Glossary of Remix Terms

Jan 3, 2007 12:34 PM

LFE - Low-frequency effects channel. This a special channel of 5 to 120 Hz information primarily intended for special effects such as explosions in movies. The LFE has an additional 10 dB of headroom to accommodate the required level.

lossy compression - A data compression method that uses psychoacoustic principles to reduce the number of bits required to represent the signal. Lossy compression relies on psychoacoustic modeling of frequency and temporal masking effects to reduce bits by eliminating those parts of the signal thought to be inaudible.

low freqeuncy oscillator - Also called an LFO, this is a special type of oscillator that generate signals primarily below the range of human hearing (generally below 20 Hz). LFOs are typically used as a source of modulation. For instance, an LFO with a triangle waveform, set to about 6 Hz and modulating the pitch of a VCO results in vibrato. Changing the LFO waveform to a square wave will result in a trill. An LFO modulating a VCA with a triangle wave creates tremolo.

lowpass filter - A filter that allows only the low frequencies to pass. The frequency point where it cuts off is usually either switchable or variable.

make-up gain - A control on a compressor/limiter that applies additional gain to the signal. This is required because the signal automatically decreases when the compressor is working. Make-up gain "makes up" the gain and brings it back to where it was prior to compression.

mastering - The process of turning a collection of songs into a record by making them sound like they belong together in tone, volume and timing (spacing between songs).

mixer - In synthesizers, a circuit for combining multiple sound sources or signals.

MLP - Meridian lossless packing. This is a data compression technique designed specifically for high-quality (24-bit/96 kHz) sonic data. MLP differs from other data compression techniques in that no significant data is thrown away, thereby claiming the "lossless" moniker. MLP is also a standard for the 24-bit/96 kHz portion of a DVD-Audio disc.

modulation - The process of adding a control voltage to a signal source to change its character or tone. For example, modulating a short slap delay with a 0.5 Hz signal produces chorusing. Modulation has a source, a destination and an amount. This could be as simple as the filter cutoff of a VCF (the modulation destination) being changed by a keyboard's filter cutoff control (the source), or as complex as mixing multiple CVs together to modulate filter cutoff. Modulation is used in synthesis to create complex sounds and add variation.

mute - A parameter or control that temporarily silences the audio.

oscillator - A circuit that electronically "vibrates." When used as a sound source, an oscillator is the electronic equivalent of a vibrating reed, or string. When amplified, an oscillator produces a pitched sound whose frequency is determined by one or more control voltages. Changes to these voltages correspond to changes in pitch. An oscillator's vibrations can have different shapes or waveforms, such as a triangle, sawtooth or square wave.

overdubbing - The process of recording new material while listening to material that has been previously recorded. (See also "Selsync.")

parametric equalizer - A tone control in which the gain, frequency and bandwidth are variable.

pan pot - Short for pan potentiometer, which is the electronic name for the hardware control on a recording console that set the audio panning.

phantom image - The effect in a stereo system whereby, if the signal is of equal strength in the left and right channels, the resultant sound appears to come from between them.

phase shift - The highly undesirable process during which some frequencies (usually those below 100 Hz) are slowed down ever so slightly as they pass through a device. This is usually exaggerated by excessive use of equalization.

pitch - The subjective perception of sound. A bass guitar generates low pitches, while a flute generates high pitches.

plate (reverb) - A method to create artificial reverberation using a large steel plate with a speaker and several transducers attached directly to it.

pole - A term referring to the design of a filter circuit. Each filter pole adds 6 dB/octave of attenuation to the filter response, so while a single pole filter has a 6 dB/octave response, a 4-pole filter has a 24 dB/octave response.

predelay - A variable length of time before the onset of reverberation. Mixing engineers often use predelay to separate the source from the reverberation, so they can hear the source more clearly.

Prologic - Dolby's sophisticated algorithm that processes stereo material to reproduce 4- or 5-channel surround sound.

Pultec - An equalizer that Western Electric sold during the '50s and '60s that is highly prized today for its smooth sound.

punchy - A description for a quality of sound that infers good reproduction of dynamics with a strong impact. The term sometimes means emphasis in the 200 Hz and 5 kHz areas.

Q - Bandwidth of a filter or equalizer. (See also "bandwidth.")

ratio - A control on a compressor/limiter that determines how much compression or limiting will occur when the signal exceeds threshold.

range - On a gate or expander, a control that adjusts the amount of attenuation that will occur to the signal when the gate is closed.

recall - A system that memorizes the position of all controls and switches on a console. The engineer must still physically reset the pots and switches back to their previous positions as indicated on a video monitor.

release - The last part of a sound, or, on a compressor/limiter, this is a control that affects the way that device responds to the release of a sound.

return - Inputs on a recording console especially dedicated for effects devices such as reverbs and delays. The return inputs are usually not as sophisticated as normal channel inputs on a console.

reverb - A type of signal processor that reproduces that spatial sound of an environment (that is, the sound of a closet or locker room or inside an oil tanker).

SDDS - Sony Dynamic Digital Sound. This is Sony's digital delivery system for the cinema. The 7.1 system features five speakers across the front, stereo speakers on the sides and a subwoofer.

Selsync - Selective synchronization. This is the process of using the record head on a tape machine to do simultaneous playback of previously recorded tracks while recording. This process is now called overdubbing.

sibilance - A rise in the frequency response in a vocal in which the 5 kHz is excessive, resulting in an overemphasis in S sounds.

slate - A comment added to a tape or track to identify it. In the early days of tape, a 50 Hz slate tone was added before each take of a song to easily identify its beginning as the tape was rewinding.

sound - Audible vibrations of air pressure. For electronic sounds such as those produced by a synthesizer, loudspeakers are used to translate the electrical vibrations into the changes in air pressure that are perceived as sound.

Spatializer - A process developed by Spatializer Laboratories that uses psychoacoustic algorithms to give the listener the impression that he is immersed in sound.

SPL - Sound pressure level.

sub - Subwoofer.

subtractive synthesis - A method of creating tones using harmonically rich (bright) source material and then removing (or in some cases emphasizing) various frequency components to create the desired sound.

subwoofer - A low-frequency speaker that has a frequency response from about 25 Hz to 120 Hz.

synchronization - The condition by which two devices--usually storage devices such as tape machines, DAWs or sequencers--are locked together in respect to time.

synthesis - The generation of sound by electronic means, where programmer/performer has the ability to change the pitch, volume, timbre and articulation.

tape slap - A method to create a delay effect by using the repro head of a tape machine (which is located after the record head in the tape patch).

test tones - A set of tones used to calibrate a playback system. In the days of tape, they were added to a tape to help calibrate the playback machine.

threshold - The point at which an effect takes place, or, on a compressor/limiter, for instance, this is the control that adjusts the point at which compression will take place.

timbre - Pronounced "tamber," it refers to the quality of a sound by its overtones. An unprocessed sawtooth wave has a bright timbre, while a triangle wave has a mellow timbre.

track sharing - The condition by which a single track shares more than one instrument. For instance, this might happen when a percussion part is playing on a guitar solo track in the places where the guitar has not been recorded. This is usually used when the number of available tracks is limited.

tremolo - Technically a form of low frequency amplitude modulation, tremolo is a smooth audible pulsing of volume. In synthesizers, tremolo is produced when a 5-6 Hz LFO triangle or sine wave is applied to a voltage controlled amplifier.

TV mix - A mix without the vocals so that the artist can sing live to the back tracks during a television appearance.

unity gain - When the output level of a process or processor exactly matches its input level.

varispeed - A parameter on tape recorders that varies the speed of playback.

VCA - Voltage controlled amplifier. A VCA is an amplifier circuit where the gain is a function of the control voltage. In analog synthesizers, the VCA is often pared with the volume ADSR envelope generator to specify the articulation of sound.

VCF - Voltage controlled filter. A VCF is a filter circuit where the filter cutoff frequency is a function of the control voltage. A VCF is used to control the timbre of a sound. In analog synthesizers, the VCF is often paired with the filter ADSR envelope generator for dynamic control.

VCO - Voltage controlled oscillator. A VCO is an oscillator circuit where the oscillator frequency is a function of the control voltage. In analog synthesizer keyboard, the VCO is primarily controlled from the keyboard.

vibrato - Technically a very low frequency modulation, vibrato is a smooth, mild pitch warble. In synthesizers, vibrato is produced when a 5-6 Hz LFO triangle or sine wave signal is applied to a voltage controlled oscillator, causing the pitch to deviate slightly above and below the base frequency.

Vocal Stressor - A signal processor made by the now-defunct ADR company that combined a compressor, EQ and de-esser, all tuned in such a way as to make a vocal stand out in the mix.

waveform - The shape of an oscillator's vibration. This determines its timbre. Commonly used waveforms in subtractive synthesis are sawtooth, triangle, square or rectangular. Different waveforms have different timbres. A sawtooth has the greatest number of harmonics and sounds bright and buzzy. A square wave has only odd harmonics and sounds bright, but hollow, like a clarinet. A rectangular wave can vary in shape, but typically has a bright but thin sound, and a triangle wave's harmonics are so low in amplitude that it sounds muted and flute-like.

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