Translation glossary: Acoustics, Sound, Audio Engineering Glossary

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Kartik Isaac

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A circuit with no active elements.

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Passive Loudspeaker or Monitor

A loudspeaker which requires an external power amplifier, the signal from which is passed to a passive cross-over filter. This splits and filters the signal to feed the two (or more) drive units.

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An alternative term for a Program, referring to a single programmed sound within a synthesizer that can be called up using Program Change commands. MIDI effects units and samplers also have patches. (see also Bank)

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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. Also called a Jackfield.

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A short cable used with patch bays.

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Peripheral Component Interconnect: an internal computer bus format used to integrating hardware devices such as sound cards. The PCI Local Bus has superseded earlier internal bus systems such as ISA and VESA, and although still very common on contemporary motherboards has, itself, now been superseded by faster interfaces such as PCI-X and PCI Express.

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Pulse Code Modulation

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The maximum instantaneous level of a signal.

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Peak-Normalisation

The practice of removing all headroom to maximise the peak level of an audio signal on a particular medium. So all peak-normalised material will have the same maximum peak value, but the perceived loudness is likely to vary between different tracks. The technique became popular and commonplace with the advent of digital formats such as CD, where the signal level was typically engineered to reach 0dBFS. (See also Loudness-Normalisation, Mastering

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Peak-Normalisation

The practice of removing all headroom to maximise the peak level of an audio signal on a particular medium. So all peak-normalised material will have the same maximum peak value, but the perceived loudness is likely to vary between different tracks. The technique became popular and commonplace with the advent of digital formats such as CD, where the signal level was typically engineered to reach 0dBFS. (See also Loudness-Normalisation, Mastering

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Pre-Fade Listen. A system used within a mixing console to allow the operator to audition a selected signal, regardless of the position of the fader controlling that signal.

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A means of powering capacitor and electret microphones, as well as some dynamic microphones with built-in active impedance converters. Phantom power (P48) provides 48V (DC) to the microphone as a common-mode signal (both signal wires carry 48V while the cable screen carries the return current). The audio signal from the microphone is carried as a differential signal and the mic preamp ignores common-mode signals so doesn’t see the common-mode p

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A means of powering capacitor and electret microphones, as well as some dynamic microphones with built-in active impedance converters. Phantom power (P48) provides 48V (DC) to the microphone as a common-mode signal (both signal wires carry 48V while the cable screen carries the return current). The audio signal from the microphone is carried as a differential signal and the mic preamp ignores common-mode signals so doesn’t see the common-mode p

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The relative position of a point within a cyclical signal, expressed in degrees where 360 degrees corresponds to one full cycle. (Also see Polarity)

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An effect which combines a signal with a phase-shifted version of itself to produce creative comb-filtering effects. Most phasers are controlled by means of an LFO.

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Phono plug (RCA-phono)

An audio connector developed by RCA and used extensively on hi-fi and semi-pro, unbalanced audio equipment. Also used for the electrical form of S/PDIF digital signals, and occasionally for video signals.

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The part of a guitar that converts the string vibrations to electrical signals. Also the stylus/cartridge assembly used to replay vinyl records.

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A random signal with a power spectral density which is inversely proportional to the frequency. Each octave carries an equal amount of noise power. Pink noise sounds natural, and resembles the sound of a waterfall. (cf. White Noise)

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The musical interpretation of an audio frequency.

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A special control message specifically designed to produce a change in pitch in response to the movement of a pitch bend wheel or lever. Pitch bend data can be recorded and edited, just like any other MIDI controller data, even though it isn\'t part of the Controller message group.

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A device for changing the pitch of an audio signal without changing its duration.

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A self-contained software signal processor, such as an Equaliser or Compressor, which can be ‘inserted’ into the notional signal path of a DAW. Plug-ins are available in a myriad of different forms and functions, and produced by the DAW manufacturers or third-party developers. Most plug-ins run natively on the computer’s processor, but some require bespoke DSP hardware. The VST format is the most common cross-platform plug-in format, althou

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A self-contained software signal processor, such as an Equaliser or Compressor, which can be ‘inserted’ into the notional signal path of a DAW. Plug-ins are available in a myriad of different forms and functions, and produced by the DAW manufacturers or third-party developers. Most plug-ins run natively on the computer’s processor, but some require bespoke DSP hardware. The VST format is the most common cross-platform plug-in format, althou

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Consumer recorders, such as MP3 recorders, are often equipped with a microphone powering system called ‘Plug-In Power’. This operates with a much lower voltage (typically 1.5V) and is not compatible with phantom powered mics at all.

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The directional characteristic of a microphone (omni, cardioid, figure-eight, etc).

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This refers to a signal\'s voltage above or below the median line. Inverting the polarity of a signal swaps the positive voltage to negative voltage and vice versa. This condition is often referred to (incorrectly) as \'out-of-phase\'.

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The most common MIDI mode that allows and instrument to respond to multiple simultaneous notes transmitted on a single MIDI channel.

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A synthesizer that can play more than one note at a time (eg. eight or sixteen notes), each with an independent signal chain of oscillators, filters, and envelope generators.

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The ability of an instrument to play two or more notes simultaneously. An instrument which can only play one note at a time is described as monophonic.

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A device placed between a sound source and a microphone to trap wind blasts

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A connection for the input or output of data.

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A gliding effect that allows a sound to change pitch at a gradual rate, rather than abruptly, when a new key is pressed or MIDI note sent.

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A signal derived from the channel path of a mixer after the channel fader. A post-fade aux send level follows any channel fader changes. Normally used for feeding effects devices.

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Post-production

Work done to a recording.

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Potentiometer (Pot)

A form of electrical potential divider in which the ratio of the upper and lower resistances can be changed either with a rotary control or slider (eg. a fader).

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Power Amplifier

A device which accepts a standard line-level input signal and amplifies it to a condition in which it can drive a loudspeaker drive unit. The strength of amplification is denoted in terms of Watts of power.

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A unit designed to convert mains electricity to the DC voltages necessary to power an electronic circuit or device.

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Powered Loudspeaker or Monitor

A powered speaker is a conventional passive loudspeaker but with a single power amplifier built in or integrated with the cabinet in some way. The amplifier drives a passive crossover, the outputs of which connect to the appropriate drive units.

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Peak Programme Meter. A meter designed to register the approximate peak amplitude of a signal, rather than the average level indicated by, for example, a VU meter. However, PPMs have a defined integration time (typically 10ms) which means that they actually under-read on the fastest transient peaks. (cf. VU Meter)

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Pulsed Per Quarter Note. Used in the context of MIDI Clock derived sync signals.

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Process for adding Pause, Cue and other subcode information to a digital master tape in preparation for CD manufacture.

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Short for ‘pre-amplification’ : an active gain stage used to raise the signal level of a source to a nominal line level. For example, a microphone pre-amp.

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A system for applying high frequency boost to a sound before processing. When the corresponding de-emphasis is applied any noise contribution from the processing is reduced.

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A signal derived from the channel path of a mixer before the channel fader. A pret-fade aux send level is unaffected by channel fader changes. Normally used for creating Foldback or Cue mixes.

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An effects unit or synth patch that cannot be altered by the user.

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An alternative term for Aftertouch.

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The undesirable process that causes some magnetic information from a recorded analogue tape to become imprinted onto an adjacent layer. This can produce low level pre or post echoes.

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A device designed to treat an audio signal by changing its dynamics or frequency content. Examples of processors include compressors, gates and equalisers.

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A MIDI message designed to change instrument or effects unit patches.

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A relatively small recording studio facility, often with a combined recording space and control room.

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