Out-of-Phase
see Polarity.
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see Polarity.
The effective internal impedance (resistance which many change with signal frequency) of an electronic device. In modern audio equipment the output impedance is normally very low. Microphones are normally specified with an output impedance of 150 or 200 ohms, although some vintage designs might be as low as 30 Ohms.
The nominal output voltage generated by a microphone for a known reference acoustic sound pressure level. Output sensitivity is normally specified for a sound pressure level of one Pascal (94dB SPL), and may range from about 0.5mV/Pa for a ribbon microphone, to 1.5mV/Pa for a moving coil, and up to 20 or 30mV/Pa for a capacitor microphone.
Recording new material to separate tracks while auditioning and playing in synchronism with previously recorded material.
The intentional use of overloaded analogue circuitry as a musical effect.
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.
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)
A resistive circuit for reducing signal level.
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 means of connecting two or more circuits together so that their inputs are connected together, and their outputs are all connected together.
A variable value that affects some aspect of a device's performance.
The combination of fundamental and overtones together are called particals. (cf. harmonic)
A circuit with no active elements.
A loudspeaker which requires an external power amplifier, the signal from which is passed to a passive cross-over filter. This splits and filters the signal to feed the two (or more) drive units.
An alternative term for a Program, referring to a single programmed sound within a synthesizer that can be called up using Program Change commands. MIDI effects units and samplers also have patches. (see also Bank)
A system of panel-mounted connectors used to bring inputs and outputs to a central point from where they can be routed using plug-in patch cords. Also called a Jackfield.
A short cable used with patch bays.
Peripheral Component Interconnect: an internal computer bus format used to integrating hardware devices such as sound cards. The PCI Local Bus has superseded earlier internal bus systems such as ISA and VESA, and although still very common on contemporary motherboards has, itself, now been superseded by faster interfaces such as PCI-X and PCI Express.
Pulse Code Modulation - the technique used by most digital audio systems to encode audio as binary data.
The maximum instantaneous level of a signal.