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adiabatic
Literally, it means "not to pass through." In describing the high-density foam used inside the HR824s, it means that internal reflections within the cabinet are absorbed by the foam. In physical terms, it means the mechanical energy of the sound wave is converted into heat energy.

AFL
An acronym for After Fade Listen, which is another way of saying post-fader solo function.

assign
In sound mixers, assign means to switch or route a signal to a particular signal path or combination of signal paths.

attenuate
To reduce or make quieter.

aux
See auxiliary.

auxiliary
In sound mixers, supplemental equipment or features that provide additional capabilities to the basic system. Examples of auxiliary equipment include: serial processors (equalizers, compressors, limiters, gates) and parallel processors (reverberation and delay). Most mixers have aux send buses and aux return inputs to accommodate auxiliary equipment. Aux Send and Returns are usually only used with parallel processors.



balanced
In a classic balanced audio circuit, the two legs of the circuit (+ and - ) are isolated from the circuit ground by exactly the same impedance. Additionally, each leg may carry the signal at exactly the same level but with opposite polarity with respect to ground. In some balanced circuits, only one leg actually carries the signal but both legs exhibit the same impedance characteristics with respect to ground. Balanced input circuits can offer excellent rejection of common-mode noise induced into the line and also make proper (no ground loops) system grounding easier. Usually terminated with 1/4" TRS or XLR connectors.

bandwidth
The band of frequencies that pass through a device with a loss of less than 3dB, expressed in Hertz or in musical octaves. Also see Q.

bus
An electrical connection common to three or more circuits. In mixer design, a bus usually carries signals from a number of inputs to a mixing amplifier, just like a city bus carries people from a number of neighborhoods to their jobs.



Cannon
A manufacturer of electrical connectors who first popularized the three-pin connector now used universally for balanced microphone connections. In sound work, a Cannon connector is taken to mean a Cannon XLR-3 mic connector or any compatible connector.

cardioid
Means heart-shaped. In sound work, cardioid refers to the shape of the sensitivity pattern of some directional microphones.

channel
A functional path in an audio circuit: an input channel, an output channel, a recording channel, the left channel and so on.

channel strip
The physical representation of an audio channel on the front panel of a mixer; usually a long, vertical strip of controls.

chorusing
An effect available in some digital delay effects units and reverbs. Chorusing involves a number of moving delays and pitch shifting, usually panned across a stereo field. Depending on how used, it can be lovely or grotesque.

clipping
A cause of severe audio distortion that is the result of excessive gain requiring the peaks of the audio signal to rise above the capabilities of the amplifier circuit. Seen on an oscilloscope, the audio peaks appear clipped off. To avoid distortion, reduce the system gain in or before the gain stage in which the clipping occurs. See also headroom.

condenser
Another term for the electronic component generally known as a capacitor. In audio, condenser usually refers to a type of microphone that uses a capacitor as the sound pickup element. Condenser microphones require electrical power to run internal amplifiers and maintain an electrical charge on the capacitor. They are typically powered by internal batteries or "phantom power" supplied by an external source, such as a mixing console.

console
A term for a sound mixer, usually a large desk-like mixer.

crest factor

The ratio of the peak value to the RMS value. Musical signals can have peaks many times higher than the RMS value. The larger the transient peaks, the larger the crest factor.

cueing
In broadcast, stage and post-production work, to "cue up" a sound source (a record, a sound effect on a CD, a song on a tape) means to get it ready for playback by making sure you are in the right position on the "cue," making sure the level and EQ are all set properly. This requires a special monitoring circuit that only the mixing engineer hears. It does not go out on the air or to the main mixing buses. This "cueing" circuit is the same as pre-fader (PFL) solo on a Mackie mixer, and often the terms are interchangeable.



damping
Damping factor is a number that represents the ratio of the impedance of the load to the output impedance of the amplifier. In practical terms, it is a measure of how well the amplifier can control the movement of a speaker's cone. The greater the damping factor, the better its ability to control the cone's movement. A low damping factor (high amplifier output impedance) allows a woofer to continue to move after the signal stops, resulting in an indistinct and mushy low frequency response. A high damping factor (200 or above) provides excellent control over low frequency woofers and produces a tight, clean bass.

dB
See decibel.

dBA
Sound Pressure Level (SPL) measured with an "A" weighting filter.

dBm
A unit of measurement of audio signal level in an electrical circuit, expressed in decibels referenced to 1 milliwatt. The "m" in dBm stands for "milliwatt." In a circuit with an impedance of 600 ohms, this reference (0dBm) corresponds to a signal voltage of 0.775 VRMS (because 0.775 V across 600 ohms equals 1mw).

dBu
A unit of measurement of audio signal level in an electrical circuit, expressed in decibels referenced to 0.775 VRMS into any impedance. Commonly used to describe signal levels within a modern audio system.

dBv
A unit of measurement equal to the dBu but no longer in use. It was too easy to confuse a dBv with a dBV, to which it is not equivalent.

dBV
A unit of measurement of audio signal level in an electrical circuit, expressed in decibels referenced to 1 VRMS across any impedance. Commonly used to describe signal levels in consumer equipment. To convert dBV to dBu, add 2.2dB.

decibel (dB)
The dB is a ratio of quantities measured in similar terms using a logarithmic scale. Many audio system parameters measure over such a large range of values that the dB is used to simplify the numbers. A ratio of 1000V:1V=60dB. When one of the terms in the ratio is an agreed upon standard value such as 0.775V, 1V or 1mw, the ratio becomes an absolute value, i.e., +4dBu, -10dBV or 0dBm.

delay
In sound work, delay usually refers to an electronic circuit or effects unit whose purpose it is to delay the audio signal for some short period of time. Delay can refer to one short repeat, a series of repeats or the complex interactions of delay used in chorusing or reverb. When delayed signals are mixed back with the original sound, a great number of audio effects can be generated, including phasing and flanging, doubling, Haas-effect positioning, slap or slapback, echo, regenerative echo, chorusing and hall-like reverberation. Signal time delay is central to many audio effects units.

detent
A point of slight physical resistance (a click-stop) in the travel of a knob or slide control, used in Mackie mixers to indicate unity gain.

diffraction
The bending of sound waves around an obstacle (Huygens Principle). The longer the wavelength in comparison to the obstacle, the more the wave will diffract around it.

dipping
The opposite of peaking, of course. A dip is an EQ curve that looks like a valley, or a dip. Dipping with an equalizer reduces a band of frequencies. See guacamole.

doubling
A delay effect, where the original signal is mixed with a medium (20 to 50 msec) delay. When used carefully, this effect can simulate double-tracking (recording a voice or instrument twice).

dry
Usually means without reverberation, or without some other applied effect like delay or chorusing. Dry is not wet, i.e. totally unaffected.

duty cycle
The ratio of pulse width to total cycle time.

dynamic
In sound work, dynamic refers to the class of microphones that generate electrical signals by the movement of a coil in a magnetic field. Dynamic microphones are rugged, relatively inexpensive, capable of very good performance and do not require external power.

dynamic range
The range between the maximum and minimum sound levels that a sound system can handle. It is usually expressed in decibels as the difference between the level at peak clipping and the level of the noise floor.



echo
The reflection of sound from a surface such as a wall or a floor. Reverberation and echo are terms that can be used interchangeably, but in audio parlance a distinction is usually made: echo is considered to be a distinct, recognizable repetition (or series of repetitions) of a word, note, phrase or sound, whereas reverberation is a diffuse, continuously smooth decay of sound. Echo and reverberation can be added in sound mixing by sending the original sound to an electronic (or electronic/acoustic) system that mimics natural echoes, and then some. The added echo is returned to the blend through additional mixer inputs. Highly echoic rooms are called live; rooms with very little echo are called dead. A sound source without added echo is dry; one with reverb or echo added is wet.

effects devices
External signal processors used to add reverb, delay, spatial or psychoacoustic effects to an audio signal. An effects processor may be used as an insert processor (serial) on a particular input or subgroup, or it may be used via the aux send/return system(parallel). See also echo, reverb.

EIN
Equivalent Input Noise. Specification that helps measure the "quietness" of a gain stage by deriving the equivalent input noise voltage necessary to obtain a given preamp's output noise. Typically ranges from -125 to -129.5 dBm.

EMI
Electro Magnetic Interference. This refers to current induced into the signal path as a result of an external magnetic field. In audio systems, this is usually manifested as a 60Hz or 120Hz hum or buzz (50Hz or 100Hz in 50Hz systems). The source of this noise can be from a ground loop or from the signal wire coming too close to a strong magnetic field such as a transformer or high-current linecord.

EQ
See equalization.

EQ curve
A graph of the response of an equalizer, with frequency on the x (horizontal) axis and amplitude (level) on the y (vertical) axis. Equalizer types and effects are often named after the shape of the graphed response curve, such as peak, dip, shelf, notch, knee and so on.

equalization
Equalization (EQ) refers to purposefully changing the frequency response of a circuit, sometimes to correct for previous unequal response (hence the term, equalization), and more often to add or subtract level at certain frequencies for sound enhancement, to remove extraneous sounds, or to create completely new and different sounds.
Bass and treble controls on your stereo are EQ; so are the units called parametrics and graphics and notch filters.
A lot of how we refer to equalization has to do with what a graph of the frequency response would look like. A flat response (no EQ) is a straight line; a peak looks like a hill, a dip is a valley, a notch is a really skinny valley, and a shelf looks like a plateau (or a shelf). The slope is the grade of the hill on the graph.
Graphic equalizers have enough frequency slider controls to form a graph of the EQ right on the front panel. Parametric EQs let you vary several EQ parameters at once. A filter is simply a form of equalizer that allows certain frequencies through unmolested while reducing or eliminating other frequencies.
Aside from the level controls, EQs are probably the second most powerful controls on any mixer (no, the power switch doesn't count!).



fader
Another name for an audio level control. Today, the term refers to a straight-line slide control rather than a rotary control.

family of curves
A composite graph showing on one chart several examples of possible EQ curves for a given equalizer or equalizer section.

filter
A simple equalizer designed to remove certain ranges of frequencies. A low-cut filter (also called a high-pass filter) reduces or eliminates frequencies below its cutoff frequency. There are also high-cut (low-pass) filters, bandpass filters, which cut both high and low frequencies but leave a band of frequencies in the middle untouched, and notch filters, which remove a narrow band but leave the high and low frequencies alone.

flanging
A term for phasing. Before digital delay effects units, phasing could be accomplished by playing two tape machines in synchronization, then delaying one slightly by rubbing a finger on the reel flange. Get it?

FOH
An acronym for Front Of House. See house and main house speakers.

frequency
The number of times an event repeats itself in a given period. Sound waves and the electrical signals that represent sound waves in an audio circuit have repetitive patterns that range from a frequency of about 20 repetitions per second to about 20,000 repetitions per second. Sound is the vibration or combination of vibrations in this range of 20 to 20,000 repetitions per second, which gives us the sensation of pitch, harmonics, tone and overtones. Frequency is measured in units called Hertz (Hz). One Hertz is one repetition or cycle per second.



gain
The measure of how much a circuit amplifies a signal. Gain may be stated as a ratio of input to output values, such as a voltage gain of 4, or a power gain of 1.5, or it can be expressed in decibels, such as a line amplifier with a gain of 10dB.

guacamole
Just kidding, dip.

gain stage
An amplification point in a signal path, either within a system or a single device. Overall system gain is distributed between the various gain stages.

graphic EQ
A graphic equalizer uses slide pots for its boost/cut controls, with its frequencies evenly spaced through the audio spectrum. In a perfect world, a line drawn through the centers of the control shafts would form a graph of the frequency response curve. Get it? Or, the positions of the slide pots give a graphic representation of boost or cut levels across the frequency spectrum.

ground
Also called earth. Ground is defined as the point of zero voltage in a circuit or system, the reference point from which all other voltages are measured. In electrical systems, ground connections are used for safety purposes, to keep equipment chassis and controls at zero voltage and to provide a safe path for errant currents. This is called a safety ground.
Maintaining a good safety ground is always essential to prevent electrical shock. Follow manufacturer's suggestions and good electrical practices to ensure a safely grounded system. Never remove or disable the grounding pin on the power cord.
In computer and audio equipment, tiny currents and voltages can cause noise in the circuits and hamper operation. In addition to providing safety, ground provisions in these situations serve to minimize the pickup, detection and distribution of these tiny noise signals. This type of ground is often called technical ground.
Quality audio equipment is designed to maintain a good technical ground and also operate safely with a good safety ground. If you have noise in your system due to technical grounding problems, check your manual for wiring tips or call technical support. Never disable the safety ground to reduce noise problems.

ground loop
A ground loop occurs when the technical ground within an audio system is connected to the safety ground at more than one place. Two or more connections will allow tiny currents to flow in the loops created, possibly inducing noise (hum) in the audio system. If you have noise in your system due to ground loops, check your manual for wiring tips or call technical support. Never disable the safety ground to reduce noise problems.



Haas effect
A psychoacoustic effect in which the time of arrival of a sound to the left and right ears affects our perception of direction. If a signal is presented to both ears at the same time at the same volume, it appears to be directly in front of us. But if the signal to one ear, still at the same volume, is delayed slightly (0 to 5 msec), the sound appears to be coming from the earlier (non-delayed) side.

headroom
The difference between nominal operating level and peak clipping in an audio system. For example, a mixer operating with a nominal line level of +4dBu and a maximum output level of +22dBu has 18dB of headroom. Plenty of room for surprise peaks.

Hertz
The unit of measure for frequency of oscillation, equal to 1 cycle per second. Abbreviated Hz. KHz is pronounced "kay-Hertz" and is an abbreviation for kilohertz, or 1000 Hertz.

house
In Sound Reinforcement parlance, "house" refers to the systems (and even persons) responsible for the primary sound reinforcement in a given hall, building, arena or "house." Hence we have the house mixer or house engineer, the house mix, the house mix amps, the main house speakers and so on.

Hz
See Hertz.



impedance
The A.C. resistance/capacitance/inductance in an electrical circuit, measured in ohms. In audio circuits (and other AC circuits) the impedance in ohms can often be much different from the circuit resistance as measured by a DC ohmmeter.
Maintaining proper circuit impedance relationships is important to avoid distortion and minimize added noise. Mackie input and output impedances are set to work well with the vast majority of audio equipment.

input module
A holdover from the days when the only way that real consoles were built was in modular fashion, one channel per module. See channel strip.





knee
A knee is a sharp bend in an EQ response curve not unlike the sharp bend in your leg. Also used in describing dynamics processors.



level
Another word for signal voltage, power, strength or volume. Audio signals are sometimes classified according to their level. Commonly used levels are: microphone level (-40dBu or lower), instrument level (-20 to -10dBu), and line level (-10 to +30dBu).

line level
A signal whose level falls between -10dBu and +30dBu.
 

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