Glossary of Technical Terms

Reference definitions used across the workbook.

Glossary of Technical Terms: This glossary provides a comprehensive reference of technical terms used throughout the workbook. While many terms are defined in context where they first appear, this section offers a convenient reference for quick consultation.
Amplifier Simulation: A software Plugin that simulates the behaviour of hardware amplifiers (typically of valve devices), cabinets, loudspeakers, microphones, and sometimes also effects pedals.
Attack: Means mainly two things in audio technology: 1) the initial phase of a waveform that contains Transients important for timbre and Punch; 2) a setting in a Compressor unit to control the onset behaviour of the device, enabling engineers to shape the waveform, tone, and dynamic behaviour of the source material.
Automation: Modifies the volume or any other processing (Panning, effects levels or settings) throughout the course of the source material. In a digital audio workstation, automation can be programmed with the mouse or “recorded” and performed live.
Bleed: see Spill.
Brickwall (Limiter): A dynamic processor that prevents the audio from exceeding a certain Loudness threshold. Applied in mastering chains, it ensures the output level does not exceed the limit and creates unpleasant artefacts or Distortions. It is also used for individual instruments or instrument groups to control dynamic range and tone.
Compression: A processor used to reduce the dynamic range and change the waveform of a sound, thereby altering the tone of the signal. Common features are Attack (the time it takes for the compressor to become active), Release (the time it takes for the effect to end), ratio (the amount of dynamic reduction, such as 4:1), and threshold (the point at which notes are affected). Compressors are used in series or parallel for different effects. They can be broadband or Multiband, with the latter allowing frequency-specific dynamic treatment.
Distortion: Describes the change in an audio waveform, intentional, unintentional, or undesirable. Depending on the cause, distortion produces harmonic or inharmonic sound components, each creating a different sonic impression. Distortion is typically produced by exceeding the maximum volume of an audio unit or processor. Other possible forms are bit crushing or sample rate reduction.
Direct Injection (DI): Recording an electronic instrument directly into the input of a sound card or mixing device (directly or via a ‘direct box’) to capture an unprocessed source.
Double-Tracking: Recording and blending two recordings of the same performance, most common with guitars.
Drum Samples: Pre-recorded and sometimes pre-mixed recordings of individual drum shells or cymbals. Drum samples can be blended with recorded drum performances to enhance or reinforce them by adding complementary tonal features and/or providing dynamic consistency. They can also completely replace recorded (or programmed) drums, providing tonal and dynamic consistency at the expense of tonal and dynamic variety.
Dry: Refers to the fact that no effects are applied to a sound source or the degree of such processing within an effects processor.
Ducking: A process in which the volume of a sound source is lowered when another sound exceeds a threshold. Requires Sidechain processing to another signal source in order to respond.
Dynamic Equalization: A mixture of Equalization and Multiband compression. Frequency bands can be attenuated or boosted but with additional settings known from conventional Compressors (threshold, ratio, Attack, Release) to control excessive dynamic variation that otherwise produces tonal imbalances in the source material. An example is Palm-Muting on a distorted guitar, which causes a pronounced boost in the low frequencies compared to regular picking.
Equalization (EQ): The adjustment of the frequency response to alter tonal balance or attenuate unwanted frequencies. Equalization is typically applied to individual sound sources, groups, and the entire audio programme, using subtractive (removing frequencies) and additive (boosting frequencies) techniques. EQ is central to shaping the sound of instruments and vocals in metal music and carving out space for each sound source and reduce Masking to improve clarity, definition, and intelligibility.
Frequency Bracketing: This technique processes only some frequencies of an instrument, voice, or group by removing frequencies above and below the desired range. It allows for the Distortion of the middle frequencies of a bass without losing clarity in the Low-End and creating abrasion in the high-end, for example.
Gate: see Noise Gate.
Harmonic (Overtone): An overtone whose frequency is an integer multiple of the fundamental frequency. It is often generated by Saturation and some types of Distortion.
High-Cut: see Low-Pass Filter.
High-Pass Filter: This filter allows frequencies above a specific frequency to pass and attenuates frequencies below this frequency. It is also known as a Low-Cut.
Keying: see Sidechain
Limiting: see Brickwall (Limiter).
Low-Cut: see High-Pass Filter.
Low-End: Refers to the bass area of a frequency spectrum without being precisely defined in terms of frequency range.
Low-Pass Filter: A filter that allows frequencies below a certain frequency to pass and attenuates frequencies below that same frequency. It is also known as a High-Cut.
Masking: Refers to a Multi-track recording in which sound sources overlap in certain frequency areas. Masking occurs when some signals dominate others and impair the clarity and intelligibility of the mix.
Match Equalizer: A match EQ captures the frequency response of a signal that can be transferred in full or in part to another sound source.
MIDI: Stands for Musical Instrument Digital Interface, a communication and control protocol for and between synthesizers, drum machines, computers, and digital Plugins.
Multiband: Refers to a range of processors like Compressors and Saturators. In contrast to broadband Compressors, processing is applied only to some frequency bands or to multiple bands but with different settings or amounts.
Multi-track: A project within a digital audio workstation that allows processing on the individual tracks of a recording, rather than just Stems.
Noise Gate: Cleans up the signal by removing quiet noise components below a threshold, thereby turning off a signal when the amplitude falls below the threshold level.
Overdub: Refers to a recording and production technique in which a new musical part is recorded on an unused track in synchronization with previously recorded tracks.
Palm-Muting: An expressive technique more common on the guitar than on the bass. The performer places their picking/plucking hand on the strings to produce a shorter, more percussive and bass-pronounced tone.
Panning: Refers to the option of controlling the position of a sound image between a stereo pair of loudspeakers by splitting up a signal between two channels in an adjustable ratio.
Phase: The location or degree of progression of an audio signal in a cycle (360 degrees). If two audio signals from the same source (captured directly or indirectly through Spill) are not aligned, clarity and tone will be affected. Such signals out of Phase lose power in the lower frequencies.
Plugin: An application like an effects processor or Amplifier Simulation within a digital audio workstation.
Polarity: see also Phase. Refers to the direction of a signal. In the most extreme case of two signals having opposite polarity, a large part of their frequencies cancels each other out, affecting level and tone.
Punch: An often used but not well-understood term in music production. Punch is characterized by clear Transients and a pronounced Attack phase of the dynamic Envelope that convey the feeling of energy.
Quad-Tracking: Recording and blending four recordings of the same performance, most common with guitars.
Reamping: A technique that allows re-recording an already recorded performance using a different amplifier or recording chain. It is most common with guitars and basses and typically requires a direct signal (DI) from the instrument to be captured.
Reverberation: A series of multiple sound reflections in a Room where the persistent original sound gradually decays. Audio production can recreate or Emulate reverberation through Impulse Responses (convolution reverb) from rooms, chambers, or other architectural structures. Reverberation can also be based on materials like plates or be fully programmed (algorithmic reverb).
Sidechain: The act of Triggering effects of one track based on the volume of another track. A typical application is for the kick to be heard by Compressing the bass when the kick drum hits. A sidechain also ensures that specific frequencies in processors, such as the lowest frequencies in a compressor, are ignored to reduce pumping.
Spill: Refers to the noise from other instruments in a close microphone, e.g. the high-hat in tom recordings.
Sonic Weight: Refers to the bass area of the frequency range in relation to the rest of the spectrum. A pronounced bass response increases the physical perception of sound and contributes to heaviness.
Stems: Are sub-mixes in a music production, typically for vocals, guitars, bass, or drums. These sub-mixes are either grouped on Auxiliary Busses or exported as audio for mastering.
Stereo Widening: The process of widening the stereo image beyond the maximum position afforded by Panning control using psychoacoustic processors.
Template: Music production utilizes templates to reduce the effort required for signal routing and preparation. Templates are occasionally used to achieve a more coherent sound across all songs on a record or a signature sound.
Time Alignment: Refers to the Phase correlation of various tracks in a Multi-track. Time alignment improves phase correlation between instruments, such as overheads and snare in a drum recording, to reduce frequency cancellation.
Tone-Matching: see Match Equalization.
Transient: Is important for the Punch and timbre of a sound source and part of the Attack portion of an Envelope, where percussive signals like drum hits produce the most energy.
Triggering: Refers to the playback of MIDI information, usually in conjunction with Drum Samples, to enhance or replace drum performances.
Velocity: Is typically the volume of notes in MIDI regions. In a metal music context, velocity is relevant for Drum Sample Triggering.