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In film and video, audio that is recorded separately from the visual that may be added to the audio track later, and does not need to be synchronized with the picture.
A device that is played like a wind instrument to control a synthesizer, module or virtual instrument via MIDI signals, as opposed to a keyboard controller.
A covering that fits over a microphone to reduce the excessive noise resulting from wind blowing into the mic. Typically used for recording in outdoor locations.
A microphone that transmits its signal over an FM frequency to a receiver offstage, rather than traveling over an audio cable.
A speaker that is designed to reproduce bass frequencies only.
A mode of operation in an automated console where the engineer is in control of channel gain and the computer is recording the gain changes over time.
A balanced microphone cable utilizing XLR connectors. (See also “XLR Connector.”)
A balanced cable connector consisting of 3 or 7 pins, most commonly used in microphone cables.
A coincident stereo microphone placement technique in which two cardioid microphones are placed with their heads toward each other at a 90-degree angle, and as close together as possible. (See also “Coincident Miking.”)
A cable with three connectors so that one output may be sent to two inputs. Basically, a signal splitter done with spliced wires rather than components.
In analog tape recording, refers to the tilt of the tape head in the direction perpendicular to the tape travel.
Refers to the mathematical expression of the signal processing done by a conventional digital-to-analog converter (DAC).