Power Amplifier
A device which accepts a standard line-level input signal and amplifies it to a condition in which it can drive a loudspeaker drive unit. The strength of amplification is denoted in terms of Watts of power.
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Power supply
A unit designed to convert mains electricity to the DC voltages necessary to power an electronic circuit or device.
Powered Loudspeaker or Monitor
A powered speaker is a conventional passive loudspeaker but with a single power amplifier built in or integrated with the cabinet in some way. The amplifier drives a passive crossover, the outputs of which connect to the appropriate drive units.
Post-fade
A signal derived from the channel path of a mixer after the channel fader. A post-fade aux send level follows any channel fader changes. Normally used for feeding effects devices.
PPM
Peak Programme Meter. A meter designed to register the approximate peak amplitude of a signal, rather than the average level indicated by, for example, a VU meter. However, PPMs have a defined integration time (typically 10ms) which means that they actually under-read on the fastest transient peaks. (cf. VU Meter)
PPQN
Pulsed Per Quarter Note. Used in the context of MIDI Clock derived sync signals.
PQ Coding
Process for adding Pause, Cue and other subcode information to a digital master tape in preparation for CD manufacture.
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).
Pre-emphasis
A system for applying high frequency boost to a sound before processing. When the corresponding de-emphasis is applied any noise contribution from the processing is reduced.
Pre-fade
A signal derived from the channel path of a mixer before the channel fader. A pret-fade aux send level is unaffected by channel fader changes. Normally used for creating Foldback or Cue mixes.
Preset
An effects unit or synth patch that cannot be altered by the user.
Pressure
An alternative term for Aftertouch.
Print-through
The undesirable process that causes some magnetic information from a recorded analogue tape to become imprinted onto an adjacent layer. This can produce low level pre or post echoes.
Processor
A device designed to treat an audio signal by changing its dynamics or frequency content. Examples of processors include compressors, gates and equalisers.
Program Change
A MIDI message designed to change instrument or effects unit patches.
Project Studio
A relatively small recording studio facility, often with a combined recording space and control room.
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.
Pulse Wave
Similar to a square wave but non-symmetrical. Pulse waves sound brighter and thinner than square waves, making them useful in the synthesis of reed instruments. The timbre changes according to the mark/space ratio of the waveform.
Pulse-width Modulation
A means of modulating the duty cycle (mark/space ratio) of a pulse wave. This changes the timbre of the basic tone; LFO modulation of pulse width can be used to produce a pseudo-chorus effect.
Punch-in
The action of placing an already recorded track into record at the correct time during playback, so that the existing material may be extended or replaced.