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A control which adjusts the level (gain or attenuation) of an incoming signal to a channel or grouping of channels on a console.
The region away from a loudspeaker at which the sound drops 6dB for each doubling of the distance, up to the critical distance. The beginning of the far field varies according to the size of the speaker, but in most cases the far field begins around 3 feet from the sound source. Audio engineers often use both near field and far field monitoring when fine-tuning a mix. (See also “Critical Distance,” “Near Field.”)
To send an audio or control signal to.
The return of a portion of the output signal back into the input of a system. This can be done in a controlled manner through a feedback circuit to alter the sound of an instrument (most commonly electric guitars or analog synths). It can also describe the unwanted feedback loop created when an open microphone is picking up the sound from a nearby speaker, generating a loud, oscillating frequency that increases in intensity until the feedback loop is broken by turning off the mic or speaker, or by use of an equalizer to attenuate the frequency.
The control on a delay line or delay effects device that controls the amount of feedback into the system.
See “Bi-Directional Pattern.”
A device that removes or attenuates signals with frequencies above or below the specified cutoff frequency.
An audio effect caused by blending the signal with a copy of that signal at a slight time delay, then modifying the delayed copy, creating a “swirling” sound. This was originally accomplished in analog tape recording by playing the original tape and the copy on two tape machines simultaneously, then physically pressing on the flange of one of the machines to alter the timing of the duplicate track. These days, most flanging is done through delay boxes or digital plug-ins.
1) A term used to describe an even frequency response in a device or speaker, meaning that the device/speaker treats all frequencies the same without the need for EQ. When displayed graphically, the frequency response is shown as a “flat” line with no peaks or valleys. 2) In music, describes a note or pitch that is out of tune, sounding at a slightly lower frequency than it should. 3) In music notation, an “accidental” mark that instructs the player to play/sing the note one-half step lower.
Also known as “Equal Loudness Contours,” a set of graphical curves plotted to illustrate how the human ear responds to different frequencies at different volume levels. Named after the two researchers who first plotted the curves. (See also “Equal Loudness Contours.”)
A connection “workaround” in which an unbalanced output is connected to a balanced input by modifying the connections in the line to resemble a balanced line, alleviating unwanted hum or buzz.
To add sounds into a mix or recording that have no synchronization.
See “Front-of-House.”
A stage monitoring system used in live audio. A set of on-stage speakers called monitors or wedges (or “foldback speakers” in British countries) are fed a special mix of audio signals for the onstage performers to hear in order to play. This mix is usually different from the FOH (front-of-house) mix that the audience hears, and is sometimes controlled by a second engineer through amplifiers and speakers separate from the main sound system. This type of stage monitoring is frequently susceptible to feedback from the microphones, and in certain venues can cause unwanted reflective noise that makes it difficult for FOH engineers to create a good mix for the audience. For this reason, many live audio systems now use in-ear monitoring as an alternative to stage monitors to control the onstage noise and reduce the risk of feedback.
An effects device controlled by a musician with his foot.
