SOUND ON SOUND
A means of moving notes recorded in a MIDI sequencer so that they line up with user defined subdivisions of a musical bar, for example, 16s. The facility may be used to correct timing errors, but over-quantization can remove the human feel from a performance.
Part of the process of digitising an analogue signal. Quantisation is the process of describing or measuring the amplitude of the analogue signal captured in each sample, and is defined by the wordlength used to describe the audio signal - eg. 16 bits.
Q is short for the ‘quality-factor’ of a filter, which defines its bandwidth in relation to its centre frequency and indicates a filter’s resonant properties. The higher the Q the more resonant the filter, and the narrower the range of frequencies that are allowed to pass. A Q of 1 is equivalent to bandwidth of 1.38 octaves, while a Q of 6 is equivalent to a bandwidth of just 0.25 octaves, and a Q of 0.4 is equivalent to a bandwidth of 3 octaves.
A form of audio compressor which uses Pulse Width Modulation to detedmine the energy in the audio signal over time. In essence, the audio signal is sampled at a very high rate, but the duration (width) of the samples (pulses) is adjusted (modulated) to control the average energy over time, and thus provide signal attenuation. When done well, this is the fastest form of compressor with the lowest distortion artefacts.
The action of switching a tape machine (or other recording device), out of record after executing a punch-in. With most multitrack machines, both punching in and punching out can be accomplished without stopping the tape.
The action of placing an already recorded track into record at the correct time during playback, so that the existing material may be extended or replaced.
A means of modulating the duty cycle (mark/space ratio) of a pulse wave. This changes the timbre of the basic tone; LFO modulation of pulse width can be used to produce a pseudo-chorus effect.
Similar to a square wave but non-symmetrical. Pulse waves sound brighter and thinner than square waves, making them useful in the synthesis of reed instruments. The timbre changes according to the mark/space ratio of the waveform.
Also known as ‘Bass tip-up’. The proximity effect dramatically increases a microphone’s sensitivity to low frequencies when placed very close to a sound source. It only affects directional microphones — omnidirectional microphones are immune, and the effect can be nullified on a cardioid mic if the close source is placed 90 degrees off-axis.
