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Autolocator
A common facility on tape machines or other recording devices that enables specific time points to be stored and recalled. For example, you may store the start of a verse as a locate point ('marker') so that you can get the tape machine or DAW to automatically relocate the start of the verse after you've recorded an overdub.
Auxiliary Sends (Auxes)
A separate independent output signal derived from one or more input channels on a mixing console, usually with the option to select a pre- or post-fader source and to adjust the contribution level. Auxiliary sends from all channels are bused together before being made available to feed an internal signal processor or external physical output via the corresponding Aux Master level control. Sometimes also called Effects ('FX'), Cue or Artist sends.
Aux Return
Dedicated mixer inputs used to receive external effects into the mix. Aux return channels usually have fewer facilities than normal mixer inputs, such as no EQ and access to fewer auxiliary sends. (cf. Effects Return)
Balanced Wiring
Where protection from electromagnetic interference and freedom from earth references are required, a balanced interface is used. The term ‘balanced’ refers to identical (balanced) impedances to ground from each of two signal carrying conductors which are enclosed within an all-embracing overall electrostatic screen. This screen is grounded (to catch and remove unwanted RFI), but plays no part in passing the audio signal or providing its voltage reference. Instead, the two signal wires provide the reference for each other — the signal is conveyed ‘differentially’ and the receiver detects the voltage difference between the two signal wires. Any interference instils the same voltage on each wire (called a common mode signal) because the impedance to ground is identical for each wire. As there is therefore no voltage difference between the two signal wires, any interference is therefore ignored (rejected) completely by the receiver.
Band-pass Filter (BPF)
A filter that removes or attenuates frequencies both above and below the centre frequency at which it is set, and only passes a specific range — or band — of frequencies. Band-pass filters are often used in synthesizers as tone shaping elements.
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.
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.