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The time delay experienced between a sound or control signal being generated and it being auditioned or taking effect, measured in seconds.
The distance along the length of a cable over which the twisted core wires complete one complete turn. Shorter lay lengths provide better rejection of electromagnetic interference, but make the cable less flexible and more expensive.
Liquid Crystal Display.
Light Emitting Diode. A form of solid state lamp.
Low Frequency Oscillator, often found in synths or effects using modulation.
see ADAT Lightpipe.
An automatic gain-control device used to restrict the dynamic range of an audio signal. A Limiter is a form of compressor optimised to control brief, high level transients with a ratio greater than 10:1.
A nominal signal level which is around -10dBV for semi-pro equipment and +4dBu for professional equipment.
A device where the output is a direct multiple of the input with no unwanted distortions.
An electrical load is a circuit that draws power from another circuit or power supply. The term also describes reading data into a computer system.
A function to allow the keyboard and sound generating section of a keyboard synthesizer to be used independently of each other.
A type of electronic circuitry used for processing binary signals comprising two discrete voltage levels.
A number of separate cables bound together for neatness and convenience.
The practice of trying to make each new commercial music release sound subjectively louder than any previous release, on the misguided notion that louder is more exciting and results in more sales. A relationship between the average loudness of 45rpm singles and sales was noticed in America from jukebox plays, and that led to the first loudness war. However, the advent of the CD really ramped up the situation, with music becoming ever-more dynamically compressed to squeeze the average level higher and higher towards the 0dBFS peak level. This desctructive trend is, thankfully, now being slowly reversed with the ubiquity of loudness normalisation adopted by most online audio streaming services and broadcasters.
The practice of matching the perceived loudness of different material to a given target loudness value. To accommodate varying peak levels, the medium requires an approporiate headroom margin. Loudness-normalisation is now the default form for HDTV broadcasts, as well as most audio streaming services, although the target loudness level currently varies between different platforms. Loudness-normalisation is measured using the LUFS or LKFS scale. (See LUFS, Peak-Normalisation, Mastering, Loudness Wars).
The lower portion of the audible frequency spectrum, typically denoting frequencies below about 1kHz
Least Significant Byte. If a piece of data has to be conveyed as two bytes, one byte represents high value numbers and the other low value numbers, much in the same way as tens and units function in the decimal system. The high value, or most significant part of the message is called the Most Significant Byte or MSB.
The standard measurement of loudness, as used on Loudness Meters corresponding to the ITU-TR BS1770 specification. the acronym stands for 'Loudness Units (relative to) Full Scale. Earlier versions of the specification used LKFS instead, and this label remains in use in America. The K refers to the 'K-Weighting' filter used in the signal measurement process. (See this article on the loudness metering concept.)