A high pass lter utilizes capacitors, as the impedance of a capacitor decreases for HIGH frequencies, this enables it to ensure

the passage of higher frequencies, and stop the passage of more powerful, lower frequency signals which may blow the poor little tweeter unit to smithereens! Acoustics: - The study of sound and its behavior within an environment. Amplitude: A digital audio les sound levels or electrical signal levels. It refers to the height of a waveform the greater a sound wave's amplitude, the louder it sounds. Most software audio programs allow viewing the amplitude of the waveform for detailed editing. ANALOG - Analog: An analog audio signal is represented by variations such as voltage speed or frequency and the strength of amplitude or volume of an electrical audio signal. The audio outputs from a computers soundcard or synthesizer are typically analog outputs even though the le being played is digital through a D/A converter. See D/A.. ARPEGGIATE - to play the notes of a chord in succession rather than simultaneously. Arpeggiator - a device that sequentially plays a pattern of notes over a range of the keyboard. The speed of the arpeggiation and pattern of notes are variable depending on the tempo and specied/pressed notes. Device (or software), that allows a MIDI instrument to sequence around any notes currently being played. Most arpeggiators also allows the sound to be sequenced over several octaves, so that holding down a simple chord can result in an impressive repeating sequence of notes.

BALANCE: This word has several meanings in recording. It may refer to the relative levels of the left and right channels of a stereo recording, or it may be used to describe the relative levels of the various instruments and voices within a mix.

BAND PASS FILTER (BPF): Filter that removes or attenuates frequencies above and below the frequency at which it is set. Frequencies within the band are emphasized. Bandpass lters are often used in synthesizers as tone shaping elements. A lter which allows only certain audio frequencies to pass, while rejecting all others above and below the cutoff points.

CAPACITOR MICROPHONE: Microphone that operates on the principle of measuring the change in electrical charge across a capacitor where one of the electrodes is a thin conductive membrane that exes in response to sound pressure. CARDIOID (UNIDIRECTIONAL): - A microphone pickup pattern that is characterised by the shape of a "loveheart" emanating from the capsule of the microphone. It should display a high sensitivity to sounds which are produced in front of the capsule, and a very low sensitivity to sounds which are produced behind it. There are also Supercardioid and Hypercardioid pickup patterns which are similar, but have a narrower pattern at the front, and a little more sensitivity at the rear.

CHORUSING - a doubling effect commonly found on a synthesizer or sampler that makes a single sound appear to sound like an entire ensemble. The initial signal is split and appears at a slightly altered pitch from the original, or at a slightly later point in time. This time and pitch level are often controllable by a low frequency oscillator (LFO). Close Miking: A microphone placement technique which involves placing a microphone close to the sound source in order to pick up mainly direct sound, and avoid picking up reverberant sound. Coincident Pair: - If a pair of microphones are mounted together, so that the capsules are at a 45 degree degree angle (which is is the optimum position for picking up a nice two channel stereo sound eld), then the two microphones in question could be described as being a " co-incident pair". COMPRESSOR: Device designed to reduce the dynamic range of audio signals by reducing the level of high signals or by increasing the level of low signals. Condenser Microphone: A microphone that generates an electrical signal when sound waves vary the spacing between two charged surfaces, specically the diaphragm and the backplate. Condenser microphones offer the greatest delity in terms of traducing sound waves into an electrical signal, however, they do have the disadvantages mentioned above, as well as a great sensitivity to picking up hums/ ground loops etc, and a delicacy which renders many of them more suitable for studio, rather than stage use. Even then, many of them have to be used in conjunction with a special "cradle" which inhibits interference from external sources. However, there is no substitute for the delity and beauty of sound as rendered by a great "large plate" condenser microphone

DECAY - one of the four basic stages of an envelope. Refers to the time the sound takes to settle into its sustain level. DELAY - a common effect in a sampler or synthesizer that mimics the time difference between the arrival of a direct sound and the rst reection to reach the listener's ears. An effect that is used to add depth or space to an audio signal by repeating the input one or more times after a brief pause of a few milliseconds to a few seconds. Delay is also often referred to as echo. - (device which will repeat sound at regular intervals producing echo-like effect). DI BOX: Device for matching the signal level impedance of a source to a tape machine or mixer input. DI: Short for Direct Inject, where a signal is plugged directly into an audio chain without the aid of a microphone. DIGITAL DELAY: Digital processor for generating delay and echo effects. DIGITAL REVERB: Digital processor for simulating reverberation. DISTORTION - a process, often found desirable by guitar players, that alters a sound's waveform. DYNAMIC MICROPHONE: - Microphone which works through a diaphragm being attached to a coil which operates within a strong magnetic eld. The diaphragm vibrates in response to soundwaves, which, in turn stimulates motion of the coil. The magnetic eld causes an electric current to ow through the coil, with a voltage which varies in sympathy with the motion of the diaphragm. This measured change is the transduction of sound waves into an electrical signal. Not as good in terms of delity as a condenser type of microphone, but more sturdy and less prone to noise interference, hence it's wide use on stage, or where a certain kind of "grittiness" is required.

Equalisation or "EQ": - Signal processing device which alters the frequency response of an audio signal. There are several types of equalisation, notable examples being "Graphic EQ" and "Parametric EQ". FILTER - a circuit which permits certain frequencies to pass easily while inhibiting or preventing others. Typical lters include low pass, high pass, band pass, and band reject. A function that cuts off a specic frequency band to change a sounds brightness, thickness and other qualities. FLANGE - an effect applied to a sound wherein a delayed version of the sound is mixed with the original. An effect created by layering two identical sounds with a slight delay (1- 20 mS) and slightly modulating the delay of one or both of the sounds. The term comes from the early days of tape recording when delay effects were created by grabbing the anges of the tape reels to change the tape speed. Glissando: A rapid slide through a series of consecutive tones in a scale like passage. On an E-mu Sytems Emulator III arpeggiator for example, when two notes are played with glissando on, every note in between the two notes will be played in a sequential order. Similar to portamento except that the pitch changes in semitone steps. GRAPHIC EQUALISER: A type of equalizer that provides control over a xed set of frequencies. Each lter provides linear cut/boost control over a xed frequency. GS MIDI": - An extension to the General MIDI system (see above) created by the Roland corporation. Improvements over the standard GM include reverb / chorus effects, panning controls, and the capability of expanding the standard GM set of 128 sounds up to a maximum of over 16,000 !

Harmonic (1) A special case of partial normally occurring in "musical" sounds, in which the frequency of the partial has a simple mathematical relationship to other partials. Generally they are all integer multiples of a particular fundamental frequency. See also Inharmonic. (2) of or pertaining to musical harmony (the juxtaposition of one note with another or others). Limiter: - Signal processing which sharply cuts off output once it reaches a certain preset level. Roughly it is a form of compression (see dynamics processing) with a very high ratio (10/1 or over) used mostly for for the protection of ears loudspeakers etc. LOW PASS FILTER (LPF): A lter which attenuates frequencies above its cutoff frequency. A lter which attenuates frequencies which are above it's stated cutoff frequency. See also "Crossover". Also called a High Cut Filter. A device which allows lower frequency data to be transmitted, rejecting higher frequencies. Most subwoofers have low-pass lters built in and many surround sound decoders have subwoofer outputs that have been low-pass ltered. See High Pass Filter. MIDI - Musical Instrument Digital Interface provides a standardized method for MIDI devices such as synthesizers, samplers, sound cards, etc. to communicate musical events and data to each other. See the MIDI Guide for a detailed explanation. Modulation - the fast oscillation of one or more operators or sound waves of a synthesized sound. Commonly used in FM synthesis to add some complexity and texture to a sound. Many MIDI controllers and keyboards provide a specic wheel or slider for controlling the modulation of an instrument sound (often referred to as the mod-wheel). The process of one audio or control voltage source inuencing a sound processor or other control voltage source. Example: Slowly modulating pitch cyclically produces vibrato. Modulating a lter cyclically produces wa-wa effects.

Monophonic - only one note of an instrument may be played at a time. An instrument that can play many at once is said to be polyphonic. Monophonic instruments usually cut-off the sound of previously played note with the start of new one. OMNI: Meaning all, refers to a microphone that is equally sensitive in all directions, or to the MIDI mode where data on all channels is recognised. PAN - to move a signal from the left to the right of a stereo eld, or vice versa. Refers to moving an audio signal left or right in the stereo spectrum. Also called the balance control. All stereo audio mixers have panning, and most software sequencers allow you to set and change panning. PARAMETRIC EQ: An equaliser with separate controls for frequency, bandwidth and cut/boost. A type of equalizer that provides control over each lter's frequency and the amount of cut or boost of each lter. PASSIVE: A circuit with no active elements. PHASER: Effect which combines a signal with a phase shifted version of itself to produce creative ltering effects. Most phasers are controlled by means of an LFO. Reverb - an effect that simulates natural reverberations (sound reections) that occur in different rooms and environments to create an ambience or sense of spaciousness. Acoustic ambience created by multiple reections in a conned space. Acoustic ambience created by multiple reections in a conned space. Also, a type of digital signal processing that produces a continuous wash of echoing sound, simulating an acoustic space such as a concert hall. Reverberation contains the some frequency components as the sound being processed, but no discrete echoes. See Echo, DSP or Delay. RIBBON MICROPHONE: A microphone where the sound capturing element is a thin metal ribbon suspended in a magnetic led. When sound causes the ribbon to vibrate, a small electrical current is generated within the ribbon. SIBILANCE: High frequency whistling or lisping sound that affects vocal recordings, due either to poor mic technique or excessive equalisation. Spaced Omnis AB stereo or spaced pair, consists of two identical omni microphones set a few feet apart in front of the sound source in what's often considered the most tricky conguration to get right as the stereo positioning is created solely by the time delay between the source sound arriving at each mic. It's one of the most imperfect set ups from a scientic point of view but one which can give stunning results when right. Positioning is everything when using a spaced pair and it really is a case of experimenting as both the sound source and the room have a huge part to play. So for example, to record a single instrument, you might only need to put the mics as little as 2 feet apart but to capture the full blend of sound from a large choir or orchestra you might end up with the mics up to 12 or more feet apart. Sustain - the period of an envelope during which a sound's attribute (such as volume) holds at a constant level. The sustain period starts at the end of the decay period and holds until the release period is started (usually by a keyboard note release). Unlike the other periods of an envelope, the sustain period does not have a slope because it must be capable of holding indenitely (as long as a keyboard note is pressed). Part of the ADSR envelope which determines the level to which the sound will settle if a key is held down. Once the key is released, the sound decays at a rate set by the Release parameter. Also refers to a guitar's ability to hold notes which decay very slowly. Syncopate - to shift the regular accent of a tone or beat by beginning on an unaccented beat and continuing through the next accented beat.

TREMELO -a rapid alternation of two tones. Usually a third apart.Unidirectional: - A microphone response / pickup pattern which is very sensitive to sounds which are produced in front of the microphone, but very Insensitive to sounds which are produced behind the microphone. (see also Polar Pattern) WAH PEDAL: Guitar effects device where a bandpass lter is varied in frequency by means of a pedal control. MULTITRACK - in traditional recording technology, the ability to layer multiple different audio signals at once. In MIDI software, the ability to layer numerous MIDI data streams. A recording device capable of recording several parallel parts or tracks which may then be mixed or re-recorded independently. A recording device capable of recording several 'parallel' parts or tracks which may then be mixed or re-recorded independently. A way to record a complex musical piece by dividing it into simple tracks, and combining the tracks during playback. Ability to record and process several separate streams or "tracks" of audio, either together or at different times, to be played back as a synchronous whole, then probably "mixed down" to a stereo (two track) master for replay on ordinary systems.