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Glossary of audio production-related terms
A
A/B Comparison: Switching between two audio sources or settings to evaluate differences in sound quality.
A-Weighting: A frequency response curve used in audio measurements to simulate the sensitivity of human hearing, especially at lower sound levels.
AC (Alternating Current): An electric current that reverses direction periodically, commonly used in audio signal transmission.
AC Coupling: A method using capacitors to block DC signals while allowing AC signals to pass, often to prevent DC bias in audio circuits.
ADAT (Alesis Digital Audio Tape / Lightpipe): A digital audio interface standard that transmits up to eight channels of digital audio over a single optical cable.
AD/DA Converter (Analog-to-Digital/Digital-to-Analog Converter): Converts audio signals between analog and digital formats. Used in recording, playback, and processing equipment.
ADSR (Attack, Decay, Sustain, Release)**: The four stages of a sound’s envelope, which describe how its amplitude changes over time.
AES/EBU: A digital audio standard for transferring audio between devices, developed by the Audio Engineering Society and the European Broadcasting Union.
Aftertouch: A MIDI message generated by applying pressure to a key after it is initially pressed, often used to control modulation or effects.
Algorithm: A sequence of instructions or rules for processing audio, such as for effects or synthesis.
Aliasing: An unwanted artifact in digital audio caused by insufficient sample rates, resulting in incorrect frequency representation.
All-Pass Filter: A filter that changes the phase of a signal without affecting its amplitude, used in effects like phasers.
Ambience: The sense of space or environment in a recording, created by natural or artificial reflections.
Amplifier: A device that increases the level of an audio signal.
Amplitude: The strength or level of an audio signal, often measured in decibels.
Amplitude (Peak): The sound pressure at the point where the audio wave peaks.
Analog: A continuous electrical signal that directly represents sound waves, as opposed to digital signals.
Analog-to-Digital (A/D) Converter: Converts analog audio signals to digital data for recording.
Analog Synthesis: Sound creation using analog electronic circuits, typically involving oscillators and filters.
Arpeggio: A series of musical notes outlining the chord being played.
Attack: The initial part of a sound’s envelope, describing how quickly it reaches its peak level after being triggered.
Attenuate: To decrease the level of a signal.
Attenuation: The reduction of signal strength, usually measured in decibels.
Audio Interface: A device that converts analog audio signals to digital and vice versa, allowing connection between audio gear and computers.
Automation: Recording and playback of parameter changes (like volume, panning, or effects) over time within a DAW.
Auxiliary Send (Aux Send): A routing option that sends a portion of a channel’s signal to external effects or monitor mixes.
Auxiliary Track (Aux Track): A track for processing audio sent from other tracks.
B
Balance: Relative volume levels of recorded tracks.
Bi-directional Microphone: Sensitive to sound from the front and back but rejects side sounds.
Binaural Recording: 2-channel recording using microphones on a dummy head.
Bit Depth: Determines the resolution of digital audio. Higher bit depth (e.g., 24-bit) provides greater dynamic range and accuracy.
Bit Rate: The number of bits processed per unit of time, often used to describe the quality of audio files.
Buffer Size: The amount of audio data stored in a buffer before playback or recording. Smaller buffers reduce latency but require more processing power.
Bus: A virtual channel that combines audio signals for processing or routing.
C
Chorus: An effect that thickens sound by duplicating and slightly detuning audio.
Clipping: When an audio signal exceeds the maximum level that a system can handle, resulting in distortion. Clipping can be avoided by proper gain staging.
Compression: Reduces dynamic range by attenuating loud parts. Used in music production and broadcasting.
Convolution Reverb: A type of reverb effect that uses a process called convolution to realistically recreate the acoustics of real spaces or hardware. It works by applying an impulse response (IR)—an audio recording that captures how a specific environment or device reacts to a short, sharp sound (like a clap or sine sweep)—to any input signal. The convolution process mathematically combines the input audio with the impulse response, resulting in the input signal sounding as if it were played in the recorded space, complete with its unique reflections and reverberation characteristics. This makes convolution reverb especially valued for its ability to provide highly realistic and natural-sounding spatial effects, as opposed to algorithmic reverbs that simulate spaces using mathematical models rather than real recordings.
DAW (Digital Audio Workstation): Software for recording, editing, and mixing audio. Examples include Pro Tools, Logic Pro, and Ableton Live.
Decibel (dB): Unit of measurement for sound intensity. Used to express volume levels and dynamic range.
Dithering: Adding low-level noise to an audio signal during audio conversion to improve resolution.
E
Envelope: The shape of a sound’s amplitude over time, typically described by ADSR (attack, decay, sustain, release).
F
Fader: A slider used to adjust volume levels on a mixer or DAW.
FFT (Fast Fourier Transform): Algorithm used for spectral analysis, converting time-domain audio into frequency-domain data.
Flanging: An audio effect created by mixing two identical signals together, with one signal delayed by a small and gradually changing period.
G
Graphic Equalizer: An equalizer with fixed frequency bands that can be adjusted individually.
H
Harmonics: Frequencies that are integer multiples of a fundamental frequency, contributing to the timbre of a sound. Also described as overtones produced by vibrating objects (e.g., guitar strings).
High Pass Filter (HPF): A filter that allows frequencies above a specified cut-off frequency to pass while attenuating lower frequencies. Commonly used to remove low-frequency noise.
I
Impulse Response (IR): Captures a room’s acoustic characteristics for convolution reverb
I/O (Input/Output): The ports or connections used to send and receive audio signals.
ITB – Stands for “In The Box.” It means that all audio processing, mixing, and effects are done digitally within a Digital Audio Workstation (DAW) using plugins as opposed using hardware such as taoe recorders, mixing consoles, outboard effects units, etc.
J
Jitter: Variations in the timing of digital audio signals, which can cause distortion (e.g., MIDI clock jitter).
K
KHz (Kilohertz): Frequency measurement (1 kHz = 1000 Hz).
K-System: A metering system for audio levels, developed by Bob Katz, that standardizes loudness levels.
L
Latency: Delay between input and output in digital audio systems. Critical for real-time performance.
LFO (Low-Frequency Oscillator): Modulates parameters (e.g., vibrato, tremolo).
Limiter: A type of compressor that prevents an audio signal from exceeding a certain level.
Low Pass Filter: (LPF): A filter that allows frequencies below a specified cut-off frequency to pass while attenuating higher frequencies. Often used to reduce aliasing effects in audio signals.
M
MIDI (Musical Instrument Digital Interface): Protocol for communication between musical instruments and computers. Used for sequencing, control, and instrument connectivity.
Multiband Compressor: A compressor that applies different compression settings to different frequency bands.
N
Noise Gate: Removes low-level noise by muting audio below a threshold.
Normalization: The process of adjusting the amplitude of an audio signal to a standard level.
O
Oscillator: A device or software that generates periodic waveforms used in synthesis.
Overdrive: Mild distortion effect simulating tube amplifier saturation.
Oversampling: Oversampling increases the sampling rate of a signal by a fixed multiple, such as 2x or 4x. This allows plugins and processors to handle higher frequencies and encode audio with greater precision. By doing so, oversampling helps minimize unwanted artifacts like aliasing, clipping, and quantization distortion—especially when applying heavy or aggressive processing. While it can improve clarity and reduce distortion, it also demands more from your CPU, so it should be used thoughtfully during mixing and mastering.
P
Panning: Distributing a sound signal into a new stereo or multi-channel sound field. More simply, it can often be explained as adjusting the audio placement between left and right channels.
Q
Q Factor: A parameter that defines the bandwidth of frequencies affected by an equalizer.
Quantization: Aligning audio to a grid (e.g., MIDI notes to beats).
R
Reamping: Sending recorded DI guitar/bass signals back through an amp.
RMS (Root Mean Square)**: A statistical measure of the magnitude of a varying quantity, used to measure the average power of an audio signal.
S
Sample Rate: Number of audio samples captured per second. Common rates include 44.1 kHz (CD quality) and 48 kHz (standard for video).
Sibilance: Harsh “s” and “sh” sounds in vocals.
Sidechain**: A technique where the output of one audio track is used to control the processing of another track.
5.1 Surround: A surround sound format using 6 speakers (Right Front, Center Front, Left Front, Right Rear, Left Rear, and subwoofer). Speaker placement differs for music and video. For music, speakers should be spread wide, while for video, rear speakers should be as high as possible.
7.1 Surround: Similar to 5.1 but with 8 speakers, including Right and Left Side speakers. Not commonly used for music recording.
T
Transient: A short-duration signal that represents a high amplitude, short-duration sound at the beginning of a waveform.
Time Stretching: Altering audio duration without changing pitch.
U
Unison: Detuning multiple voices to create a thicker sound.
USB Audio Interface**: A device that connects audio equipment to a computer via USB.
V
VST (Virtual Studio Technology): Plugin format for adding effects and instruments to DAWs. Widely used in music production.
VU Meter (Volume Unit Meter): A device that displays the average level of an audio signal.
W
WAV (Waveform Audio File Format): A standard digital audio file format used for storing waveform data.
Wet/Dry Mix: Balance between processed (wet) and original (dry) audio.
X
X-Y Microphone Technique: A stereo recording technique using two microphones placed at a 90-degree angle to each other.
Y
Y-Cable: A cable with one input and two outputs, used to split an audio signal.
Z