INDEX
A-D E-M N-W![line](https://rolandindonesia.com/wp-content/uploads/2016/07/line.jpg)
![Audio Interface](https://rolandindonesia.com/wp-content/uploads/2016/08/rct_audio_midi_interfaces.jpg)
WAV: The most common UNCOMPRESSED LOSSLESS file format.
AIFF: A less common UNCOMPRESSED LOSSLESS file format.
MP3: The most common COMPRESSED LOSSY file format that trades small file size for low audio quality.
AAC: A less common COMPRESSED LOSSY file format that trades small file size for low audio quality.
FLAC: A COMPRESSED LOSSLESS file format that has higher file sizes than MP3 or AAC but does not sacrifice audio quality. Requires a media player that can interperet FLAC files.
FREQUENCY: Refers to the number of times per second that a sound wave’s cycle repeats, with a greater frequency resulting in a higher perceived pitch; also used as shorthand for describing sound waves in audio by their pitch. FUNDAMENTAL FREQUENCY – The lowest FREQUENCY of a periodic waveform. An instrument playing at concert A has a fundamental frequency of 440Hz. GAIN: Another term for level. GROUND LIFT: If you are experiencing hums or buzz in your signal, depending on where the hum is originating from, a ground lift switch can sometimes stop it. Hi-Z: A Hi-Z switch allows you to plug an electric or acoustic electric guitar or bass directly in to your interface without losing any high end frequencies. This is great for running your guitar in to amplifier software. If you don’t have this on your interface, a DI Box will do the trick. (See this post for more information on DI boxes). I/O: Abbreviation for “in/out,” as in “inputs and outputs.” MICROPHONE: A microphone is a type of TRANSDUCER that takes external sounds that encounter its internal membrane and converts them to electrical signals. There are three main types of microphone you are likely to encounter when recording.Dynamic: A dynamic microphone uses a membrane that is attached to a coil that surrounds a magnet. Sound waves move the membrane and coil which generates electrical current. Dynamic microphones are very durable and can handle high SOUND PRESSURE LEVELS so they are often used in live applications but definitely have their place in the studio as a solid workhorse microphone
Condenser: A condenser microphone uses a thin membrane that is coated in a conductive material and placed parallel to a charged back plate to create a capacitor. Sound waves move the membrane which changes the capacitance which is measured against a resistor and translated into positive and negative electrical current. Condenser microphones require PHANTOM POWER to function and are less durable than dynamic microphones. However, they are more sensitive to transients and generally give you a more accurate signal. Condensers are often used in studio applications but can also be found on stage.
Ribbon: A ribbon microphone uses a ribbon thin membrane that is suspended in a magnetic field. The ribbon is directly connected to the microphones output and vibrations in the ribbon generate an electrical signal. Ribbon microphones are very delicate and must NEVER be supplied with PHANTOM POWER. They are most commonly found in studio use but are sparingly used in live situations if the situation calls for it.
![RT-30K](https://rolandindonesia.com/wp-content/uploads/2016/08/rt-30k_angle_gal-180x180.jpg)
Piezo: Piezo microphones use a material that generates electric current when distorted as a membrane. This allows them to pick up vibrations when placed in contact with an instrument. Electronic drums use piezo triggers to sense drum hits. For more information on drum triggers check out our complete guide to hybrid drumming.
MIDI in/out: MIDI allows you to connect your controller keyboard, guitar synth, V-Drums kit or any other instrument with MIDI outputs to your interface to access the many virtual instruments in your DAW software. It also allows you to output the same data to any instrument with MIDI inputs to remotely play the sounds on that instrument. NYQUIST FREQUENCY: Equal to half the sample rate. The Nyquist frequency helps to determine the minimum sample rate of a recording as anything lower than double the Nyquist frequency will introduce errors. The limit of human hearing ends at around the 20kHz frequency, this is why a minimum sample rate of 44.1kHz is recommended for high quality audio. OHM (Ω): a unit of measurement for the electrical RESISTANCE between two points of a conductor. Ohms are commonly used to indicate matching instrument, MICROPHONE and speaker input and outputs. For a more technical explanation see here: https://en.wikipedia.org/wiki/Ohm. PANNING: The left/right positioning of a signal within a stereo image. PHANTOM POWER: a device with phantom power allows you to plug in transistor or electret condenserMICROPHONES. Studio recordings commonly use condenser microphones for vocals, drum overheads, amp micing and acoustic instruments due to their clarity and sensitivity. This is a must have feature if you are planning on doing high quality voice over work or recording a band. Phantom power is usually either 48volt for transistor condenser microphones or somewhere in between 1.5-9volt for electret condenser microphones. POLARITY and PHASE: Polarity is the direction of an electric field, expressed by a positive (+) or negative (-) charge. In recording, a transducer sends its signal down the positive and negative wires to create an audio wave form. If two MICROPHONE are pointing at the same source from the same height and distance from the source, the signal of the two microphones will be in phase. However, if the polarity of one of the microphones is flipped, the positive and negative charge of the two waveforms will cancel each other out in a process known as phase cancellation. POLAR PATTERN: The sensitivity of a MICROPHONE to sounds coming from any given angle. There are four main polar patterns commonly used by microphones.Cardioid: A polar pattern that resembles a heart shape. Cardioid MICROPHONES are most sensitive at the front and progressively become less sensitive as you go around the sides of the microphone until it completely rejects sounds coming from the rear of the microphone.
Hyper Cardioid: A polar pattern that is similar to a cardioid pattern but trades less sensitivity from the sides of the MICROPHONE with a slightly increased sensitivity to sound coming from the rear of the microphone at short distances. As a result, any use of a hypercardioid microphone in recording should be placed at a 120 degree angle from any sound sources you would like to reject.
Bi-directional: A polar pattern also known as a figure 8 because it is most sensitive to at the front and rear of the microphone and completely rejects sound sources from the side. This polar pattern is most commonly found on Ribbon and some Condenser MICROPHONES.
Omni-directional: A polar pattern that is equally sensitive to sound sources from all angles. These MICROPHONES are excellent for capturing room sounds.
![Polar Patterns](https://rolandindonesia.com/wp-content/uploads/2016/08/Polar-patterns.jpg)