A device or software that can record and play back MIDI data, controlling the performance of MIDI musical instruments or devices in a series of timed steps. MIDI sequencers can exist on board MIDI controllers, keyboards or workstations, as standalone devices, or as computer software.
A port that puts out a MIDI signal that is the same as the incoming MIDI signal, effectively relaying the signal to another device without altering or changing it. (Many MIDI devices have three MIDI ports: In, Out and Thru.)
A unit with one MIDI In Port and several MIDI Thru Ports to relay the MIDI signal to multiple devices. MIDI users often prefer this as an alternative to “daisy chaining” devices, which can cause slight delays in the MIDI signal.
The translation of the information in SMPTE time code into MIDI data, enabling MIDI sequencers and connected devices to sync with SMTPE code (usually in relation to video). (See also “SMPTE Time Code.”)
Abbreviation for “mid-range frequencies,” the audio frequencies from about 250 Hz through 6000 Hz. Meant in the context of “highs, mids and lows” in an audio signal.
1) The blending of audio signals together into one composite signal.
2) Can also refer to the blending of a portion of an effected audio signal back into the direct signal.
The processes of creating a final mix by combining multiple audio tracks into a single track (or two-channel stereo track) prior to the mastering stage. This can include the traditional method of mixing the multiple channels of analog tape into a two-track master, or the more modern method of creating a digital mixdown using a DAW (which is often referred to as “rendering”).
Refers to any process in which a parameter of one signal is systematically affected by the introduction of another signal. In audio, this results in a change in the sound.
Noise that is present only when the audio signal is present.
A self-contained group of circuits and controls. In the recording studio, modules are often contained in interchangeable housing for installation on rack mounts, and can include amplifiers, equalizers, effects processors and sound modules (MIDI instruments to be activated by an external controller). In the digital space, plug-ins, software synths, samplers and plug-ins are also described as modules.
(Abbreviated “Mono”) Describing an audio signal coming through a single, as opposed to stereo, which is two channels. (See also “Monophonic.”)
1) To listen to the music for the purpose of checking quality or avoiding peaks. 2) A speaker in the studio (usually one of a pair) that is used to listen to the audio signals. This can include studio monitors in the control room for listening to the mix, and headphones in the booths or live room for the performers to hear a mix of the tracks while they are performing.
A mix of the live and/or recorded audio signals that is fed to the musicians so the can hear the music while performing, whether live onstage or in the studio. Monitor mixes are on a separate signal path from the main mix (often controlled by a separate, smaller console) and do not affect the FOH mix (in live audio) or the signal going into the multitrack recorder/DAW. In live performance settings, the monitor mix is often controlled by a separate audio engineer running a separate sound board.
A signal path separate from the channel path that allows the engineer to listen to what is being recorded without affecting the signal being fed to the multitrack recorder or DAW. (See also “Channel Path.”)
The section of the console that is used to create a rough mix so the engineer can hear what is being recorded without effecting the levels being fed to the multitrack recorder or DAW.
