The combination of fundamental and overtones together are called particals. (cf. harmonic)

Often used to descibe a multi-oscillator mono-synth which can be configured to allow the oscillators to be controlled independently from the keyboard, allowing two or more notes to be played simultaneously.

An equaliser with a bell-shaped frequency response curve, and separate controls for the centre frequency, the bandwidth (Q), and the amount of cut/boost. If a bell EQ omits the bandwidth (Q) control, it is known as semei- or quasi-paramteric.

A variable value that affects some aspect of a device's performance.

A means of connecting two or more circuits together so that their inputs are connected together, and their outputs are all connected together.

A control found on mixers to move the signal to any point in the stereo soundstage by varying the relative levels fed to the left and right stereo outputs.

A resistive circuit for reducing signal level.

a component of a complex sound which has a higher frequency than the fundamental frequency, but which is not necessarily related by a simple integer multiple (cf. harmonics)

To exceed the maximum acceptable signal amplitude of an electronic or electrical circuit. Overloading a device results in a noticeable increase in distortion but this may be deemed musically beneficial and desirable, or completely unacceptable and inappropriate, depending on context and intent. Overloading an analogue device typically results in the waveform peaks becoming flattened (so tending towards a square wave) and a consequent rapid increase in odd-order harmonic distortion where the distortion products appear at higher frequencies than the source signal fundamentals, but remain musically related to them. In contrast, overloading a digital system inherently contravenes the Nyquest Theorum, since he generated harmonic distortion products generally extend far above half the sampling frequency, and so become aliased and actually appear at lower frequencies than the source fundamentals with a non-musical relationship. This is why digital overloads sound so obvous and unpleasant in comparison to analogue overloads.

The intentional use of overloaded analogue circuitry as a musical effect.