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Loudness-Normalisation
The practice of matching the perceived loudness of different material to a given target loudness value. To accommodate varying peak levels, the medium requires an approporiate headroom margin. Loudness-normalisation is now the default form for HDTV broadcasts, as well as most audio streaming services, although the target loudness level currently varies between different platforms. Loudness-normalisation is measured using the LUFS or LKFS scale. (See LUFS, Peak-Normalisation, Mastering, Loudness Wars).
Loudness Wars
The practice of trying to make each new commercial music release sound subjectively louder than any previous release, on the misguided notion that louder is more exciting and results in more sales. A relationship between the average loudness of 45rpm singles and sales was noticed in America from jukebox plays, and that led to the first loudness war. However, the advent of the CD really ramped up the situation, with music becoming ever-more dynamically compressed to squeeze the average level higher and higher towards the 0dBFS peak level. This desctructive trend is, thankfully, now being slowly reversed with the ubiquity of loudness normalisation adopted by most online audio streaming services and broadcasters.
Low-range (low, lows)
The lower portion of the audible frequency spectrum, typically denoting frequencies below about 1kHz
LUFS
The standard measurement of loudness, as used on Loudness Meters corresponding to the ITU-TR BS1770 specification. the acronym stands for 'Loudness Units (relative to) Full Scale. Earlier versions of the specification used LKFS instead, and this label remains in use in America. The K refers to the 'K-Weighting' filter used in the signal measurement process. (See this article on the loudness metering concept.)
m
Abbreviation for milli, meaning a multiplier of 1/1000 (one thousandth). Used as a prefix to other values to indicate magnitude, eg. 1mA = 0.001A.
MADI
Multichannel Audio Digital Interface. Originally specified by the Audio Engineering Society (AES) as AES10 in 1991. This unidirectional digital audio interface shares the same core 24-bit audio and status data format as AES3, but with different 'wrapping' to contain 56 or 64 synchronous channels at base sample rates, or 28/32 channels at 96kHz. It can be conveyed over unbalanced coaxial cables, or via optical fibres.
MIDI Controller
A term used to describe the physical interface by means of which the musician plays the MIDI synthesizer or other sound generator. Examples of controllers are keyboards, drum pads, wind synths and so on.
MIDI In
The socket used to receive information from a master controller or from the MIDI Thru socket of a slave unit.
Mixer
A device used to combine multiple audio signals together, usually under the control of an operator using faders to balance levels. Most mixers also incorporate facilities for equalisation, signal routing to multiple outputs, and monitoring facilities. Large mixers are also known as ‘desks’ or ‘consoles’.
Parametric EQ
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.
Paraphonic
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.
PFL
Pre-Fade Listen. A system used within a mixing console to allow the operator to audition a selected channel signal, prior to the fader, and thus independent of the fader setting. Normally used to check the level of the signal through the channel to optimise the gain structure, or to confirm the presence of a signal before fading it up. (See AFL and Solo)
Port
A connection for the input or output of data or other signals. In the context of loudspeakers it refers to the vent in a bass reflex cabinet.
Pre-amp (Preamp)
Short for ‘pre-amplification’ : an active gain stage used to raise the signal level of a source to a nominal line level. For example, a microphone pre-amp (aka mic preamp).
Proximity Effect
Also known as ‘Bass tip-up’. The proximity effect dramatically increases a microphone’s sensitivity to low frequencies when placed very close to a sound source. It only affects directional microphones — omnidirectional microphones are immune, and the effect can be nullified on a cardioid mic if the close source is placed 90 degrees off-axis.
PWM Compression
A form of audio compressor which uses Pulse Width Modulation to detedmine the energy in the audio signal over time. In essence, the audio signal is sampled at a very high rate, but the duration (width) of the samples (pulses) is adjusted (modulated) to control the average energy over time, and thus provide signal attenuation. When done well, this is the fastest form of compressor with the lowest distortion artefacts.
Q
Q is short for the ‘quality-factor’ of a filter, which defines its bandwidth in relation to its centre frequency and indicates a filter’s resonant properties. The higher the Q the more resonant the filter, and the narrower the range of frequencies that are allowed to pass. A Q of 1 is equivalent to bandwidth of 1.38 octaves, while a Q of 6 is equivalent to a bandwidth of just 0.25 octaves, and a Q of 0.4 is equivalent to a bandwidth of 3 octaves.