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Glossary
Glossary
Please click on the relevant letter to view all items in that section.
If you cannot find the information you require please use the support enquiry form link on the right and we will endeavor to help.
A-B Test
A direct comparison between two pieces of equipment, or two design alternatives. Everything in the system is unchanged except the item under test, which is switched between the two alternatives.
A/D, (A to D)
Circuit for converting analogue waveforms into a series of equally spaced numerical values represented by binary numbers. The more 'bits' a converter has, the greater the resolution of the samp.
See also D/A
AC ADAPTOR
22/03/2005
A transformer that plugs into your synthesiser and your wall socket. This cube converts AC power into the DC power that synthesisers require.
Alternating Current
22/03/2005
ACTION
22/03/2005
This relates mostly to the height of the strings off the fret board. A low action refers to a low string height and conversely high string height for a high action. The action is determined by the setting of the truss rod, saddle and nut.
This term can also be applied to a keyboard action
This term can also be applied to a keyboard action
ACTIVE SENSING
22/03/2005
A system used to verify that a MIDI connection is working, that involves the sending device sending frequent short messages (3 times per second) to the receiving device to reassure it that all is well. If these active sensing messages stop for any reason, the receiving device will recognise a fault condition and switch off all notes.
Note: Not all MIDI devices support active sensing.
ADAT
22/03/2005
ADDITIVE SYNTHESIS
22/03/2005
A system for generating waveforms or sounds by combining basic waveforms or sampled sounds prior to further processing with filters and envelope shapers.
AFL
22/03/2005
After Fade listen; a system used within mixing consoles to allow specific signals to be monitored at the level set by their fader of level control knob. Aux sends are generally monitored AFL rather than PFL
AFTERTOUCH
22/03/2005
A means of generating a control signal based on how much pressure is applied to the keys of a MIDI keyboard.
Most instruments that support this do not have independent pressure sensing for all keys, but rather detect the overall pressure by means of a sensing strip running beneath the keys.
Aftertouch may be used to control such functions as vibrato depth, filter brightness, loudness and
ALGORITHM
22/03/2005
AMBIENCE
22/03/2005
The result of sound reflections in a confined space being added to the original sound. Some digital reverb units may also create ambience electronically. The main difference between ambience and reverberation is that ambience doesn't have the characteristic long delay time of reverberation - the reflections mainly give the sound a sense of space.
AMP
23/03/2005
ADSR
The basic envelope of a synthesiser. This type of envelope is probably the most common type, especially on early synthesisers and is still used today. Incidentally, each letter stands for a basic parameter of the envelope: Attack, Decay, Sustain, Release.
AFL
After Fade listen; a system used within mixing consoles to allow specific signals to be monitored at the level set by their fader or level control knob. Aux sends are generally monitored AFL rather than PFL
ALIASING
22/04/2005
When an analogue signal is sampled for conversion into digital data. The sampling frequency must be at least twice that of the highest frequency component of the input signal. If this rule is disobeyed, the sampling process becomes ambiguous, as there are insufficient points to define each cycle of the waveform, resulting in enharmonic frequencies being added to the audible signal.
AMPLIFIER
22/04/2005
AMPLITUDE MODULATION
22/04/2005
A process that allows you to modify the amplitude (or level) of a sound using various other signal sources. This allows you to produce a range of tremolo or timbre modulation (wah-wah) type of effects.
AMPLITUDE
22/04/2005
ANALOGUE SYNTHESIS
22/04/2005
A system for synthesising sounds by means of analogue circuitry, usually by filtering simple repeating waveforms.
ATTENUATE
22/04/2005
ANALOGUE
22/04/2005
Circuitry that uses a continually changing voltage or current to represent a signal. The origin of the term is that the electrical signal can be thought of as being 'analogous' to the original signal.
ANTI-ALIASING FILTER
Filter used to limit the frequency range of an analogue signal prior to A/D conversion so that the maximum frequency does not exceed half the sampling rate.
APPLICATION
22/04/2005
ARPEGGIATOR
22/04/2005
Device (or software), that allows a MIDI instrument to sequence around any notes currently being played. Most arpeggiators also allows the sound to be sequenced over several octaves, so that holding down a simple chord that can result in an impressive repeating sequence of notes.
ATTACK
22/04/2005
Part of the ADSR envelope, the control that determines the time it takes to get to the maximum attack level. Or put another way, the time taken for a sound to achieve maximum amplitude. Drums have a fast attack, whereas bowed strings have a slow attack. In compressors and gates, the attack time equates to how quickly the processor can change its gain.
AUDIO FREQUENCY
22/04/2005
AUX
22/04/2005
Control on a mixing console designed to route a proportion of the channel signal to the effects or cue mix outputs (Aux Send).
AUX SEND
22/04/2005
AUX RETURN
22/04/2005
BAUD RATE
27/04/2005
Unit of measure equivalent to the number of bits transmitted per second. Midi data travels at 31.25 kbaud.
BOUNCING
27/04/2005
The process of mixing two or more recorded tracks together and re-recording these onto another track.
BPM
BUFFER
27/04/2005
A buffer is a data area shared by hardware devices or program processes that operate at different speeds or with different sets of priorities. The buffer allows each device or process to operate without being held up by the other.
BUG
27/04/2005
BUS
27/04/2005
A common electrical signal path along which signals may travel. In a mixer, there are several buses carrying the stereo mix, the groups, the PFL signal, the aux sends and so on. Power supplies are also fed along busses.
CARDIOID
CD-R BURNER
27/04/2005
CD-R
27/04/2005
A recordable type of Compact Disc that can only be recorded once - it cannot be erased and/or reused.
CHANNEL
27/04/2005
Or MIDI Channel. Each MIDI cable has 16 channels which a synthesiser can transmit and receive data on them. One must match the channels in the slave device to the channels in the master to get the correct data.
CLIPPING
27/04/2005
Severe form of distortion that occurs when a signal attempts to exceed the maximum level that a piece of equipment can handle. Trim controls are used to compensate for this.
COMBINATION MODE (Combi)
27/04/2005
A mode where several "program mode" sounds (or Timbres ) are combined together to make up the overall sound you are hearing. You can then individually edit each timbres volume, pan etc to give a more desired effect. The saved combi can then be imported into the sequencer for use in recording.
D/A, (D to A)
27/04/2005
DECAY
27/04/2005
The progressive reduction in amplitude of a sound or electrical signal over time. In the context of an ADSR envelope shaper, the Decay phase starts as soon as the Attack phase has reached its maximum level. In the Decay phase, the signal level drops until it reaches the Sustain level set by the user. The signal then remains at this level until the key is released, at which point the Release phase is entered.
DIGITAL OUTPUT
27/04/2005
A special output allowing the synthesiser to communicate with other digital machines with the same digital connection. Keeping signals digital will result in no noise developing.
DIN CONNECTOR
27/04/2005
Consumer multi-pin signal connection format, also used for MIDI cabling. Various pin configurations are available.
DRIVER
27/04/2005
Piece of software that handles communications between the main programme and a hardware peripheral, such as a soundcard, printer or scanner.
DUBBING
27/04/2005
DUMP
27/04/2005
To transfer digital data from one device to another. A Sys Ex dump is a means of transmitting information about a particular instrument or module over MIDI, and may be used to store sound patches, parameter settings and so on.
See also Sys Ex (System Exclusive)
See also Sys Ex (System Exclusive)
ENVELOPE
27/04/2005
It gives sound its shape. It tells when the synthesiser volume should go up and down in volume, and the time it should take to go up and down. Synthesisers commonly used an envelope type called ADSR. See attack, delay, sustain, release.
EQUALISER
27/04/2005
A device that allows you to emphasise (boost) certain frequencies while de-emphasising (cut) others.
FORMANT
27/04/2005
Frequency component or resonance of an instrument or voice sound that doesn't change with the pitch of the note being played or sung.
For example, the body resonance of an acoustic guitar remains constant, regardless of the note being played.
For example, the body resonance of an acoustic guitar remains constant, regardless of the note being played.
GAIN
28/04/2005
GENERAL MIDI
28/04/2005
An addition to the basic MIDI specs to assure a minimum level of compatibility when playing back GM format song files. The specification covers type and program number of sounds, minimum levels of polyphony and multitimbrality, response to controller information and so on.
GM RESET
28/04/2005
A universal sysex command that activates the General MIDI mode on a GM instrument. The same command also sets all controllers to their default values and switches off any notes still playing by means of an All Notes Off message.
GM SOUNDS
28/04/2005
The original standard for common MIDI files found on many keyboards and most soundcards today. Most of the MIDI files transmitted over the net are in the General MIDI formats. It defines what instruments go where and minimum polyphony, among other things. Some feel it is too limiting, though.
GE
25/08/2005
HARD DISK
28/04/2005
A hard disk is part of a unit, often called a disk drive, hard drive or hard disk drive It’s used for storage, and provides relatively quick access to large amounts of data on an electro-magnetically charged surface or set of surfaces. Today's drives typically come with a capacity of several billion bytes (gigabytes) of storage.
HARMONICS
28/04/2005
A signal component whose frequency is a whole multiple of the fundamental frequency.(Shown in the diagram as 2f – twice the fundamental, 3f etc)
I C
28/04/2005
Integrated circuit. Electronic circuit incorporating the thousands of components such as resistors, capacitors, resistors, diodes etc.
I/O
28/04/2005
INITIALISE
28/04/2005
KARMA FUNCTION
28/04/2005
The Karma function automatically generates a wide range of phrases or patterns in response to the note data played on the keyboard or received via midi. These can be guitar patterns, bass phrases or drum patterns.
KEYBOARD TERMINOLOGY
28/04/2005
Weighted - to make an attempt to feel like a piano key. These can be found in the entire PRO X / 88 note range of keyboards and the piano ranges.
Semi-weighted - This action is a compromise between the two. While the keys may be weighted down somewhat to help on the expressiveness, the feel is a lot different from a piano. – Triton Standard and Pro
Un-weighted keys have no weighting at all. In other words, they feel exactly like standard keyboard keys – Triton Extreme 61, Le 61 Karma etc
Un-weighted keys have no weighting at all. In other words, they feel exactly like standard keyboard keys – Triton Extreme 61, Le 61 Karma etc
KSF
05/08/2005
Korg Sample File
The structure for these files consists of a Sample Parameter chunk, Sample Data chunk, and Sample Number chunk (SMP1 + SMD1 + SNO1). Each with a value in bytes.
Another type consists of a Sample Parameter chunk, Sample Data chunk, Sample Filename chunk, and Sample Number chunk (SMP1 + SMD1 + SMF1 + SNO1).
The latter structure is used where the sample data of the Sample chunk is empty, and uses the sample data of the .KSF file specified by the Sample Filename chunk (shared sample data).
Please refer to your owners manual for specific information on this type of file.
KSC
05/08/2005
Korg Script File
These files are text files which contain a list of filenames for .KMP/ .KSF files which are to be handled together.
When data is saved using “Save All,” “Save All Multisample” or “Save One Multisample,” the individual .KSF files
used by the Multisample (the .KMP file) are automatically given filenames.
Please refer to your owners manual for specific information on this type of file.
KMP
05/08/2005
Korg Multisample Parameter file.
This is the file that contains the information about your multi-sample.
Chunk ID (‘MSP1’)
Chunk size (fixed at 18)
Multisample name
Number of samples in the multisample
Attributes
Please refer to your owners manual for specific information on this type of file
MIDI
28/04/2005
Musical Instrument Digital Interface.
A communications system which allows one instrument or device to control another instrument or device. See options below.
A communications system which allows one instrument or device to control another instrument or device. See options below.
MIDI BANK CHANGE
28/04/2005
A type of controller message used to select alternate banks of MIDI Programs where access to more than 128 programs is required.
MIDI CLOCK
28/04/2005
A timing reference sent out by MIDI cables and can be used to co-ordinate devices together or syncronise.
MIDI CONTROL CHANGE
28/04/2005
Also knows as MIDI Controllers or Controller Data, these messages convey positional information relating to performance controls such as wheels, pedals, switches and other devices.
This information can be used to control functions such as vibrato depth, brightness, portamento, effect levels, and many others.
Refer to the MIDI implementation chart of your user manual to see what controllers your unit will respond to.
This information can be used to control functions such as vibrato depth, brightness, portamento, effect levels, and many others.
Refer to the MIDI implementation chart of your user manual to see what controllers your unit will respond to.
MIDI CONTROLLER
28/04/2005
A term used to describe the physical interface by means of which the musician plays the MIDI synthesizer or other sound generator. Examples of controllers are keyboards; drum pads, wind synths and so on.
MIDI FILES
28/04/2005
On the net there are many places which offer .MID files that people can play.
In general, .MID files are nothing more than files created in a sequencer, generally designed for GM (General MIDI) synthesisers so that almost everyone with a sound card can play it.
The files are saved in a format known as the Standard Midi File or SMF format.
In general, .MID files are nothing more than files created in a sequencer, generally designed for GM (General MIDI) synthesisers so that almost everyone with a sound card can play it.
The files are saved in a format known as the Standard Midi File or SMF format.
MIDI IMPLEMENTATION CHART
28/04/2005
A chart, usually found in owners manuals, which provides information as to which MIDI features are supported.
Supported features are marked with a 0 while unsupported feature are marked with a X.
Additional information may be provided, such as the exact form of the Bank Change message.
Supported features are marked with a 0 while unsupported feature are marked with a X.
Additional information may be provided, such as the exact form of the Bank Change message.
MIDI PROGRAM CHANGE
28/04/2005
Type of MIDI message used to change sound patches on a remote module or the effects patch on a MIDI effects unit.
MIDI SYNC
28/04/2005
A description of the synchronisation systems available to MIDI users - MIDI Clock and MIDI Time Code.
MIDI THRU
28/04/2005
MLAN
28/04/2005
A networking system designed in an attempt to overcome the problems of complexity and inflexibility in many of today's music production systems by allowing many channels of digital audio and MIDI music data to be transferred via a single cable.
MULTI-TIMBRAL
28/04/2005
A keyboard that can play more than one sound at once and should not be confused with polyphony.
Early keyboards were not multitimbral, and could only play one sound at once, regardless of the polyphony they had. Nowadays a keyboard can play many instruments at once.
Early keyboards were not multitimbral, and could only play one sound at once, regardless of the polyphony they had. Nowadays a keyboard can play many instruments at once.
MULTISAMPLE
28/04/2005
A sound that is made up of several samples spanned over the keyboard. For example, a piano sound could be made up of seven samples, each at an octave point of the piano, spanned over the keyboard. This creates a more realistic sound.
Or
To use several samples spanned across various portions of the keyboard, in one sound. This creates a more realistic sound.
Or
To use several samples spanned across various portions of the keyboard, in one sound. This creates a more realistic sound.
NON REGISTERED PARAMETER NUMBER (NRPN)
29/04/2005
An addition to the basic MIDI spec that allows Controllers 98 and 99 to be used to control non-standard parameters relating to particular models of synthesizer. This is an alternative to using System Exclusive data to achieve the same ends.
NORMALIZE
29/04/2005
The volume of the data defined by a start and end point will be adjusted uniformly. You can use normalize to increase or decrease the dynamic range of sample data or audio tracks.
PCG FILE
29/04/2005
These files contain Programme, Combination and Global data about a particular keyboards settings and sounds.
PFL
29/04/2005
Pre Fade Listen; a system used within a mixing console to allow the operator to listen in on a selected signal, regardless of the position of the fader controlling that signal.
PHANTOM POWER
29/04/2005
+48V DC supply for capacitor microphones, transmitted along the signal cores of a balanced mic cable.
A switch is provided to turn this voltage on and off on each channel that has phantom power.
A switch is provided to turn this voltage on and off on each channel that has phantom power.
A few cautions with phantom power:
Do not connect microphones that do not conform to the DIN 45 596 standard.
Do not connect A-B or T-system microphones without suitable adaptors.
PHONO PLUG
29/04/2005
Hi-Fi connector developed by RCA and used extensively on semi-pro, unbalanced recording equipment. (see picture)
POLYPHONIC
29/04/2005
POLYPHONY
29/04/2005
PORTAMENTO
29/04/2005
A gliding effect that allows a sound to change pitch at a gradual rate, rather than abruptly, when a new key is pressed or MIDI notes sent.
PROGRAM CHANGE
29/04/2005
Programe mode (Prog)
05/08/2005
A mode that containes a single sound that can be edited to give a more useable sound. The saved sound can then be used as part of a Combination (see combination mode) or as part of a sequence.
PCM
05/08/2005
Pulse Code Modulation.
This a way of electronically storing recorded sounds on PCM-encoded ROM. (Read Only Memory)
The sound is then heard by the player and can be edited and used to make up a combination or as part of a sequence.
QUANTIZE
29/04/2005
A means of moving notes recorded in a MIDI sequencer so that they line up with user-defined subdivisions of a musical bar, for example, 16s.
The facility may be used to correct timing errors, but over-quantization can remove the human feel from a performance.
The facility may be used to correct timing errors, but over-quantization can remove the human feel from a performance.
RATE CONVERT
29/04/2005
RELEASE
29/04/2005
In an ADSR envelope, the control that determines how long it takes to go from the sustain level to 0 when the note is released.
The time taken for a level or gain to return to normal.
Often used to describe the rate at which a synthesised sound reduces in level after a key has been released.
The time taken for a level or gain to return to normal.
Often used to describe the rate at which a synthesised sound reduces in level after a key has been released.
REMS
29/04/2005
Resonant structure and Electronic circuit Modelling System.
Developed by Korg.
It precisely reproduces the complex character and nature of both acoustic and electric instruments as well as electronic circuits in real world environments.
Developed by Korg.
It precisely reproduces the complex character and nature of both acoustic and electric instruments as well as electronic circuits in real world environments.
RTC or RTC Model
25/08/2005
All preset GE's have an internally specified RTC (Real Time Control) Model. The RTC Model is a standardization of the internal parameters of a GE based on the type and purpose of the GE.
S/P DIF
29/04/2005
SAMPLE RATE
29/04/2005
SCSI
29/04/2005
Small Computer Serial Interface.
A high-speed communications system that allows electronic pieces of equipment to communicate to each other. Often used in samplers for tasks such as storage. Not as common today as a few years ago but still used in some cases.
A high-speed communications system that allows electronic pieces of equipment to communicate to each other. Often used in samplers for tasks such as storage. Not as common today as a few years ago but still used in some cases.
SINE WAVE
29/04/2005
SMART MEDIA
29/04/2005
Smart media is a 3.3v storage memory card with a capacity of 4-128 Mbytes
Used with Korg equipment such as PXR4, Triton Le.
Used with Korg equipment such as PXR4, Triton Le.
SQUARE WAVE
29/04/2005
STANDARD MIDI FILE
29/04/2005
A standard file format for storing song data recorded on a MIDI sequencer in such as way as to allow it to be read by other makes or models of MIDI sequencer.
Sometimes referred to as SMF.
Sometimes referred to as SMF.
SUSTAIN
29/04/2005
In an ADSR envelope, the control that determines the level that the sound is played at while the note is being held, and after the other envelope portions (Attack and Decay) have been cycled through.
SYS EX
29/04/2005
Stands for System Exclusive.
A form of MIDI data used to transmit information exclusively to a particular synthesizer or MIDI device.
A form of MIDI data used to transmit information exclusively to a particular synthesizer or MIDI device.
TAP TEMPO
29/04/2005
A dedicated tap tempo button.
Lightly press the button at the desired tempo you feel until the display indicates a tempo.
You can further manually adjust it by highlighting the BPM and turning the jog wheel to change the value.
Lightly press the button at the desired tempo you feel until the display indicates a tempo.
You can further manually adjust it by highlighting the BPM and turning the jog wheel to change the value.
TIMBRE
29/04/2005
TIME STRETCH
29/04/2005
This is a function that modifies the tempo by lengthening or shortening the length of data without affecting the pitch.
Usually used with sample data.
Usually used with sample data.
TRANSPORT KEYS
29/04/2005
TRANSPOSE
29/04/2005
A function that allows you to shift the entire keyboard up and down in keys. Usually, the transposition is done in semitones (or one note in a key; i.e., +1 transposition would make a C a C#, a C# a D, etc.).
TRIANGLE WAVE
29/04/2005
Symmetrical triangular shaped wave containing odd harmonics only, but with a lower harmonic content than the square wave.
TRIM
29/04/2005
Adjusts the input signal so that the LED that indicates input does not appear red and will cause clipping and distortion on the track.
Also it can be used to raise weak or quiet signals comming in to an acceptable level.
Also it can be used to raise weak or quiet signals comming in to an acceptable level.
TRUNCATE
29/04/2005
Truncate deletes unwanted data outside a start and end range when editing a wave file in sample mode.
USB
29/04/2005
Universal Serial Bus is a plug-and-play interface between a computer and add-on devices such as keyboards, and multi track recorders.
With USB, data can be transferred for storage on a PC or MAC for recovery later.
With USB, data can be transferred for storage on a PC or MAC for recovery later.
VELOCITY
29/04/2005
The rate or value at which a key is depressed. This may be used to control loudness (to simulate the response of instruments such as pianos) or other parameters.
VOCODER
29/04/2005
Every time you speak, your voice is combined with the keyboard to make it sound like the keyboard is talking. A very robot-like effect.
WORD CLOCK
29/04/2005
The precise and accurate timing of digital audio samples is critical to the correct operation of interconnected digital audio equipment. The 'metronome' that governs sample timing is called the Word Clock (sometimes conjoined to 'Word clock', or abbreviated to 'Wclk').
However, word clock does more than merely beat time; it also identifies the start and end of each digital word or sample, and which samples belong to the left or right channels. Digital interfaces such as the AES-EBU and S/PDIF embody clock signals within the data stream, but it is often necessary to convey a discrete word clock between equipment as a square wave signal running at the sampling rate.
Dedicated word clock inputs and outputs on digital equipment generally use BNC connectors.
However, word clock does more than merely beat time; it also identifies the start and end of each digital word or sample, and which samples belong to the left or right channels. Digital interfaces such as the AES-EBU and S/PDIF embody clock signals within the data stream, but it is often necessary to convey a discrete word clock between equipment as a square wave signal running at the sampling rate.
Dedicated word clock inputs and outputs on digital equipment generally use BNC connectors.
XLR
(eXternal Left Right or eXternal Live Return connector)
An audio plug and socket used in professional and high-end audio equipment. It uses a balanced connection and typically locks into the socket. XLR connectors are twice the size of the standard RCA plug and socket.
Type of connector commonly used to carry balanced audio signals including the feeds from microphones.
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