| Term | Definition |
|---|---|
| console |
Another term for a sound mixer, usually a large desk-like mixer. |
| cueing |
In broadcast, stage and post-production work, to “cue up” a sound source (a record, a sound effect on a CD, a song on a tape) means to get it ready for playback by making sure you are in the right position on the “cue,” making sure the level and EQ are all set properly. This requires a special monitoring circuit that only the mixing engineer hears. It does not go out on the air or to the main mixing buses. This “cueing” circuit is the same as pre-fader (PFL) solo on a Mackie mixer, and often the terms are interchangeable. |
| D/A converter (DAC) |
Digital-to-analog converter, a device that transforms incoming digital signals into analog form. |
| damping |
Damping factor is a number that represents the ratio of the impedance of the load to the output impedance of the amplifier. In practical terms, it is a measure of how well the amplifier can control the movement of a speaker's cone. The greater the damping factor, the better its ability to control the cone's movement. A low damping factor (high amplifier output impedance) allows a woofer to continue to move after the signal stops, resulting in an indistinct and mushy low frequency response. A high damping factor (200 or above) provides excellent control over low frequency woofers and produces a tight, clean bass. |
| DAT |
Digital Audio Tape is a recording/playback system where analog signals are converted to digital form and stored on magnetic tape. It offers all the benefits of digital audio including low noise and wide dynamic range. |
| DAW |
Digital Audio Workstation is a dedicated recording/editing software application and hardware system, used for hard disk (non-linear) random access recording and playback. Many DAWs are used with personal computers using Windows® or Macintosh® operating systems, though some use their own proprietary computers. |
| dB |
See decibel. |
| dBA |
Sound Pressure Level (SPL) measured with an "A" weighting filter. |
| dBm |
A unit of measurement of power in an electrical circuit, expressed in decibels referenced to 1 milliwatt. The “m” in dBm stands for “milliwatt.” In a circuit with an impedance of 600 ohms, this reference (0 dBm) corresponds to a signal voltage of 0.775 VRMS (because 0.775 V across 600 ohms equals 1 mw). |
| dBu |
A unit of measurement of audio signal voltage in an electrical circuit, expressed in decibels referenced to 0.775 VRMS into any impedance. Commonly used to describe signal levels within a modern audio system. Nobody is really sure if “u” stands for anything. |
| dBV |
A unit of measurement of audio signal voltage in an electrical circuit, expressed in decibels referenced to 1 VRMS across any impedance. Commonly used to describe signal levels in consumer equipment. To convert dBV to dBu, add 2.2 dB. |
| decibel (dB) |
The dB is a ratio of quantities measured in similar terms using a logarithmic scale. Many audio system parameters measure over such a large range of values that the dB is used to simplify the numbers. A ratio of 1000:1=60 dB. Since dB is a unitless quantity, it doesn’t matter if it’s volts or dollars. (just try asking the chief engineer for a 3 dB raise) When one of the terms in the ratio is an agreed upon standard value such as 1.23 V, 1 V or 1 mw, the ratio becomes an absolute value, i.e., +4 dBu, -10 dBV or 0 dBm. |
| delay |
In sound work, delay usually refers to an electronic circuit or effects unit whose purpose it is to delay the audio signal for some short period of time. Delay can refer to one short repeat, a series of repeats or the complex interactions of delay used in chorusing or reverb. When delayed signals are mixed back with the original sound, a great number of audio effects can be generated, including phasing and flanging, doubling, Haas precedence-effect panning, slap or slapback, echo, regenerative echo, chorusing and hall-like reverberation. Signal time delay is central to many audio effects units. It’s handy in the dark. |
| diffraction |
The bending of sound waves around an obstacle (Huygens Principle). The longer the wavelength in comparison to the obstacle, the more the wave will diffract around it. |
| dipping |
The opposite of peaking, of course, used in audio to describe the shape of a frequency response curve. A dip in an EQ curve looks like a valley, or a dip. Dipping with an equalizer reduces a range of frequencies. |
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