The process of creating a new sound by filtering and shaping a raw, harmonically complex waveform.

See Group

Hidden data within the CD and DAT format that includes such information as the absolute time location, number of tracks, total running time and so on.

Frequencies below the range of typical monitor loudspeakers. Some define sub-bass as frequencies that can be felt rather than heard.

The practice of recording a time code signal onto one track of a multitrack tape machine to facilitate subsequent synchronisation.

A problem affecting some brands of analogue tape after a long time in storage. A breakdown of the binder causes the oxide to shed, and the tape tends to adhere to the tape heads and guides when played. A short term cure can be affected by baking the affected tape.

The angle over which sound sources can be captured by a microphone array. For a stereo array with a stereo recording angle of 90 degrees, sound sources can be placed ±45 degree relative to the array’s centre front axis, with a source at the extreme angle appearing fully left or right in the stereo image.

By convention, two channels of related audio which can create the impression of separate sound source positions when auditioned on a pair of loudspeakers or headphones.

A system for programming a sequencer in non-real time.

When mixing complex audio material it is often useful to divide the tracks into related sections and mix those sections separately before combining the whole. In mixing film soundtracks, the material would often be grouped as a dialogue stem, a music stem, and an effects stem. Each stem might be mono, stereo or multichannel, as appropriate to the situation. In music mixing, stems might be used for the rhythm section, backline instruments, frontline instruments, backing vocals, lead vocals and effects - or any other combination that suited the particular project.