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See “Auxiliary Return.”
1) Short for “Reverberation.” (See “Reverberation.”) 2) A signal processor or plug-in that creates artificial reverb to a signal.
The time it takes for the reverberation or echoes of a sound source to die out after the direct sound has stopped. Specifically, the reverb time is measured between the point at which the sound source stops and the point at which the reverberation levels fall by 60 dB.
Describes the space that is far enough from the sound source that the reverberations are louder than the direct sound.
The persistence of a sound after the source stops emitting it, caused by many discrete echoes arriving at the ear so closely spaced in time that the ear cannot separate them.
A device built to simulate room reflections.
The attack, decay, sustain and release of the reverberation volume; or how fast the reverberation reaches peak level and its rate of decay.
The unwanted noise introduced into electronics, circuits and/or audio systems by the presence of RF signals. RF interference in a system can result in humming, buzzing, static or even the reproduction of radio transmissions.
Short for Radio Frequency Signals, electromagnetic waves that carry wireless radio and television signals. The vast majority of RF signals exist at frequencies higher than 100 kHz.
The musical instruments in a band or ensemble that are responsible for playing rhythmic parts rather than melody parts. In contemporary music, rhythm sections typically consist of drums and bass, along with some combination of percussion, piano/keyboard and/or guitars.
The recording of the rhythm instruments in a music production.
A microphone that converts sound waves to electrical current via a thin conductive ribbon set between magnetic poles. Ribbon microphones are almost always responsive to sound on both sides of the ribbon, creating a bi-directional or figure-8 pattern.
A short melody repeatedly played in a tune often with variation between vocal lines.
The process of identifying and compensating for problem frequencies within a room for the purpose of optimizing live audio within that space. This is typically done by sending pink noise through the speakers, turning up the microphones to the point of feedback, and using EQ to notch out the offending frequencies.
The rate at which an audio waveform makes a sudden increase to a higher amplitude.
