MUTE GROUPS
A method of combining the on/off status of a selection of channels
under a single control button.
NEARFIELD MONITOR
A high quality, compact loudspeaker designed for use at a distance
of three to four feet from the operator. Their use ensures that
detrimental room effects are minimised.
NORMALISE
A socket is said to be normalised when it is wired in such a way
that the original signal path is maintained unless a plug is inserted
into the socket. The most common examples of normalised
connectors are the INSERT POINTS found on mixing consoles.
OSCILLATOR
A tone generator for test and line-up purposes.
OVERDUB
To add another part to a multitrack recording or replace one of the
existing parts.
OVERLOAD
To exceed the operating capacity of an electronic or electrical
circuit.
PAN (POT)
Abbreviation of ‘panorama’: controls levels sent to left and right
outputs. Allows positioning of signals within the stereo sound stage.
PARAMETRIC EQUALISER
A graphic equaliser in which the cut/boost, frequency and
bandwidth are all adjustable.
PASSIVE
A circuit or component which does not amplify the signal or is not
powered.
PATCH BAY
A system of panel mounted connectors used to bring inputs and
outputs to a central point from where they can be routed using
plug-in patch cords.
PATCH CORD
Short cable used with patch bays.
PEAKING
A signal of the maximum displacement from its mean (average)
position.
PHANTOM POWER
The +48v DC voltage applied equally to the two signal pins of a
balanced mic input to provide powering for condenser
microphones.
PHASE
Phase is the fraction of the whole period that has elapsed, measured
from a fixed datum. A term used to describe the relationship of two
audio signals: in-phase signals reinforce each other, out-of-phase
signals result in cancellation.
PHONO PLUG
A hi-fi connector developed by RCA and used extensively on semi-
pro recording equipment.
POLARITY
The orientation of the positive and negative poles of an audio
connection. Normally, connections are made positive to positive,
negative to negative and this would ensure correct polarity. If this is
reversed the result will be out-of-phase signals (see PHASE above).
POP SHIELD
A device used in the studio, consisting of a thin mesh placed
between the microphone and vocalist in order to reduce the
‘explosive’ effects of ‘P’ and ‘T’ sound
POST-FADE
The point in the signal path after the channel or master fader and
therefore affected by fader position.
PRE-FADE LISTEN (PFL)
A function that allows the operator to monitor the pre-fade signal
in a channel before it reaches the main mix.
PRE-FADE
The point in the signal path before the monitor or master position
and therefore unaffected by the fader setting.
PROCESSOR
A device which affects the whole of the signal passing through it,
e.g. gate, compressor or equaliser.
Q (Bandwidth)
A measure of the sharpness of a bandpass filter. The higher the
value of Q, the narrower the band of frequencies that passes
through the filter.
RESISTANCE
Opposition to the flow of electrical current.
REVERB
Acoustic ambience created by multiple reflections in a confined
space. A diffuse, continuously smooth decay of sound.
RINGING OUT
The process of finding the problem frequencies in a room by
steadily increasing the gain of the system until feedback occurs. A
GRAPHIC EQUALISER is then used to reduce the offending
frequencies.
ROLL-OFF
A fall in gain at the extremes of the frequency response. The rate at
which a filter attenuates a signal once it has passed the filter cut-off
point.
SEQUENCER
Computer-based system for the recording, editing and replay of
MIDI music compositions.
SHELVING
An equaliser response affecting all frequencies above or below the
break frequency i.e. a high-pass or low-pass derived response.
SHORT CIRCUIT
The situation where two electrical conductors touch.
SIBILANCE
n. sounding with a hiss. When certain phonics are exaggerated, ie:
s, sh.
SECTION 8: Glossary
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