Файл: Sound Tech Terms Dictionary.pdf

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monitor:  (1) (noun) Originally, a loudspeaker in the control booth of a recording studio.

More recently, this means the speakers placed on the stage to allow performers to better hear
themselves, more often known as foldback.  (2) (verb) To listen to or measure a signal at some
point in the recording or synthesis chain.  (3) The section on a mixing desk for adjusting as-
pects of the monitoring process.  See monitor module.

monitor mix:  A mixed signal in a sound reinforcement console that is sent to the monitor

speakers on the stage.  Because the monitors are near the microphones, this signal is usually
highly equalized by notching out the house modes to reduce the tendency for acoustic feedback.
There may be more than one monitor mix, each routed to a different musician or section.

monitor module:  On a recording console, the module with the switching and master volume

controls for studio and control-room monitors.  This module often contains master cue mix
selector switches and cue mix volume level controls, and sometimes the master reverb sends
and returns.

monitor path:  The replay portion of the signal chain in a mixer.  See also channel path.

monitor send:  This refers to a mixer’s auxiliary send that is connected before a channel’s out-

put fader, usually called a pre-fader send.  For example, if a pre-fader send is used to route part
of a vocal track to a stage monitor, when the main vocal channel’s level is raised, the amount
sent to the monitor would be unchanged.  Monitor sends are usually used for foldback or cue
mixes.  See effects (post-fader) send.  Also called a foldback send.

mono:  Abbreviation of monophonic.  (1) Capable of producing only one note at a time.  A

clarinet is monophonic.  A bagpipe or an organ is polyphonic.  (2) An audio signal that is car-
ried by a single channel.  The number of microphones or loudspeakers that are used to gen-
erate and replay the sound is irrelevant; what counts is that the various signals are mixed to
one channel.  See monaural, stereo.

mono compatibility:  The ability of a stereo musical signal to be mixed down to a single mon-

aural channel without violence to the timbre of the signal.  The result of the addition of two
stereo channels would ideally sound like a signal that was recorded with a single micro-
phone.  Usually recorded using a coincident pair, mono-compatible stereo signals can be
added together without creating phase cancellations which damage audio quality.  See ORTF.

Mono Mode:  One of the basic reception modes of MIDI devices.  In Mono Mode, an instru-

ment responds monophonically to all notes arriving over a single MIDI channel.  In a guitar-to-
MIDI converter, each string sends data over a separate MIDI channel.  See MIDI Mode.

monophonic:  See mono.

monotic:  Literally, “with one ear.”  Generally refers to a sound presentation where only one

ear hears the sound, e.g., through a headphone.  See also dichotic, diotic.

MOR:  Middle Of the Road.  A very broad spectrum of popular music that is selected to be

offensive to few people.

MOS:  Mit Out Sound.  Or, “without sound,” in all-English.  Any shot photographed without

sync sound, also called wild picture (the analog of wild sound) or non-sync picture.

M

mother:  In vinyl record production, a positive impression made by a two-step plating proc-

ess, reproducing the exact shape of the grooves on a lacquer master on a metal disk.  In direct
metal mastering, the master itself is a mother.  From it, stamper and pressings will be made di-
rectly.

motif:  Also called motive.  In music, a short but memorable melodic or rhythmic idea.  Often

used as building blocks for longer melodies or even complete movements.  Motifs tend to
remain recognizable as a binding force in the structure even when transposed, inverted or
otherwise altered.  A famous motif is the first four notes of Beethoven’s Fifth Symphony.

motional feedback:  A type of mechanical negative feedback where the actual motion of the

cone of a low-frequency loudspeaker is used to generate a signal that is fed back to the ampli-
fier.  The motion of the cone itself is then inside the feedback loop, and distortion can be sig-
nificantly reduced.  In all motional feedback schemes, great care must be exercised to ensure
that the system is stable.  This means that phase-shift between the drive signal and the feed-
back signal must be accurately controlled.

motion controls:  The controls on a video recorder/editor analogous to transport controls on

an audio tape recorder.  There is a set of six basic transport controls:  Play, Stop, Record, Re-
hearse, Rewind, Fast Forward) and the six additional transport control functions: Location,
Cue, Allstop, Rollback, Replay, and Edit.

motion sensing:  In a tape transport, an electromechanical system designed to prevent damage

to the tape either when the operator presses the Play button while the transport is in a fast-
wind mode, or when two conflicting motion buttons are pressed simultaneously.  The system
brings the tape to a stop.

motorboating:  A low-frequency oscillation caused by certain types of instability, usually in a

power amplifier.

motor cue:  See projection.

moving coil microphone:  In a moving coil mic, a coil of wire is attached to a diaphragm and

is suspended in a magnetic field.  When sound waves vibrate the diaphragm, the coil vibrates
in the magnetic field and generates an electrical signal similar to the incoming sound wave.
For some reason, moving coil mics are called dynamic microphones, but not ribbon microphones.

Moviola:  Trade name (used generically) for an upright film editing machine common in the

U.S., containing a mono speaker.  The term is often applied to any type of viewing and/or
editing machine that runs picture and sound interlocked in sync.  It is used by the film editor
to decide which parts of specific takes of specific scenes will be used in the workprint.  The
film and soundtracks may run vertically on an upright Moviola (old-style) or horizontally on
a flatbed version.  All of these have been gradually replaced by digital audio workstations.

MP3:  An audio file codec standard, allowing an entire CD of audio data to be compressed for

streaming transmission over the internet.  (MP3 stands for MPEG 1, Layer III.)  MP3 is in-
creasingly widespread in its use to transmit internet audio, and is currently the bête noire of
the music industry, owing to the recent marketing of MP3 players (which have withstood an
injunction attempt by RIAA.)

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MPC:  Multimedia Personal Computer.  A specification stating the minimum hardware re-

quirements a computer must meet to display the MPC logo.  They include 2MB of RAM, a
16MHz 386SX processor, and 8-bit sound capabilities.  This specification was established in
1990, and has since been superseded by the MPC2 specification.

MPC2:  Multimedia PC Level 2.  This specification requires the same types of hardware as

MPC Level 1, but with increased power and capacity:  4MB of RAM, a 25MHz 486SX proces-
sor, and 16-bit sound capability.

MPEG/MPEG-1:  Moving Picture Expert Group.  A body that defined a standard for data

compression specifically for moving images: animation, audio, and video.  This compression
scheme includes its own file format.  It is a type of delta modulation (differential) compression
and hence very efficient, but not useful for nonlinear editing applications.  Compression ra-
tios are up to 200:1, lossy but acceptable.  There are three layers of MPEG1 encoding of in-
creasing complexity, each layer with its own format.  Layer I is fast with typically a 4:1 reduc-
tion in data rate with a 32-band filter bank, but offers less compression for comparable qual-
ity.  Layer II (

.MP2

 files) is a popular compromise for use with audio files with ratios of 5:1 to

12:1, retaining much of the original sound file’s quality by employing more complex spectral
analysis.  At a ratio of 8:1, CD-rate audio exhibits little audible loss.  Layer III takes longer to
compress, but offers higher ratios while retaining much of the audio quality by varying filter
bank bandwidths to better simulate the critical bands in human hearing as well as some non-
linear quantizing to increase the efficiency of the data reduction.  See MPEG-2, MPEG-3,
MPEG-4, DLS-2.

MPEG-2:  A professional standard for MPEG requiring specialized hardware and software;

not used in consumer systems.  MPEG-2 is an extension of MPEG-1 providing multichannel
surround-sound capabilities such as 5.1, although other mixes are also supported.  The origi-
nal MPEG-2 was designed to be backward compatible with MPEG-1, although an incompati-
ble MPEG-2 NBC standard has gained approval for DVDs and broadcast applications.

MPEG-3:  A later MPEG standard which uses a compression ratio of approximately 13:1.  The

format is fast enough and good enough that this format is widely used to send digital music
over data lines and is supported by Mac, PC, and UNIX platforms.  In addition, the MPEG-3
compressed file format is compatible with all computers.

MPEG-4:  Heavily influenced by Apple computer’s QuickTime™, MPEG-4 is aimed primar-

ily at game applications.  In addition to streaming video and digital audio, it allows for the
transmission of MIDI, provides a GM-compatible synthesizer, facilitates  the transfer and
playback of DLS-2 and MIDI files, and incorporates a user-configurable synthesis language.
This latter feature is called the Structured Audio Orchestra (SAOL) allowing the user to spec-
ify almost any existing synthesis method and create algorithms at one end, and have the
sound played back identically at the end-user’s player.  The MPEG-4 specification includes:
DLS-2, MIDI/DLS sync, SAOL, digital audio transmission, audio spatialization, and text-to-
speech.

MPSE:  Motion Picture Sound Editors.  A Los Angeles-based honorary organization of film

and television sound editors founded in 1965 which give out its annual “Golden Reel”
award.

M

MPU-401:  A peripheral developed by Roland for interfacing IBM PC-compatibles with MIDI

devices, eventually accepted as an interface standard by many hardware and software com-
panies.

MPX:  Short for multiplex.  The letters “MPX” when found on a button on a cassette deck

mean the button activates a 19kHz notch filter to eliminate the FM stereo pilot so it won’t cause
gain mistracking in Dolby noise reduction systems.  The Dolby playback system would sense
the pilot and mistake it for high-frequency content of the music.  The pilot can also cause
audible birdies by beating with the AC bias used in tape recorders.

ms:  Millisecond.  One thousandth of a second.

MS or M-S or M&S:  Mit Seit (or Mid-Side).  A miking technique which uses a cardioid mi-

crophone facing directly into the sound source and a figure-8 microphone facing sideways.
The figure-8 picks up the left half of the source with one phase and the right half with the in-
verted phase.  By changing the matrixing of the combined patterns of the two microphones,
the width of the apparent stereo image can be manipulated.  In M-S matrixing, the output of
the side mic is added to the main mic channel to get the left channel, and subtracted to get the
right channel.  By adjusting the level of the side mics, you can adjust the width of the stereo
image.  MS techniques are most effective in larger, live rooms where it is possible to get the
mics at least 10-15 feet away from the source and side walls.

Left

Right

Sound
Source

Mid-Side Microphone 

Placement and Response

To decode MS signals to normal left and right, pan the M mic to the center and split the S
mics to feed a pair of adjacent channels (or a single stereo channel.)  Gang the two S-faders
together, panned hard left and right.  Switch the phase reverse on the right channel.  Listening
with the monitoring switched to mono, balance the levels of the two S-channels for minimal
output (make sure there is no EQ patched into either channel.)  Once the two S-channels have
been aligned, revert to stereo monitoring, fade up the M-channel and adjust the balance be-
tween the M and S signals for the desired image spread.  Putting a phase reverse in the M-
channel will swap the stereo image; the image width can be varied from mono to stereo to
extra-wide by moving the S-fader.

M

MSB:  Most Significant Bit.  The leftmost (highest) value in any numbering system, but spe-

cifically the highest value (binary) bit, although sometimes it can mean Most Significant Byte.
As opposed to the LSB.

MTC:  MIDI Time Code.  One of two protocols for MIDI Sync.  MTC is a way of transmitting

SMPTE timecode or other time-reference data over a MIDI cable.  SMPTE and MTC don’t pro-
vide any start or stop commands, nor do they change with tempo.  They provide an absolute
(positional) timing reference in minutes and seconds, rather than a music-related timing ref-
erence in bars and beats.  Unlike SMPTE, MTC must share a MIDI cable with sequence in-
formation, so it is not as fast or accurate.  This is not usually a problem, but if the MIDI chan-
nel is close to capacity, MTC data may be delayed, producing a small amount of timing jitter.
An additional part of the MTC specification is the Setup message, which allows the specifica-
tion of a list of events that should occur at specific times.  See MIDI Delay(2), MIDI Clock.

MTS:  See BTSC.

MU:  Musicians’ Union.  (UK)

muddy:  A subjective term that describes a type of intermodulation distortion which reduces

the clarity or transparency of the sound of a musical instrument, particularly transients, by
adding partials to the natural harmonics of the instrument.  Also used to describe the effect of
group delay distortion.

mufex:  Se M&E.

mult:  Short for multiple.  A connection, usually in the form of an outboard box, that shorts

two or more signals together.  Often found in use at a patch bay where a group of jacks are
connected in parallel.  If one or other or both of the signals are at a low impedance, the mult
will cause distortion and a reduction in level; not a substitute for a mixer.

multiband audio processor:  A type of compressor, used by FM radio stations, which breaks

up the audio frequency spectrum into from three to five bands, runs them through individual
compression components, and then add them back together, resulting in a kind of re-
equalization.  This process tends to even out the bands, reducing the boominess of mixes
with heavy bass, and the tinniness of mixes with a lot of high-frequency signal.  See split-band
compression.

multichannel:  (1) In film, used to refer to a final mix that includes more than stereo informa-

tion, i.e., LCRS or six-channel surround-sound formats.  (2) In audio, any recording or playback
system with at least two tracks.

Multichannel TV Sound (MTS):  A standard for transmitting stereo audio signals to home

television sets.

multicore:  See snake.

multieffects processor:  An effects processor which is capable of producing several types of ef-

fects at once.

Multi Mode:  A MIDI reception mode in which a multitimbral module responds to MIDI in-

put on two or more channels, typically playing a different patch on each channel.  See MIDI
Mode.