MTC (MIDI Time Code)
A format used for transmitting synchronisation instructions between electronic devices within the MIDI protocol.
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Mult
An abbreviation of 'multiple output' (also known as a 'parallel-strip' in BBC parlance). Refers to a line-level signal splitting or distribution facility typically found on patchbays in which three or more sockets are wired together to allow an input signal to be shared with multiple destinations. As an entirely passive facility the operation relies on a very low source impedance and high destination (bridging) impedances to minimise the loss of signal level. Microphone 'mults' tend either to use transformers with multiple secondary windings or active buffer or distribution circuitry.
Multi-sample
The creation of several samples, each covering a limited musical range, the idea being to produce a more natural range of sounds across the range of the instrument being sampled. For example, a piano may need to be sampled every two or three semitones in order to sound convincing.
Multi-timbral
A synthesizer, sampler or module that can play several parts or different sounds at the same time, each under the control of a different MIDI channel.
Multitrack
A recording device capable of recording several 'parallel' parts or tracks which may then be mixed or re-recorded independently.
Mutual Angle
the physical angle between two microphones, used to specify various microphone array configurations (eg. 90 degrees for a Blumlein pair, or 110 degrees for an ORTF array).
Near-coincident
A means of arranging two or more directional microphone capsules such that they receive sound waves from the directions or interest at slightly different times due to their physical spacing. Information about the directions of sound sources is captured in the form of both level differences between the capsule outputs, generated by aiming directional polar patterns in different directions, and the timing differences caused by their physical spacing. Specific forms of near-coincident microphones include the ORTF and NOS arrangements.
Near Field
(Nearfield) The acoustic zone close to a sound source or microphone. Often used to describe a loudspeaker system designed to be used close to the listener – although some people prefer the term 'close field'. The advantage is that the listener hears more of the direct sound from the speakers and less of the reflected sound from the room.
Noise Reduction
A system for reducing analogue tape noise or for reducing the level of hiss present in a recording. (See DBX and Dolby).
Noise-shaping
A system using spectrally-shaped dither to improve the perceived signal-to-noise performance of a digital audio system.
NRPN (Non-registered Parameter Number)
An addition to the basic MIDI spec that allows Controllers 98 and 99 to be used to control non-standard parameters relating to particular models of synthesizer. This is an alternative to using System Exclusive data to achieve the same ends, though NRPNs tend to be used mostly by Yamaha and Roland instruments.
Non-linear Recording
A term which describes digital recording systems that allow any parts of the recording to be played back in any order with no gaps. Conventional tape is referred to as linear, because the material can only play back in the order in which it was recorded.
Normalise
A socket is said to be normalised when it is wired such that the original signal path is maintained unless a plug is inserted into the socket. The most common examples of normalised connectors are the insert points on a mixing console.
NOS
A specific form of near-coincident microphone array devised by the Nederlandse Omroep Stichting (NOS), the Dutch national broadcaster. The technique employs a pair of small-diaphragm cardioid microphones mounted with a mutual angle of 90 degrees and spaced apart by 30cm. The theoretical stereo recording angle is 81°.
Nyquist Theorem
The rule which states that a digital sampling system must have a sample rate at least twice as high as that of the highest audio frequency being sampled, in order to avoid aliasing and thus reproduce the wanted audio perfectly. Because anti-aliasing filters aren't perfect, the sampling frequency has usually to be made slightly more than twice that of the maximum input frequency - which is why the standard audio rate of 44.1kHz was chosen for a nominally 20kHz audio bandwidth.
Nut
A slotted plastic or bone (or metal) component at the headstock end of a guitar neck used to guide the strings over the fingerboard, and to space the strings above the frets.
Octave
When a frequency or pitch is transposed up by one octave, its frequency is doubled.
Off-line
A process carried out while a recording is not playing. For example, some computer-based processes have to be carried out off-line as the computer isn't fast enough to carry out the process in real time. Also used to refer to a remote-controlled machine which is not currently active.
Off/On-axis
Directional microphones are inherently more sensitive to sound from one direction, and the direction of greatest sensitivity is referred to as the principle axis. Sound sources placed on this axis are said to be ‘on-axis’, while sound sources elsewhere are said to be ‘off-axis’
Ohm
The unit of electrical resistance.