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Also called Slapback) A single, distinct echo of a sound, which can result naturally from higher frequencies reflecting off a non-absorbent wall, or artificially reproduced by a signal processing unit or plugin. Slap echo creates a “live” sounding effect similar to what you would hear in an arena.
1) In video/film, the identification of a scene and take at the beginning of the clip for the purpose of video editing. This is done by presenting the scene/take in written form in front of the camera on a clapboard, calling the scene/take verbally, then marking it audibly with the clapper for the purpose of syncing audio to the video. 2) In audio recording, the similar practice of identifying a take of music by an audible cue at the beginning of the recorded track. While some engineers still practice this, it was more necessary in the days of analog tape recording because it helped editors keep track of the location of takes on the recorder. Today, DAWs make it easier to keep track by identifying each take visually on the screen.
1) In audio, any device which syncs to another device by reading the clock information emitted by the master device. 2) In MIDI, any device or instrument that is being operated remotely by MIDI information sent from another device.
An updated form of Frequency-Shift Key (FSK) sync that enables MIDI devices to sync to analog tape recorders and/or other recording devices. A digital signal with MIDI Song Position Pointer (SPP) data is encoded onto a spare track, which identifies the exact bar, measure and beat for MIDI sequencers/devices at any point in the recording. This enables the device to start playing at exactly the right place and tempo no matter where you start the tape. (See also “Frequency-Shift Key.”)
1) Abbreviation for Society of Motion Picture and Television Engineers. 2) See “SMPTE Time Code.”
(Abbreviated “SMPTE“) A standardized timing and sync signal protocol created by the Society of Motion Picture and Television Engineers for the purpose of syncing audio to video/film, which can also be used for syncing purposes in audio recording environments. Many audio professionals simply refer to this time code as “SMPTE.”
1) Abbreviation for “snare drum.” 2) The metal strands stretched across the bottom head of a snare drum, which help produce the piercing “cracking” sound when the snare drum is struck.
A rarely used alternate term for “hi-hat,” left over from the days when hi-hat cymbals were placed at “sock level.” (See also “Hi-Hat.”)
In compression, refers to the gradual introduction of compression of the signal once the sound level crosses the threshold. (See also “Knee.”)
See “Virtual Instrument.”
The action of making connections with solder, a soft metal alloy that is used to bond two metal surfaces by melting. In audio settings, soldering is used for a variety of purposes in building, modifying or repairing gear—perhaps most often to repair or build audio cables as a cost-saving effort, as opposed to buying new ones or sending them off for repair.
In electronics, refers to the use of transistors and semiconductors (solid materials) in the building of electronic devices, as opposed to tubes. In the recording studio, solid state amplifiers have different properties than tube amps, and each has its own advantages and disadvantages. A more recent application of solid state construction is in computer devices, particularly solid state hard drives (SSD), which transfer data more quickly than conventional spinning disc drives, and are less prone to breakage.
1) A circuit in a console or DAW that allows one or more selected channels to be heard or to reach the output, while other channels are automatically muted. 2) In music, a segment of a song in which a vocalist or instrument is featured above other instruments.
A switch that activates the solo function on a console or DAW.
A MIDI message that enables connected MIDI devices to locate a given point in the song. Used in conjunction with MIDI clock as a way of synchronizing devices or telling a connected device when to begin playing.