–8, 166–7

kickboard 153

KMR Audio 5

Komplete Kontrol 234, 316, 406

Kontact Virtual Sampler 312

LA Record Plant 593

labeling 32–3, 38

lacquer 564

land 563

lane 245

laptops 225–6, 499, 598

latency 231–2

lathe 561–4

law 24–5, 574–8, 587

leakage 34–5, 55, 82–4, 116, 138, 454; drums 156–60; guitar 150; mic placement 128–31; off-axis 125; piano 151–3; vocals 163, see also isolation; noise

least significant bit (LSB) 205, 300–2, 546

Legacy 470

legal issues 569–72

Leslie cabinet 153–4

levels 33–4, 38–40, 59–64, 66–7; balancing 504–5; digital recording 209–10; mastering 536–7, 546; metering 479–83; mixdown 456, 489; monitoring 506–7, see also dynamic range; gain

Lexicon plug-in 440

LFE (subwoofer) 509–11, 520, 523–9

Library of Congress 571, 577–8, 587

lightpipe 211, 213–14, 232, 521

limiter 33–4, 38, 250, 428–9, 550

line level 117

line trims 463

listening 450–2, 496–7, 499–501

Little Richard 593

live performance 273, 279, 284, 333, 436; iOS 343–6; recording 16, 134, 324, 454–5

local area network (LAN) 260–1, 351

localization 69–71

locking 247, 249

logarithm (log) 60–1, 63

Logic 220, 462

London Bridge Studios 77

longitudinal timecode (LTC) 378–9, 381–2, 387

looping 266–8, 271–9, 346–7, 439

LoopMash 276, 347

lossless 207–8, 356–9, 362, 529–30

lossy 206, 359–63

Loudness Wars 209, see also gain; levels

low frequency effect (LFE) 509–11, 520, 523–9

low-pass filter 200–1, 204–5, 413–14, 464

LP see vinyl

LPCM 356

LSB 205, 300–2, 546

lyrics 262

M/S 141–3, 551

Mac 222–5, 231, 248, 306, see also Apple

MacBook Pro 225, 228

Macintosh HFS 354

Mackie DC16 345

Mackie FRS-2800 394

Mackie HR824mk2 495, 498

Mackie Onyx 461, 474, 476

Mackie Universal Control 233, 486

MADI 212

magnetic oxide 177, 180; shed 189

magnetism 176–84, 189

maintenance engineers 23

managers 24–6, 587

Manley Massive Passive 412

Manley Slam! 550

Manley Stereo Variable Mu 549

manuals 330, 589

manufacturing 40, 555–65

marimba 161

Mark of the Unicorn 248

markers 262

marketing 10–11, 41, 554, 566, 568

MAS 248

Maschine 278, 316

masking 69

Mass in C Minor (Mozart) 147

Massenburg, George 159, 515

Massy, Sylvia 464

master sync mode 35–6

master/slave 383–7

mastering 39–40, 477, 533–52, 583–4; dither 202–3, 546; DIY? 541–5; dynamics 548–51; engineer 23, 535–7; EQ 547–8; for internet 566; loudness 209; ownership 571; plug-ins 551–2; safety master 191–2; sound files 545–6; surround 522; vinyl 564

materials 82–4, 87, 97

mathematics 47–8, 51, 60–1, 64, 80, 200

matrix 564

media see multimedia

Melodyne Editor 439

memory 156, 223–4, 226, 309, 312

metadata 353, 362–3, 376, 566–7, 569

meter display 424

metering 210, 479–83, 504–5, 527–8

metronome 323–4, 579

Meyer, Chris 377

microbar 65

microphone (mic) 31–6, 105–21, 513; balanced/unbalanced 119–21; condenser 109–12; directional response 112–16; dynamic 106–7; EQ 418–19; frequency response 50, 116; harmonic balance 58; low frequency rumble 123; off-axis pickup 124–5; output characteristics 117–19; popping 124; preamps 121, 463–5; proximity effect 123–4; ribbon 107–8; selection 166–73; as transducer 43–5; transient response 117; trims 463

microphone techniques and placement 6, 122–66, 403–4; accent mic 139; brass 146–8; close placement 126–31; Decca tree 143; distant placement 132–8; guitar 148–51; harmonica 166; keyboards 151–4; M/S 141–3; percussion 154–61; psychoacoustics 69; recording direct 131–2; spaced pair 140; stereo/immersive 139–43; strings 161–2; surround 143–4; tuned percussion 160–1; voice 162–4; woodwind 164–6; X/Y 140–1

Microsoft 208, 223–4, 231, 235, 248, 357, 361, 369

mid-side (M/S) 141–3, 551

MIDI 36–7, 281–335, 581; audio to 269–70, 327–8; computer and 306–8; controller ID 300–2; DAW 234, 237, 245–6; General 284, 365–7; groove software 273–4; instruments 308–20; iOS 338, 341; keyboard 310–11; keyboard controller 314–16; message 293–9; microphones 136, 138; multimedia 363–7; music notation/printing 334–5; percussion 317–19; ReWire 253–4; sampler 312–14; sequencer 320–34; system interconnections 287–93; System messages 303–6

MIDI Clock 271

MIDI Manufacturers Association (MMA) 300

MIDI timecode (MTC) 246, 303, 308, 376–9, 381, 383–6

mini-jacks 119

minorities 25

mission statement 577

mixing 7, 37–9, 69, 89, 333, 449–91, 583; auxiliary send 466–7; channel assignment 474–5; channel fader 472–3; channel input 463–6; console/desk/board 7–8, 38, 458–61; DAW 246–7; digital console/controller 483–8; dynamics 469; equalization 467–9; gain optimization 462–3; grouping 475–6; immersive audio 518–21; iOS 342, 345; loudness 209; mastering and 543–4; metering 479–83; miking 135–6, 138, 142; monitoring 469–72, 477; output section 473–4, 477; patch pay 478–9; signal path 460–2; signal processing 418–19, 427; software 254–5; technology 458–60

MMA 300

mobile 14–15, 337–47, 350, 596

modes, MIDI 296–7

modulation noise 187–8

monitoring (audio) 33–4, 36, 39, 493–513, 583; analog tape recording 183–4; direct insert 471; far-field 496–7; immersive audio 521–8; in-line 470–1; isolation 83–4; mixing 456–7, 469–72, 477; near-field 497–9, 506; psychoacoustics 67; speaker design 501–5; symmetry 91; taking care of your hearing 65–6, see also speakers

monitors (screen display) 224, 257–8, 485

monophonic (mono) 140–2, 296–7, 508–9, 562

Moog 419

Mopho 311

most significant bit (MSB) 284

motivation 27–8

MOTU Audio System (MAS) 231, 248

MOTU AVB 229

MOTU Ultralite 230

movies see film

Mozart 147

MPEG 360, 369

MPEG-1 355

MPEG-2 355

MPEG-3 (MP3) 19, 360–1

MPEG-4 (MP4) 361, 529

MTC 246, 303, 308, 376–9, 381, 383–6

Mullin, Jack 175, 592

multiband 250–1, 447, 550

Multichannel Audio Digital Interface (MADI) 212

multimedia 18, 349–70; delivery formats 356–63; delivery media 351–2; graphics 367–8; MIDI 363–7; physical media 353–6; video 368–9

multiport network 292–3

multitrack 30–1, 295, 324, 594

music industry see business

Musical Instrument Digital Interface see MIDI

mute 146, 148, 472

Nanologue 347

National Television Standards Committee (MTSC) 374–5

Native Instruments 316, 406

Native Kontrol Standard (NKS) 316

near-field monitoring 497–9, 506

Needham, Mark 79

negative feedback 391–2, 395

neoprene 84–5

network access points (NAPs) 352

networking (computing) 226, 260–1, 351

networking (MIDI) 292–3

networking (social) 27–9, 587

Neumann KH310 498

Neumann M50 143

Neumann TLM102 170–1

Neve 121, 131, 212, 459, 549

New England Digital 594

nibble 294, 378

Nocturn 316, 406

noise 80, 84, 132, 258; analog tape recording 187; calibration 527–8; dither 202–3; electromagnetic 119, 400; electrostatic 118–19; gate 431, 447–8; grounding/power 397–402; jitter 215; line balance 119, 121; reduction 176, 188, 387, 429–30, 443–8, see also isolation; leakage

non-drop code 374–5

nondestructive edit 239–41

normaled connection 478

normalization 242, 428, 546

notation printing 334–5

notch filters 415

Note-On/Off 297, 309, 320, 324

notepad 262

Novation 316, 406

Nuendo see Cubase

Nyquist Theorem 200–1, 205

obstacles 52–3, 81–2

octave 56

odd harmonics 56, 58

off-axis pickup 124–5

offset times 381–2

Olson, Harry F. 101

.omf 236

Omni On/Off 296–7

omnidirectional microphone 113–14, 116, 454, 495; Decca tree 143; off-axis coloration 125; placement techniques 145, 148; proximity/popping 124

OmniMic V2 Precision Measurement System 495

Omnisphere 311

Open Media Framework Interchange (OMFI) 236

operating system (OS) 222–4, 256, 406; iOS 338–47

operational amplifier (op-amp) 391

Orange Book 354

orchestral music 4, 18, 139, 143

organ 133, 153, 417

oriented strand board (OSB) 85

OS X 231, 248

oscillators 431

output bus 473, 477; surround 522, see also I/O

Oven Studios 4

overdrive 176, 394, 480

overdub 4, 6, 34–7, 89, 418; analog tape recording 183–4; DAW 244–5; microphones 144, 149, 164; mixing 457–8; monitoring 511; piano 153

overhead mics 158–9

overload distortion 118

oversampling 200

overtones 55–6, 67; brass 146–7; guitar 148–9; strings 161–2; woodwind 164

ownership 571

Oxford plug-ins 412, 419, 546

oxide 177, 180, 189

Oxide Tape Recorder 420

Ozone 546

PA 161

pad 267

pain, threshold of 65

Paisley Park 5

pan pots 472–4

Pandora 569

panning 71, 143, 149

parallel patching 479

parallel processing see sidechain

parametric equalizers 415

Parnell, Mandy 533

partials 55–6, see also overtones

partitions 89–90, 128, 153, 157

passband 413–14

patch bay 478–9

patch data 305

patch map 366–7

pattern sequencing 325

payment 572

PC 222–3, 248, 306

PCIe 228

PCM 204–5, 208, 235, 355, 357, 528–9

peak meter 483

peak program meters (PPMs) 479

peak-to-peak value 48, 59, 480–1

peaking filter 412–13

people 20

perceptual coding 359–60

percussion 56, 154–61, 417; General MIDI 367; MIDI 317–20; tuned 160–1

performance rights organizations (PROs) 572

period 51

peripherals 306–7

phantom power 108, 111–12, 288

phase 53–5, 93; -reverse 464; effect 432–3; microphones 136, 140, 158–9; monitoring 509–10, 513; speakers 503–4

Phillips 357; sound files 211–13

phonorecord 571, 578

piano 151–3, 417

pickup see microphone

pink noise 495, 504, 527

pinna 64, 70–1

pitch 67–8; shift 252–3, 266–8, 270–2, 330, 437–40; vinyl manufacture 563–4

Pitch Bend Change 298

pixels 367–9

planning see preparation

plasterboard 84

plate 436

playback 203, 205; MIDI 332–3

plug-ins 310, 405–6, 596; analog tape emulation 176, 193; DAW 237, 248–53; groove/loop-based 276–7; mastering 551–2; mixing 465–6; noise reduction 444–8; sound-shaping 419–20

PMC QB1-A 497

polarity 112–16; drum miking 156, 158; mic selection 172; speakers 503–4; stereo 140–1

polyphonic 296–7, 311–13

Polyphonic Key Pressure 297

polyvinyl chloride (PVC) 177

Poniatoff, Alexander M. 592

popping 124, 145, 163

pops 446

port 309; vs. jack 292

portable studio 14–15, see also mobile

post-production 77

posture 585

power 63, 225–6, 397–402

power amplifiers 393–4, 511

power conditioning 399–400, 588

power phases 400–1

power supply 110–12

Powerplay Pro-8 512

practice 577, 579, 599

preamplifier (preamp) 392, 463–5; microphone 110–12, 118–19, 121

Precision Limiter 550

Precision Multiband 550

preparation 29–30, 146, 323, 387, 573–4, 576–8; mastering 538–9; for mixing 454

Presonus ADL-600 464

Presonus DigiMAX D8 121, 232

Presonus HP4 512

Presonus Studio 230, 238

Presonus StudioLive 484

pressure-zone trap 100

Primacoustic Recoil Stabilizer 499

print-through 186–7

printing: music notation 334–5, see also export

Pro Convert 236

Pro Tools 220, 222, 248, 250–1, 275, 299, 321, 432, 521; mixing 462, 474, 486

processor see CPU

producers 21–2, 30, 540, 574–5, 578–83; mixdown 38; overdub 36–7; signal processing 418–19

Producers and Engineers Wing 191, 208, 357, 363, 524, 528

professional studio 3–11, 578–80; control room 6–9; design 76–7; digital age 10–11; management 24; mic techniques 122; monitoring 511–13; retro revolution 9–10

professionalism 589

Program Change 298

project studio 10–14, 23, 29, 597; acoustic design 76, 78–9; making it pay for itself 13–14; mic techniques 122

Propellerhead 253–4, 268, 273–5, 310

Proper, Darcy 533

ProTools Multiband Dynamics 550

proximity effect 123–4, 156–7, 163

psychoacoustics 66–8, 359, 437, 447; auditory perception 66–9; direction perception 69–71; space perception 71–4

publishing rights 570

pulse-code modulation see PCM

Pulse-Density Modulation 359

punch-in 35, 184–5, 243–4, 324–5, 451, 458

Putnam, Bill 592

PZM-6D 137

Q 249, 412–15

Quadraphonic Sound (Quad) 517, 520, 593

quantization 198–9, 201–2, 207, 330–1

quarter-frame messages 303, 378

quarter-wavelength trap 100

QuickTime 361, 369, 529

R/2R network 205

rack-toms 159–60, 417

Radial Engineering 137

radiation patterns 59

radio 252, 508–9, 572; internet 569

radio frequency (RF) 397, 400–1

Radiobu 78

RAID 260, 351

random access memory (RAM) 156, 223–4, 226, 309, 312

rarefaction 46

raster graphics 367

Raven 79, 234

RCA 117, 516

re-issues 531–2

read mode 487

read-only memory (ROM) 309

Real-Time Audio Suite (RTAS) 248

reamping 137–8

Reaper 238

Reason 254, 273–5

recording 30–4, 454–8; digital process 203–5; direct 131–2; iOS 341–4; monitoring 511–13; preparation/tips 579, 581–3; sequencer 322–6; software 238–43, see also acoustics and studio design; professional studio; project studio

Recording Industry Association of America (RIAA) 212

ReCycle 268–9

Red Book 353, 541, 558

redundant array of independent drives (RAID) 260, 351

reference tones 191

reference track 452, 540

reflections 435; miking 136–7, 148; monitoring 497, 505–6; sound/hearing 51–2, 55, 70, 72–3; studio design 6, 91–8, 102

regions 239–40

rehearsal 577, 579, 599

release 59, 424–6, 429–31, 448

reproduction see playback

research 19–20

resistance 118, 205, 390–1

resistors 110–11

resonances 497–8

Resource Information File Format (RIFF) 208, 235, 357

resumes 28

retro 9–10, 126, 175, 591, 596

reverberation (reverb) 38, 73–4; effects processing 404, 434–6, 466; miking 141–2; studio design 75, 101–3

reverse 436

ReWire 253–4, 275, 277, 310

REX files 268–9

rhythm 265, see also groove tools

RIAA 212

ribbon microphone 107–8, 111, 145; directional response 113–14; noise rating 118; selection 167–9; transient response 117

rights 570

ring tones 284

ripping 19, 314, 597

risers 85–6, 157

Rock Ridge 354

Rockwool 84, 89, 98

Roland 270, 317, 365

roll-off 124, 132, 149

Romeo 354

room 10, 72–3, 436; miking 126, 134–6, 144, 149; mixing 488, 490; monitoring 322–6, 506, see also acoustics and studio design

root-mean-square (rms) 48, 59, 428, 480–1, 546

royalties 363, 570–2

Royer Labs R-121 108, 167–8

RT60 102–3

RTAS 248

rubber band control 254, 487–8

rumble 123

rundown 33, 36

running order 536, 540–1

S/MUX IV 213

S/PDIF 211–13

safety master 191–2

sales 41, 565–7, 569, 572

sample rate 196–201, 204, 206–7, 216, 236; mastering 539, 545–6; multimedia/web 356–9; pitch shift 438; sync 385

sample-and-hold (S/H) 202, 204–5

samplers 312–14

samples see groove tools; looping

saturation 390–1, 420

saving files 254, 259–60, 405, 489–90; MIDI 328–9

sawtooth waves 57

saxophone 165

Schmitt, Al 125, 130

SCMS 212

scoring 245–6

scratch vocals 88, 164

screenshots 263

SD card 355

SDDS 355

Secure Digital Music Initiative (SDMI) 362

selectable frequency equalizer 414

selective synchronization (sel-sync) 183–4

sends 409–10, 465–7, 511

sensitivity rating 117

separation, acoustic 75, 101, 128, 152–3

separation loss 189

sequencing (electronic) 245–6, 273–4, 285, 295, 320–35; audio to MIDI 327–8; MIDI documentation 329; MIDI editing 329–32; MIDI mixing 333; MIDI playback 332–3; MIDI recording 322–6; MIDI to audio 327; saving MIDI files 328–9

sequencing (running order) 536, 540–1

Serial Copy Management System (SCMS) 212

servers 260–1, 351–2

SESAC 572

setting up 580

Shadow Hills Mastering Compressor 596

sharing 261

shelving filter 413, 469

shielding 402

Shure MV88 342

Shure PGA181 169

Shure SM57 166

Shure SM58 107, 117

sibilance 162–3, 417

sidechain 408, 410–11, 431

Sides, Alan 122, 142–3

signal chain/path 407–11, 460–1; mastering 544–5

signal distribution 214–17

signal processor 403, 466–7, see also Digital Signal Processing (DSP); effects; plug-ins

signal-to-error ratio 201, 207

signal-to-noise (S/N) ratio 187–8, 201–2, 456

simple waves 57

sine waves 48, 53–5, 57–8

single-ended noise reduction 445–7

Skibba, Martin 458

Skywalker Sound 17, 283

slap echo 94

Slate Digital 597

slip time 331

slope 414, 429; ratio 423

SMPTE 191, 246, 303, 308, 372–81, 385, 387; offset times 381–2; signal distribution 382

snare drum 59, 158, 160, 417, 426–7, 431, 468; mic selection 166

social networking 587

Society of Motion Picture and Television Engineers see SMPTE

soffits 83–4, 496

soft knee 423

software 237–55, 257, 588–9; comping 245; DJ 278–9; drum replacement 319; DSP effects 247–8; DSP plug-ins 248–53; exporting to file 254–5; fixing sound 243–4; groove 271–7; MIDI sequencing/scoring 245–6; mixdown/effects automation 254; mixers 483–8; real-time mixing 246–7; recording/editing 238–43; ReWire 253–4; sequencers 320–1; video/picture sync 246, see also digital signal processing (DSP); plug-ins

solid state drive (SSD) 223, 226

Solid State Logic (SSL) 212–13, 236; Duality Console 458, 463, 469, 472, 477; Nucleus 233

solo 33–4, 139, 472

Song Position Pointer (SPP) 303

Song Select messages 303

Sonnox 250, 412, 546

Sony 211–12, 357, 362

Sony MDR-7506 500

Sony/Phillips Digital Interface (S/PDIF) 211–13

sound files see files; formats

sound and hearing 43–74; diffraction 52–3; direction perception 69–71; loudness levels 60–4; pressure waves 45–6; reflection 51–2; space perception 71–4; transducers 43–5, see also ear

sound hole 148–9, 162

sound lock 88

sound-pressure level (SPL) 60–2, 65–6, 81, 583; miking 118, 146; monitoring 504–5, 507; surround 527–8

sound-shaping 419

Soundexchange 572

Soundness SoundSoap 444

soundtracks 281, 283, 516–17

spaced pair 140, 158–9, 161

Spark Drum Machine 278

spatial positioning 7, 37–8, 69–71, 437, 500

speakers 493–5, 583; active/passive 502–3, 526; balancing levels 504–5; design 501–5; frequency response 50; harmonic balance 58; immersive 516–17; polarity 503–4; studio playback 513; surround 522–6; symmetry 91–2; types 496–501, see also monitoring

specs 50, 206, 216

spectral content 411; analyzer 507–8

spring 436

square waves 57–8, 373, 379

SSD 223, 226

SSL see Solid State Logic

stampers 557, 565

standing waves 93–4, 494

Start messages 304

status byte 294

Steinberg 447; DAW 230–1, 248, 253–4; groove tools 275–6; immersive 520–1; iOS 341, 343, see also Cubase/Nuendo

stems 18, 539–40

step time 325, 334

stepped resistance network 205

stereophonic (stereo) 474, 509; + sub 509–10; compression 425; history 516–18; miking 122, 133–6, 139–43, 149, 152; mixing up/down 530–1

Stop messages 304

stop-band filter 204, 413

streaming 554, 568–9

strings 57–8, 161–2, 417

Studer A800 192

studio see acoustics and studio design; professional studio; project studio

Studio Metronome 16

studio musicians 21

StudioLive 342, 345

studs 82–3

Stylus RMX 276

subcodes 555–6

subtractive synthesis 311

subwoofer 509–11, 520, 523–9

summing amplifiers 393

Super Audio CD (SACD) 357

supercardioid pattern 114, 158

surface density 81–2

surge protection 399–400, 588

surround 17, 515–32; authoring 531; formats 528–31; history 516–18; miking 143–4, 149; mixing 518–21; monitoring 521–8; re-issues 531–2

sustain 59

Swartau, Bill 592

Swedien, Bruce 130–1, 142

symmetry 91–2, 494

Synchron Stage 7

synchronization (sync) 266, 308, 371–88; jam sync 380; MIDI 376–9, 383–6; monitoring mode 183–4; timecode 372–9

Synclavier 594–5

synthesizers (synths) 270, 274–5, 295–6, 305, 310–11, 347, 426

System messages 303–6; -Common 303; - Exclusive (sys-ex) 289–90, 293, 304–6, 377; Real-Time 303; Reset 304

tagging see metadata

tails-out 186–7, 192

tape see analog tape recorder (ATR)

Tascam Digital InterFace (TDIF) 214

tax 13

TC Electronic 440, 531

TDM 248

technology: history 591–5; trends 595–9, see also digital technology

Telefunken 107, 166–7, 173

television 350, 517–18

tempo 252, 266–9, 271–2, 323, 439; -based delay 434, see also synchronization (sync); time

temporal fusion 73

Tesla, Nikola 592

test pressing 558

Thomson Multimedia 360

thresholds: of hearing/feeling/pain 65; signal processing 421–7, 446–8, 549–50

Thunderbolt 223, 225–6, 228, 230–1, 287–8, 306

timbre 58, 67, 73, 127, 488

time 13, 215–17; -based effects 409, 411, 432–6; quantization 198–9, 201–2, 207, 330–1; sampling 197–8; shift/stretch 252–3, 266–8, 271–2, 438–9, see also synchronization (sync); tempo

Time Domain Multiplex (TDM) 248

timecode word 373–5, see also MIDI timecode (MTC); SMPTE

Timing Clock messages 303–4

Todd-AO 517

tonal balance see timbre

Toslink see lightpipe

total transport logic (TTL) 179

touch 234–5, 337, 483–4, 597–8

Touchable 345

Townsend Labs Sphere L22 171–2

track sheets 32–3

transducers 43–5, 64, 105, 196

transients 117, 156, 425–6, 429

transistors 389–90, 394

transitions 38, 541

transmission loss (TL) 81–4, 87–8

transmission standards 210–14

transports 178–80

transposition 330

trauma, acoustic 65

treble 132, 428

trends 595–9

triangle waves 57

triggering 319, 326

Trilogy Studios 4

triode 390

Tritschler, J. 9

trombone 59, 147

trumpet 146–7

TT connector 120, 478

tuba 147

tube (valve) 110–11, 171, 173, 404; amps 389–91; EQ 415

tumbas 160

Tune Request messages 303

TuneCore 572

tuning 34; drums 155–6; speakers 494–6, 510

turnover frequency 413

tweeters 523–4

UAD 192, 250–2, 428–9, 435, 440, 546, 550

UK 109, 471

Ultrapatch PX2000 478

unbalanced lines 120–1

underlay 84

Uniform Resource Locator (URL) 352

uninterruptible power supply (UPS) 400, 588

United States 375

Universal Audio 2–610 121

Universal Audio 2–610S 464

Universal Audio 1176LN 422

Universal Audio API Vision Strip 448

Universal Audio Precision Multiband 447

Universal Recording 592

universal serial bus see USB

up-mixing 530–1

updates 224, 257, 588

upper partials see overtones

US 572; Court of Appeals 314

USB 223, 225–7, 230–1, 287–8, 306–7

V-Control Pro 234, 344, 486

valve see tube

variable bit rate (VBR) 360

VCA grouping 476

vector graphics 368

Velcro 585

velocity 50–1, 72, 313

ventilation 258

Vertigo Sound VSM-3 142

vibraphones 161

vibrato 153–4

video 246, 368–9, 531; acoustic studio design 77; audio for 16–17; sync 374–5, 379, 381, 384–8

video cassette recorder (VCR) 518

vintage 107, 171, 173

vinyl 517, 553; manufacture 561–5; mastering 533–4

violin and viola 57–8, 161–2, 417

virtual pot (V-pot) 484

Virtual Studio Technology (VST) 231, 248

visibility 87, 90, 130

vocals 511; booths 89, 128, 130; effects 433; miking 162–4, 166, 170; mixing 452, 469, 489; processing 417, 426; scratch 88, 164; studio tips 579, 582

vocoder 408

voice coil 107

voice (electronic) 296, 309, 313

voice (human) see vocals

voltage (V) 62, 389–91, 399–400

voltage-controlled amplifier (VCA) 394

volume see dynamic range; gain; levels

VST 231, 248

VTR 379

VU metering 479–83

Wallace, Roy 143

wallboards 83

walls 52, 93–4, 148; isolation 82–4

Warm Audio EQP-WA 415

warping 253, 268

wattage see power

.wav 208, 235, 357, 528

wave propagation 45–7

waveform 47–60; amplitude 47–8; envelope 59–60; frequency 47–50; harmonic content 55–9; phase 53–5; simple/complex 57; velocity 50; wavelength 51–3

wavelength 51–3

Waves L1 Ultramaximizer 429

wavetable synthesis 311

WDM 231

website 567, 587, see also Internet

Wells, Frank 20

wet/dry 411

White Book 354

Wi-Fi 234

Williamson, Greg 346

windows 87–8

Windows Media Audio (WMA) 361

Windows (Microsoft) 208, 223–4, 231, 235, 248, 357

wireless 234, 288–9, 512

wiring see cabling

Wisseloord Studios 533

.wma 361

women 25

woodwind 164–6, 417

word length see bit depth

wordclock 216–17, 246

Wordpress 28

write mode 487

writer 570–1

X-fade 243, 541

X/Y stereo 135, 140–1;

XLR 119–20

xylophones 56, 161

Yamaha HS8 498

Yamaha KX49 234

Yellow Book 354

YouTube 554, 569, 574

Z see impedance

Z channels 86–7

zero-crossing points 239

zones 313