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.

A relatively small recording studio facility, often with a combined recording space and control room.

A MIDI message designed to change instrument or effects unit patches.

A device designed to treat an audio signal by changing its dynamics or frequency content. Examples of processors include compressors, gates and equalisers.

The undesirable process that causes some magnetic information from a recorded analogue tape to become imprinted onto an adjacent layer. This can produce low level pre or post echoes.

An alternative term for Aftertouch.

An effects unit or synth patch that cannot be altered by the user.

A signal derived from the channel path of a mixer before the channel fader. A pret-fade aux send level is unaffected by channel fader changes. Normally used for creating Foldback or Cue mixes.