Файл: Sound Tech Terms Dictionary.pdf

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transfer:  (1)  The same as regroup.  The process of copying audio and/or video from one

medium to another, possibly combining audio and video or audio and audio (such as from a
sampler and sequencer to multitrack tape).  For example, the final audio mix for a film is
transferred (typically these days) from a digital workstation’s hard disk and written to the
audio tracks on the print master, which is then copied for distribution.  Implicit in the term
transfer is a change of medium.  Transfer from one like device to another, such as cassette
duplication, is called copying or dubbing.  (2) The magnetic film itself that results from this
copying process.  A straight transfer is made without any equalization or compression of the
audio signal as it goes from the source to the magnetic film.

transfer channel:  See channel.

transfer characteristic:  The graph of the output amplitude of an audio device vs. the input

amplitude.  If the system were perfect, the transfer curve would be a straight line and the
slope of that line would indicate the system’s gain or loss.  Also called the system’s transfer
curve.  For example, see the diagram under rotation point.

transfer curve:  See X-curve, transfer characteristic.

transfer suite:  A facility where film location sound recordings are transferred to sprocketed

magnetic tape.  The soundtrack and the film can then be mechanically synchronized.  See
Telecine.

transform coding:  Used in Dolby AC-2 and MPEG codecs, whereby an input signal is ana-

lyzed within the frequency domain as a series of narrow bands, e.g., an AC-2 en-
coder/decoder uses 256 narrow bands.  Frequency-masked bands whose information is in-
audible because of sustained tones or transients will be ignored by such systems, thereby
enabling the compression algorithm to concentrate its bit allocation on those bands which
contain subjectively relevant information.  In addition, transform-based systems use a sys-
tem of predefined waveform patterns from an established wavetable of sound models and
send only the identity code to the decoder to resynthesize the closest-fit library model.  As
opposed to, for example, ADPCM.

transformer:  A device consisting of two or more coils of wire wound on a common core of

soft iron or other magnetically permeable material.  The number of turns in one coil divided
by the number of turns in the other one is called the turns ratio.  An alternating voltage
across one coil will appear across the other coil multiplied by the turns ratio.

transformerless input:  On an audio device, an input which does not use a transformer for

impedance-matching.  Such inputs will make use of semiconductors such as transistors, and
may be described as active inputs.  Their main advantage is a saving in size, although some
argue that they give better performance than transformers, the truth of the assertion proba-
bly depending most on the quality of the device, rather than its type.

transient:  A non-periodic sound waveform or electrical signal.  Any of the non-sustaining, non-

periodic frequency components of a sound, usually of brief duration and higher amplitude
than the sustaining components and contribute most to a sound’s timbre.  Transients usually
occur near the onset of the sound such as the attacks of musical instruments, percussive
sound, or speech consonants, which are called attack transients.

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transient distortion:  This includes transient intermodulation distortion (TIM).  The beginning

and ending transients of musical sounds are largely what determine their timbre, rather than
their harmonic content.  An audio device which passes steady-state signals perfectly well may
distort the loud, high-frequency transients, causing audible coloration of the music.  Low
transient distortion means a device must have a wide, linear frequency response, no phase dis-
tortion, and no hangover.  TIM is caused by amplifier slew-limiting and is principally a problem
in solid-state amplifiers that use large amounts of negative feedback.

transient generator:  See envelope generator.

transient response:  (1) The instantaneous change in an electronic circuit’s output response

when input circuit conditions suddenly change from one steady-state condition to another.
(2) Accurate transient response is the reproduction of sound such that high-frequency and
low-frequency sounds reach the listener’s ear at the same time.  See time alignment.

transistor:  A type of solid-state device generally having three terminals called emitter, collec-

tor, and base, which has the property of letting current flow in one direction only, under the
control of a biasing voltage present at the base.  It is really an electronically operated switch,
principally used where a gain increase is required, such as in amplifiers.

transmitter:  A device for converting an audio and/or video signal into a modulated carrier

wave which can be radiated by an antenna.  By extension, any device generating output
which is sent electronically to another location.

transondent:  Possessing the ability to freely transmit sound, analogous to transparent in ref-

erence to light, e.g., the grill cloth on a speaker must be transondent.

transport:  The mechanical portions of a tape recorder, including all parts that handle and

guide the tape from the feed reel, past the head stack, and onto the take-up reel.

transport control:  The buttons on a tape recorder, i.e., Play, Rewind, FF, Stop, etc. which

control the movement of the tape within the unit.  These controls may be duplicated on a
remote unit.  More elaborate controls may include an autolocator.

transposition:  See pitch-shift.

trap:  A band-reject filter designed to eliminate a particular frequency from a desired signal,

e.g., a bass trap.

treble:  (1) The upper end of the audio spectrum, usually given to be about 2kHz-20kHz.  (2)

A high voice or musical part equivalent to soprano, particularly a part sung by a boy.  By ex-
tension, instruments which operate in a similar range may be prefixed by the term, e.g.,
treble recorder.  The treble, or G, clef is the one with middle-C one leger line below the stave.
See also alto, baritone, bass, and tenor.

tre corde:  Italian for “three strings.”  Usually used in piano music to indicate the release of

the soft pedal.  This has the effect of returning the action to its normal position so that all of the
strings available are struck.  As opposed to una corda.

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tremolo:  (1) A periodic change in amplitude, usually controlled by an LFO, with a periodicity of

less than 20Hz.  Compare with vibrato.  (2) A MIDI Controller Change message which is as-
signed to the parameter in a synthesizer which alters the depth of the effect described in
tremolo.  More recently this message has been reassigned as one of the five generalized Ef-
fects Depth messages.  See effects control.  (3) Italian for “trembling.”  A rapid reiteration of
one or more notes, especially on string instruments.

triad:  A three-note chord that is formed from any note of the scale, plus the note a third

above it and the note a third above that.  The lowest note is called the root (or root position),
and the letter name of the root is used to identify the entire triad, e.g., the triad of C.  In prac-
tice, the notes may be arranged in any order, although if the lowest note is no longer the
root, the triad is said to be inverted.  As either of the thirds can be either major or minor, four
different types of triad are possible, as shown below.  The most common are major triads
(lower interval a major third) and minor triads (lower interval a minor third).  It is important
to note that these terms refer to the structure of the interval and not to key; major triads occur
in minor keys, and vice-versa.

Minor 3rd

Major 3rd

Major

Major 3rd

Minor 3rd

Minor

Diminished

Minor 3rd

Major 3rd

Augmented

Major 3rd

Minor 3rd

Four Types of Triads

triamp:  Short for “triamplification.”  A three-way crossover network.

triangle wave:  A periodic waveform with a linear increase or decrease in amplitude, followed

by a linear change in amplitude at the same rate but in the opposite direction.  Triangle
waves exhibit a strong fundamental, with weak, odd-numbered harmonics.  Usually used for
vibrato synthesis.  See Appendix C.

trigger:  An instantaneous voltage pulse generated from a synthesizer keyboard when any

key is depressed.  The trigger is used to initiate the action of some other device, such as an
envelope generator.  The most commonly encountered form of trigger is that generated by
drum pads for electronic percussion devices.

trigger sync:  A method for slaving a DAW to the SMPTE timecode from an ATR.  The DAW

initially will sync up to the timecode when starting play or record, but once started will use its
internal clock.  This feature is available on most DAWs.  If you use a trigger sync when re-
cording to the DAW, no two passes will correspond to the ATR exactly because of its speed
variations.  Tracks from separate passes will start together, but drift in and out of sync over
time.  This is acceptable for short segments, and in the DAW, a longer audio segment can be
sliced up into smaller segments so that trigger sync is appropriate.  As opposed to continuous
sync.

trill:  A rapid alternation between one note and the note one half-step above it, played in this

manner for the notated duration of the note.  Used as ornamentation to a musical idea.  See
diminution(3).

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trim:  (1) Usually refers to a small adjustment, synonymous with tweak.  (2) The attenuation

control associated with the first stage of amplification in each module of a console, and by
which the incoming level of a mic or line input can be lowered.  Usually refers to the trimpot
on each channel of a mixer used to adjust the incoming signal to set recording levels.  (3) A
short section of exposed film, workprint, or magnetic film track that has been cut out of a take
and included in an assembly or workprint.

trimpot:  A small pot whose setting is usually adjusted by a small screwdriver, designed to be

adjusted only rarely and are used in sensitive circuits such as equalizers where they can be
finely adjusted and left for long periods.

triplet:  Three notes (or rests) executed in the time normally taken by two of the same value.

See tuplet.

tripole:  A type of loudspeaker design developed by M&K which is a combination of a direct

radiator and a bipole speaker.  These have been specifically designed for use with surround-
sound systems.

tritone:  An interval of three whole-steps, e.g., F to B.

trombone gobble:  A classic sound effect developed by Warner Bros. to accompany a cartoon

character being hit on the head.

TRS:  Tip, Ring, and Sleeve.  A type of phone connector found on patch cords for balanced

audio connection and headphones.  See also TS, TT.

truss rod:  A metal bar within a guitar neck which is tensioned so as to counteract the ten-

dency for the neck to bend under the tension of the strings.

TS: Tip and Sleeve. A type of phone connector found on patch cords for unbalanced audio con-

nection and headphones.  See also TRS, TT.

truck:  The vehicle in which video recorders, audio mixers, and other equipment is installed

for mobile productions.  Normally, sound or video trucks are permanently wired with sev-
eral record and playback decks, and have the capacity for adding extra machines when nec-
essary.  Lighting, mics, stands, and other equipment may also be carried in luggage com-
partments, so that one vehicle is a complete mobile video and/or audio recording studio.

truncation:  Trimming extraneous material for a sample’s head or tail.

TT connector:  Tiny Telephone.  TT connectors use miniature phone connector plugs with a

0.173” diameter.  Due to their compactness and reliability, TTs are often used for professional
mixer and outboard patch bays where a single patch bay may require hundreds of patch
points in a limited space.  The TRS versions of TT connectors are capable of handling balanced
line signals and are preferred in pro audio installations.  Also called a bantam.  See phone con-
nector.

tube:  An electronic device which consists of various types of electrodes (anode, cathode, etc.)

and a heating element, all contained in a vacuum.  Its simplest form, the diode, is used as a rec-
tifier.  The triode is functionally similar to a transistor.  Tubes are called valves in the UK.

Tuchel connector:  Another name for a connector which is a DIN-standard connector.

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Tune Request:  A System Common message which instructs a MIDI device to re-tune its os-

cillators.  This was useful with analog oscillators which are prone to pitch drift, but is less use-
ful with solid-state devices which generate signal based on an electronically generated clock
pulse, and hence do not drift.

tuning:  (1) The process of adjusting the frequency of a radio or television receiver to lock

onto a transmitted signal.  See carrier.  (2) The process of adjusting the pitch of all or some
notes on a musical instrument in order to confirm with the pitch of other instruments and/or
concert pitch.  See also beating, temperament, microtuning.

tuplet:  A generic term used by some sequencers for any non-standard subdivision of a beat

or beats, derived from the suffix of quintuplet, septuplet, etc., but also encompassing duplet
and triplet.  See time signature.

turd polishing:  General term, including film sound nomenclature, which describes either the

process or the futility of making poor quality work acceptable.

turnaround:  In a song or arrangement, the measure or measures in which one verse or cho-

rus ends, leading into the next section.  Also, the short instrumental or vocal lines that ac-
complish this transition.

turnover:  See adjustable turnover.

TVA:  Time-Variant Amplifier.  The amplitude section of a synthesizer.  Same as a VCA.

tweak:  To make a fine adjustment.

tweeter:  A loudspeaker designed to reproduce high frequencies.

two-ended:  See noise reduction.

two-pop:  See sync pop, LFOP.

two-track:  A tape machine which records onto two tape tracks, used primarily for stereo

mastering.  See also half track, four-track.