- •Academy Theater
- •Active sensing
- •Anechoic
- •Arrangement
- •Automation
- •Balanced Line
- •Bandwidth
- •bandpass filter
- •Betacam
- •Channel
- •Clipping
- •Compression
- •Continuous Sync
- •Convolution
- •Crossover Distortion
- •DASH
- •Diatonic
- •Digital Audio
- •Directional Microphone
- •Dither
- •Driver
- •Dynamic Range
- •editing
- •Effects
- •Electret
- •Envelope
- •film
- •FireWire
- •flat
- •flutter
- •FM synthesis
- •FM sync
- •frame
- •frequency
- •gated reverb
- •graphic equalizer
- •gun microphone
- •harmonic
- •harmonic series
- •headroom
- •hiss
- •hysteresis
- •jitter
- •key signature
- •leakage
- •linear
- •local control
- •logarithmic
- •loop
- •loudspeaker
- •magnetic film
- •masking
- •master controller
- •memory requirements
- •microphone
- •MIDI
- •MIDI Controllers
- •MIDI message
- •MIDI patchbay
- •mixdown
- •modulation
- •modulation wheel
- •monitor
- •MPEG/MPEG-1
- •multitrack
- •normalize
- •NAMM
- •noise
- •noise gate
- •nominal level
- •Nyquist frequency
- •open-reel
- •oscillator
- •overdub
- •oversampling
- •parallel
- •patch
- •peak-to-peak value
- •phantom power
- •phase difference
- •physical modeling synthesis
- •pink noise
- •pixel
- •polarity
- •polar pattern
- •pop filter
- •post-production
- •pre-production
- •preset
- •print master
- •psychoacoustics
- •pulse wave
- •quantization
- •QuickTime
- •rarefaction
- •real-time
- •reclock
- •Red Book
- •release
- •resistance
- •resolution
- •resonance
- •reverb
- •reverberation
- •ribbon microphone
- •room equalization
- •sample
- •sampler
- •sampling rate
- •saturation
- •scale
- •scaling
- •score
- •scratching
- •SCSI
- •SDII
- •sequence
- •serial
- •shelving EQ
- •sibilance
- •signal
- •sine wave
- •slate
- •SMPTE timecode
- •soft knee compression
- •Software Thru
- •Song Position Pointer (SPP)
- •soundcard
- •sound field
- •sound pressure level (SPL)
- •sound reinforcement
- •S/PDIF
- •split point
- •square wave
- •start bit
- •Start menu
- •stave
- •stereophonic
- •stripe
- •submix
- •surround-sound
- •sync
- •synthesis
- •tape delay
- •temperament
- •tessitura
- •threshold
- •timecode
- •tracking
- •transducer
- •triad
- •tuning
- •vocoder
- •voicing
- •volume
- •wavelength
- •wavetable
- •word clock
- •workstation
- •zenith
- •Appendix A
- •Appendix B
- •Troubleshooting
- •Appendix C
- •Appendix D
- •Frequency (Hz)
- •Bibliography
- •Feedback
X-Y-Z
zenith: Another word for tangency.
zero-crossing: The point in a sample where the waveform reaches zero amplitude. When editing a loop, it is usual that both the beginning and end points of a loop are at a zero crossing. However, zero crossings are not important if the beginning and end points of the loop are at the same signal level and have about the same waveform slope. The harmonic content of the wave in the region around the loop point has much more effect on the quality of the loop than whether the loop point is at a zero-crossing.
zero frame: The first frame of a roll of film or video tape, appropriately numbered 00:00:00:00.
zero-level: A level of 0dBV. All measurements are made relative to this level as it represents (in properly calibrated equipment) the optimal recording or broadcast level. Higher signal levels than this indicate the possibility of overmodulation. Significantly lower levels than this indicate the possibility of undermodulation. See decibel, operating level.
zero-locate: See auto locator.
zero return: A control on a tape recorder which will automatically stop the tape on rewind when the tape counter reaches zero.
zone: See split point.
Appendix A
Logarithms
Exponents
A logarithm (log) is the exponent to which a given base must be raised to equal the quantity. For example:
Since Log2 = 100 , then the log of 100 to the base 10 is equal to 2, or, Log10 100 = 2
Bases
There are three popular bases in use: 10, 2, and e . Logarithms to the base 10 are called common logarithms (log). Logarithms in base e are called natural logarithms, where e ≈ 2.71828 , abbreviated Ln:
Base 10
Log10 2 0.301 is 100.301 2
Log10 200 2.301 is 102.301 200
Base 2
Log2 83 is 238
Log2 2568 is 28 256
Base e
Lne 2.71828=1 is e1 = 2.71828
Lne 7.38905= 2 is e2 = 7.38905
Rules of Exponents
Since a logarithm is an exponent, the rules of exponents apply to logarithms:
log (M N) = (log M) + (log N) log (M/N) = (log M) - (log N)
log M N= N log M
Decibels
The bel is a logarithmic unit used to indicate a ratio of two power levels (sound, noise, or signal voltage, or microwaves). It is named in honor of Alexander Graham Bell (1847-1922) whose research accomplishments in sound were fundamental. A 1-bel change in strength represents a change of ten times the power ratio. In normal practice, the bel is a rather large unit, so the decibel (dB), which is 110 of a bel, is commonly used.
Number ofdB = 10 log P2/P1
A 1dB increase is an increase of 1.258 times the power ratio: 1dB = 10 log 1.258. A 10dB increase is an increase of 10 times the power ratio, or 10dB = 10 log 10.
Other examples are:
3dB = 2 times the power ratio 20dB = 100 times the power ratio -30dB = 0.001 times the power ratio
Note that the decibel is not an absolute quantity. It merely represents a change in power level relative to the level at some different time or place. It is meaningless to say that a given amplifier has an output of xdB unless that output is referenced to a specific power level. If we know the value of the input power, then the ratio of the output power to the specific input power (the power gain) may be expressed in dB.
If a standard reference level is used, then absolute power may be expressed in dB relative to that standard reference, commonly 1mW. Power refrenced to this level is expressed in dBm. Here are a few power ratios and associated dBms:
Power Ratio |
dBm |
1.258 |
1 |
2 |
3 |
10 |
10 |
100 |
20 |
0.001 |
-30 |