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Bank
A specific configuration of sounds or other parameters stored in memory and accessed manually or via MIDI commands.
Bass Response
The frequency response of a loudspeaker system at the lower end of the spectrum. The physical size and design of a loudspeaker cabinet and the bass driver (woofer) determine the low frequency extension (the lowest frequency the speaker can reproduce at normal level) and the how quickly the signal level falls below that frequency.
Bass Trap
A special type of acoustic absorber which is optimised to absorb low frequency sound waves.
Bantam Plug
Also known as TT or Tiny Telephone Plugs. A miniaturised form of the PO316 professional jack plug derived from the telecommunications industry and widely used for balanced connections on professional high-density patch bays. (cf. B-Type Plug)
Beta Version
Software which is not fully tested and may include bugs.
Bias
An ultrasonic signal used in analogue recording to improve the linearity of the magnetic recording process and thus ensure the accuracy of the recorded audio signal. The bias freqeuency is typically between 80kHz and 150kHz. It is also used drive the erase head. Bias is generated by a bias oscillator.
Binary
A counting system based on only two states: 1s and 0s. It is ideal for electronic equipment where it can be represented as high and low voltages, light on/off, N-S or S-N magnetic domains, etc.
Bit
A contraction of Binary digit, which may either be 1 or 0.
Bit Rate
The number of data bits replayed or transferred in a given period of time (normally one second). Normally expressed in terms of kb/s (kilo bits per second) or Mb/s (mega bits per second). For example, the bit rate of a standard CD is (2 channels x 16 bits per sample x 44.1 thousand samples per second) = 1411.2 kilobits/second. Popular MP3 file format bit rates range from 128kb/s to 320kb/s, while the Dolby Digital 5.1 surround soundtrack on a DVD-Video typically ranges between 384 and 448kb/s. (See Sample Rate)
Bi-Timbral
A synthesizer than can generate two different sounds simultaneously (see multi-timbral).
Blumlein Array
A stereo microphone technique devised by Alan Blumlein in the early 1930s. It employs a pair of microphones with figure-eight polar patterns, mounted at 90 degrees to each other with the two diaphragms vertically aligned in so-called 'coincidence'. In this way, the signals from the two microphones differ only in their amplitudes (there can be no time-of-arrival or phase differences) in a way which accurately represents the angle of incidence of the sound sources.
Boom
A mechanical means of supporting a microphone above a sound source. Many microphone stands are supplied with a ‘boom arm’ affixed to the top of the stand’s main vertical mast. The term may also be applied to larger, remotely controlled microphone supports used in film and TV studios, or even to the handheld ‘fishpoles’ used by film and TV sound recordists.
Boost/Cut Control
A single gain control to adjust the level of a range of frequencies passing through a filter or equaliser to be amplified or attenuated. The centre position is usually the 'flat' or 'no effect' position. This kind of control is found on shelf, parametric and graphic qualisers (high- and low-pass do not have cut/boost controls).
Bouncing
The process of mixing two or more recorded tracks together and re-recording the result onto another track.
Boundary
A physical obstruction to sound waves, such as a wall, or a large solid object. When sound waves reach a boundary they create a high pressure area at the surface which is typically perceived as a build up in the level of low frequencies.