CROSSOVER
A passive circuit, normally built into a speaker system which
divides the full-range audio signal from an amplifier in order to
feed the individual drive units, ie: bass, midrange and treble.
CUEING
To put a piece of equipment in readiness to play a particular part of
the recording material. Assisted on a mixing console by use of the
PFL (Pre-Fade LIsten) facility.
CUT-OFF FREQUENCY
The frequency at which the gain of an amplifier or filter has fallen
by 3dB.
DAT (DIGITAL AUDIO TAPE)
High quality cassette based recording format which stores signals
digitally and therefore provides very high quality sound. Originally
touted for consumer use, but now firmly ensconced as a
professional tool.
dB (DECIBEL)
A ratio of two signal levels. Can be in Voltage, Watts or Current
units.
dBm
Variation on dB referenced to 0dB = 1mW into 600 ohms.
dBu
Variation on dB referenced to 0dB = 0.775 volts.
dBV
Variation on dB referenced to 0dB = 1 Volt.
DETENT
In audio terms a click-stop in the travel of a rotary or slide control,
normally used to indicate ‘centre stereo’ on pan-pots or ‘zero
boost/cut’ on EQ controls.
DI BOX
A device allowing connections as explained below.
DI (DIRECT INJECTION)
The practice of connecting an electric musical instrument directly
to the input of the mixing console, rather than to an amplifier and
loudspeaker which is covered by a microphone feeding the console.
DIGITAL DELAY
The creation of delay and echo effects in the digital domain.The
premise being that, as digital signals are resistant to corruption, the
process will not introduce additional noise or distortion.
DIGITAL REVERB
Reverberation effects created as above.
DIGITAL
The processing and storage of signals with sound- information
represented in a series of ‘1s’ and ‘0s’, or binary digits.
DIRECT OUTPUT
A pre-/post-fade, post-EQ line level output from the input channel,
bypassing the summing amplifiers, typically for sending to
individual tape tracks during recording.
DRY
Slang term for an original audio signal that has had no added
effects.
DYNAMIC RANGE
The ratio in decibels between the quietest and loudest sounds in
the audible range that the audio equipment will reproduce.
DYNAMIC MICROPHONE
A type which uses a thin diaphragm attached to a coil of wire
arranged about a permanent magnet. Any variation in air pressure
on the diaphragm will cause the coil to generate a minute electric
current which then requires amplification.
EARTH
See GROUND.
EFFECTS
The use of devices to alter or process the sound to add special
effects eg; reverb, normally as a mix of the original (‘dry’) sound
and the treated (‘wet’) version.
EFFECTS RETURN
Additional mixer input designed to accommodate the output from
an effects unit.
EFFECTS LOOP
Connection system that allows an external signal processor to be
connected into the audio chain.
EFFECTS SEND
A post-fade auxiliary output used to add effects to a mix.
ELECTRET MICROPHONE
Type of condenser microphone using a permanently charged
capsule.
ELECTRONIC CROSSOVER
An active device which divides the full range audio signal into
several narrower frequency bands (eg:low, mid and high), which are
then amplified and fed to the appropriate speaker drive units.
ENCLOSED HEADPHONES
Types that completely enclose the ears and therefore provide good
exclusion of outside noise. Of particular use when monitor mixing
or recording live on stage.
EQ
Abbreviation for equaliser or equalisation.
EQUALISER
A device that allows the boosting or cutting of selected bands of
frequencies in the signal path.
EXPANDER
The opposite of a compressor, an expander increases the dynamic
range of signals falling below a pre-determined threshold.
FADER
A linear control providing level adjustment. Favoured by
professionals due to smoothness of activation and the ability to give
an instant visual indication of status.
SECTION 8: Glossary
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