Audio / Production Terms for Newbies!
I realize that when writing gear reviews and other such articles, there may be some terms that are unfamiliar to people just getting started in the world of music production. I want this website to be as inclusive and beginner-friendly as possible, so I’ve decided to compile a list of these terms with simple definitions in order to help clarify questions regarding any future posts. They are in no specific order, so if you’re reading and you see a term you don’t know, keep looking; it’s probably further down on the list.
DAW (Digital Audio Workstation) - Software capable of editing and mixing multiple tracks of audio. Some examples include Logic, Protools, Fruityloops, Cubase and Studio One.
I/O - Refers to your “Input” and “Output” settings within your DAW or other audio software.
Sample Rate - The number of audio samples per second. Think of this as the audio equivalent of pixels on a screen; the higher the number, the better the resolution. Sample rates start at 44.1kHz and go up to 196kHz.
Hertz (Hz) / Kilohertz (kHz) - Hertz are the number of sound wave cycles per second, which in turn create pitch. The lower the Hz, the lower the pitch and vice versa with higher Hz. Once you reach 1000Hz, it becomes known as 1kHz. The range of human hearing is 20Hz to 20kHz.
Gain - Many people think of gain and volume as the same thing, but they are indeed different. While volume is just a change in level of the overall sound coming out of your output devices (speakers/headphones), gain is a signal boost applied to a sound source by a preamp before it reaches the output. Preamp gain can be pushed very hard which can cause distortion which may or may not be desirable.
Dynamic Range - In music, the term “dynamics” refers to changes in volume that create impact or feel. The loud parts in songs have so much punch to them because they are louder than the verses. This change in volume between parts of the song help the song “move” and feel more lively. The difference between the quietest part and the loudest part of the song is known as dynamic range.
Direct Injection/Input (DI) - The act of plugging a guitar, bass, keyboard, or any other line level instrument into your recording interface. This bypasses the need for running your instrument through and amplifier and mic’ing it.
Preamps - Unless you’re recording at a line level signal with an instrument like an electric guitar or keyboard/synth, then you’re gonna need a preamp. Microphones have very low output levels, so we need preamps to boost the gain and make them more sensitive to sound, giving a stronger, more usable recording. The preamps on most modern interfaces are meant to provide a clean and sterile sound, however many people seek out old-school preamps for the warm and fuzzy tonal qualities they provide.
Audio Interface - Unless you’re working with a mixing board that can connect via USB or you have an old $100,000 mixing console and a tape machine, then you’ll need an audio interface. These handy little units connect directly to your computer and convert any source (mic or instrument) into digital audio which can be used in your DAW. All interfaces have preamps built into each channel. However, if you like the character that another external preamp gives your sound, you can run the sound through it before going into the interface.
AD/DA Conversion - Without getting too “tech-y”, AD stands for “analog to digital.” This means taking an analog input signal and turning it into 1′s and 0′s that your computer can read and use. DA is just the opposite, as it takes digital audio and turns it into an analog signal. An example of this would be when you’re listening to a mix in your DAW, your interface is converting that audio into an analog signal and spitting it out through the monitors into your ears.
Latency - The couple milliseconds of delay that result from analog sound having to be converted into digital sound. For example, when you pluck a string on guitar, you don’t actually hear it come through your monitors until 1-5 milliseconds later.
ADAT - Optic technology used to carry information. In the context of recording, it generally refers to the ability of an interface to expand via ADAT so that you can record more tracks simultaneously. If your interface only has 8 channels, but has an ADAT input, you can hook up devices like the Focusrite Octopre to expand to 16 channels.
Monitors - Simply refers to a set of reference speakers you use to listen to your song during the mixing process.
Multitracks - This is simply the multiple separate tracks that you mix within your DAW.
Mixbus or Subgroup - Also referred to as just “bus” or “sub.” Busses are an auxiliary track that you send other tracks to so that you can mix them as a whole. For example, the most common type of bus is a drum bus. You send all of the drum tracks to one single track, and from there you can apply additional eq or compression to add some “glue” or control to the entire drum mix.
Bouncing - This the process of combining your multitrack project into one audio file (MP3 or WAV) by exporting the files from your DAW.
Mastering - The process of adding the final touches to mix and raising the overall volume of the track to a commercially acceptable level through use of compressor and limiters (see below).
Outboard gear - External units that process sound in unique ways. The different types of processors are listed below
Compressor - When starting out, a compressor can seem a bit complicated. Even worse, what it does to a signal is a bit hard to hear, mainly because the human ear is more perceptive to changes in pitch rather than changes in volume. A compressor takes the loudest parts of a track and lowers them, and boosts the quieter parts of the track to make everything sound dynamically even. You set the compressor to kick in once the level of a track exceeds a certain threshold. Many settings can change the way a compressor affects the signal, such as attack, release, ratio and the knee.
Attack - The rate at which compression begins one the signal passes the threshold.
Release - How quickly the compressor “lets go” of the signal.
Ratio - This determines how hard the signal is being compressed. The higher the ratio, the more gain reduction.
Knee - This work directly with the attack setting to dictate how smoothly or abruptly the compressor kicks in. Not all compressors have this feature.
Multiband Compressor - Essentially a compressor that you can split into different frequency ranges, allowing you to compress, for example, just the low frequency information of a track instead of the whole thing.
De-esser - Basically a compressor specifically for taming harsh high frequencies in a vocal track.
Limiter - A limiter is a compressor with an infinite ratio. In other words, no signal passes the threshold. Sometimes referred to as a “brick wall limiter.”
EQ - EQ stands for equalization. This is used to boost or cut certain frequencies in order to get a clearer and more cohesive mix.
High Pass Filter - An eq adjustment where low frequency information is removed to allow high frequencies to “pass through.” Also referred to sometimes as a “low cut filter”
Low Pass Filter - An eq adjustment where high frequency information is removed to allow low frequencies to “pass through.” Also referred to sometimes as a “high cut filter”
“Q“ - The Q is the curve or shape of an eq adjustment. It determines how broad or narrow of frequency range you boost or cut.
Plugins - These are virtual versions of outboard gear and other signal processors. They can be loaded onto tracks within your DAW. The two main advantage of plugins is 1.) lower costs and 2.) the fact that the processing isn’t “printed” onto the track when it’s recorded into your DAW. This gives you the ability to change settings on them even after the track has been recorded. However some people argue that their analog counterparts have a richer sound.
Diaphragm - The part of the mic within the capsule that takes in sound and converts it into electric energy which then goes to your DAW or mixer. In the world of condenser mics, there are Large Diaphragm Condensers (LDCs) and Small Diaphragm Condensers (SDCs). SDCs are sometimes referred to as “pencil mics.”
Sound Pressure Level (SPL) - In simple terms, this is how loud something is. Sound waves creates pressure and move air molecules. SPLs are measured in dB. Around 135dB-140dB is called the “threshold of pain”, where something is so loud, that it hurts and potentially damages our ears.
Dynamic Mic - Chances are you’ve used or at least seen a dynamic mic at some point. The most common examples of a dynamic mic are the Shure SM57 and SM58. The difference between dynamic and condenser mics is in their operating principles. Dynamics have coil that wraps around a magnet. When sound SPLs are strong enough to vibrate and compress this coil, those movements are picked up by the magnet and are converted into electric energy. A good bit of energy is required to affect this coil, so that’s why dynamics are much less sensitive to sound than condensers. This lack of sensitivity makes them more suitable for loud sound sources such as drums, guitar amps and rock vocals.
Condenser Mic - Condensers operate using a metal plate rather than a coil, however, it operates on the same magnetic principle. Once the plate moves, the magnet responds to the movement and sound gets converted into a signal. Condensers are much more sensitive than dynamic mics. They work better for crisp vocals, acoustic guitar, drum room mics, etc. Keep in mind that condenser mics require power to used. This power is known as “Phantom Power” or “48V.” A switch for this power comes standard on most mixers or audio interfaces.
Polar Pattern - The direction in which microphones pick up sound. Common polar patterns are Cardioid (directly in front of the mic), Omni (all sides) and Figure 8 (front and back).
Plosives - Low and boomy sounds produced while singing. Commonly caused by letters such as “b”, ”d”, ”f” and ”p.” This what pop filters or windscreens on mics are meant to prevent.
Sibilance - Harsh “s” and “c” sounds produced by vocalists that can be unpleasant to the ear.
- Fletcher Robinson (Head Engineer @ Evergreen Records)
