The synth circuits for minilogue are all new ground up designs, delivering a synthesizer experience like no other. Unprecedented in this class, it’s a four-voice polyphonic true-analog synth with an interface that's designed for accessibility. Whether you're performing live or producing in the studio, the minilogue is the fastest way for the user to explore and implement real analog synthesis in any situation. The structure consists of 2VCO, 1VCF, 2EG, 1VCA, and 1LFO. The minilogue's unique wave shape capability lets you fine tune the oscillators’ harmonics, creating the most divine sounds and compositions. The minilogue is also equipped with a variety of powerful types of modulation including cross modulation, oscillator sync, and ring modulator, as well as a delay with a high-pass filter. Powerful sound creation and rich variety are the true hallmarks of an analog synthesizer.
A TYPE A-D CONVERTER A2 AAC Digital audio encoding format. The name stands for Advanced Audio Coding. The format provides slightly better audio quality than the MP3 format. File extensions in use for AAC files include .m4a, .m4b, .m4p, .m4v, .m4r, .3gp, .mp4, .aac. AAC is used on all Apple devices (including iTunes downloads), and was developed in 1997. Like MP3, it uses lossy compression, but provides an improvement in audio quality for the same file size. AB AB POWERING ABO ABSORPTION ABTT ABTT Website AC Short for ALTERNATING CURRENT. An AC cord or cable is used to connect between a mains power socket and a piece of equipment. A range of different connectors are used to connect to the equipment. The 3-contact IEC cable is common in Europe, and is sometimes known as a Kettle Lead. A figure 8 cable is used on smaller equipment which is double-insulated and has just two connections. Powercon is used on heavier duty equipment and locks into place to prevent accidental disconnection. ACOUSTIC PICK-UP ACOUSTIC SHELL ACOUSTICS ACTIVE ADAM ADAPTOR 1) Connector which allows two or more electrical devices to be connected to a single power outlet. The connection is normally parallel, that is, each device is fed the same voltage, but the current is divided between them. Sometimes known as a 'Twofer'. A three-way splitter is known as a 'Threefer'. A Series splitter is also available where a voltage is shared equally between two loads. 2) Also an ADAPTOR can be the same as a JUMPER. See SERIES SPLITTER, JUMPER and GRELCO. ADAT ADDRESS (LIghting) Each item of equipment controlled by DMX512 has an address, which is the first DMX control channel to which it will respond. A dimmer rack requires 1 DMX channel per dimmer. A moving light requires many DMX channels. For example, in a situation where you have three 6-way dimmer racks, the first should be addressed to 1, the second to 7 and the third to 13. Moving lights requiring 16 DMX channels each might be addressed to 120, 137, 154 etc. The address is either set via pushbuttons (up / down) to get to the correct channel, via a menu screen, via small rotary selectors where you can set each digit of the address, or via DIP switches where each switch represents a binary digit which combine to give the full address. In larger systems, where more than 512 channels are required, each block of 512 addresses is called a Universe. By default, Universe 1 is used, so DMX address 120 on Universe 1 is known as 1/120. Some control desks permit the use of absolute addresses, where the first address of the 2nd Universe, normally called 2/001, is numbered 513. ADR AEOLIPHONE Video AERIAL AES/EBU AGC AMBIENT NOISE AMP Abbreviation for ; 1) AMPERE2) AMPLIFIER AMPLIFIER Sound equipment that amplifies/boosts the low voltage, low current audio signal from a computer, mixing desk etc. into a higher current signal suitable for driving speakers. As a general rule, each speaker in a sound system requires a separate amplifier. Each amplifier unit usually contains two amplifiers (for the two stereo components (left and right) of the sound signal), so with a single amplifier box, you can drive two speakers. See POWER AMPLIFIER, CROSSOVER. AMPLITUDE ANALOGUE SIGNAL A continuously variable signal that can have any value over a given range. 1) In lighting: an analogue voltage within the range 0 to 10 Volts can have values of 0, 2, 8.785 or any value between. Most dimmers require an analogue voltage in order to operate (from 0 to -10V or 0 to +10V depending on the manufacturer). Most lighting control desks produce a digital multiplexed output, which is converted by a demux box to an analogue signal for the dimmer. See also Digital dimmer. 2) Sound: An analogue recording will record the exact waveform of the original sound, simply converting it to an electrical signal at the microphone, and back into air movement at the speaker. See DIGITAL. ARRANGEMENT ARRAY ARTIC Short for Articulated Lorry. Lorries of 40 feet length (or more) are used to transport sets, costume, props and sound & lighting equipment from venue to venue. A number of companies specialise in moving theatrical and musical tours around the country / world. Known in the USA as a SEMI (short for Semi-Trailer, where a trailer box with a rear axle only is pulled by a tractor unit). ATMOSPHERE ATMOSPHERIC SOUND Ambient or Atmospheric sound can be used to define a location or to help the audience to understand the world of the play better. In live performance, it consists of subtle and carefully balanced audio effects which should not overshadow the performance, but set the scene. In film-making, atmospheric sound in a location (with no dialogue or other actor sounds) is recorded so that a consistent audio background is available, to make sound editing an easier process, to smooth-over edits. The recording of atmospheric sound is known as the 'wild track'. ATTENUATE AUDIO AUTOMATIC STOP AUTOMATION 1) Facility available on larger sound mixing desks allowing channel muting or even fader moves to be taken under the control of a computer to ensure accurate and repeatable mixing. 2) Describes the method used instead of stage crew for moving bits of set around shows with a big budget. See MOUSE, SPADE, DOG, KNIFE. Scenic Automation on Theatrecrafts.com AUXILIARY INPUT or RETURN AUXILIARY OUTPUT or SEND BACKING VOCALS (B.V.s) BACKLINE BAFFLE 1) A sheet of material used to prevent a spill of light in a lantern or in part of a set. 2) A panel in a loudspeaker cabinet designed to reduce back interference noise by isolating the front and rear of the loudspeaker diaphragm. 3) A panel in an auditorium positioned so as to reduce sound reflections and improve the acoustics of the space. 4) What most of this jargon will do to any non-technical theatrical type. BALANCED LINE BALUN A device which changes an audio or video signal from unbalanced wiring to balanced (or vice versa). The name is derived from BALanced / UNbalanced. The term is commonly seen now for devices that adapt an analogue audio or video signal so that it can travel long distances over standard wiring (such as CAT5). BANDWIDTH* BANTAM BASS BASS BIN BEAT 1) In acoustics, a periodic variation in amplitude which results from the addition of two sound waves with nearly the same frequency. Also affects radio reception. 2) A deliberate pause for dramatic / comic effect. 3) A measure of time when cueing (e.g. "The LX cue needs to go four beats after the door is closed" or "Leave it a beat after the blackout, then play the sound cue"). 4) A unit of action, as suggested by Stanislavski to help actors determine the through-line of a role. BECTU BEGINNERS A call given by Stage Management to bring those actors who appear in the first part of a play to the stage. e.g. "Act One Beginners to the stage, please". The actors/actresses are then called by name. A similar call is given after the interval (e.g. "Act Two Beginners to the stage please"). The call is usually given 5 minutes before the advertised performance start time, but this may vary depending on how long the actors take to get into position. See also HALF, QUARTER. See Calls and Cans BELL BOARD BELTPACK Part of the communication ('cans') system in a theatre, the Beltpack contains the controls and circuitry to drive the HEADSET worn by crew members. Each beltpack connects into the headset ring and back to a PSU (Power Supply Unit) which is powered from the mains. See also CANS. BI-AMPLIFICATION BINARY* BINAURAL BLUETOOTH BNC BOOM 1) Vertical scaffolding pole (usually 48mm diameter) on which horizontal boom arms (also known as sidearms) can be mounted, carrying lanterns. Often used behind wings for side-lighting etc. Booms have a base plate (known as a TANK TRAP) or boom stand at the bottom and are tied off to the grid or fly floor at the top (not always necessary for short booms). Booms can also be fixed to the rear of the proscenium arch (Pros. Boom) or hanging from the ends of lighting bars. Sometimes known in the US as a LIGHT TREE. A light tree mounted upstage of a Tormentor is known as a Torm Tree. A boom used in the wings for dance lighting is sometimes known as a BALLET BOOM (which consists of 3 lanterns on each boom, at shin height, waist height, and head height, known as SHINS, MIDS and HEADS). 2) An arm mounted on a microphone stand. 3) A long lightweight support for a directional microphone used to capture dialogue in TV/Film production. Boom Arms - Doughty Engineering (UK) BOUNDARY MICROPHONE A microphone mounted on a flat plate which acts as a reflective surface directing sound into the mic capsule. Used for general pick-up over a large area. A PZM (Pressure Zone Microphone) is an omnidirectional boundary mic for picking up sound from all around. A PCC (Phase Coherent Cardoid) picks up only from in front of the microphone.See also THREE TO ONE RULE and COMB FILTERING. BREAKOUT BRIDGE 1) A walkway, giving access to technical and service areas above the stage or auditorium, or linking fly-floors. See also CATWALK. 2) A lighting position above the auditorium, commonly with a catwalk above it to access lighting equipment and electrical systems is known in Dutch as a Zaalbrug. 3) A section within a song which provides a break from the previous verse / chorus, to prepare for the final chorus or climax, and can also provide a contrast with the previous lyrical tone or style.BRIDGING BUSS CABLE CABLE TIE Lockable (and sometimes releasable) plastic strap used to tie a bundle of cables together, amongst many other things. Cable ties are absolutely not to be used to suspend anything (of any size, or at any height). Also known as Zip Ties. CALLING THE SHOW The process of giving verbal cues to the lighting, sound, fly operators and stage crew during the performance. Usually done from the prompt corner by the DSM on the book or Stage Manager over cans. Being 'on the book' involves verbally giving the 'GO' cues to all technical departments (lighting, sound, flies, automation, av etc). The cues are written in the prompt script. A 'STANDBY' (UK) or 'WARN' (US) cue is given first, so that the operators are ready for the actual cue. CANS 1) Headset earpiece, microphone and beltpack used for communication and co-ordination of technical departments during a performance. (e.g. "Electrics on cans", "Going off cans", "Quiet on cans!"). A commonly used system in the UK is produced by Canford Audio under the TecPro brand. In the USA, ClearCom is commonly used. As many of the technical operators are tied to expensive pieces of equipment, headsets are often wired. However, stage management (and any other crew who move around) often wear wireless versions, often known as radio cans. There are interfaces between wired and wireless versions enabling both to be part of the same system. Many headset systems have multiple channels, enabling different sub-groups to communicate separately. [Named after the well-known usage of two tin cans connected by a piece of string being able to transmit and receive a sound mechanically]. Also called 'Comms' short for Communications - the same phrases can be used (e.g. 'LX Off Comms' when leaving the operating position). 2) Any headphones. 3) Short for PARCANs. Calls and Cans CAPACITANCE* CARTRIDGE or CART CASSETTE CASUALS CCTV CD (Compact Disc) Digital sound storage medium introduced in 1982. Provides a high quality source of music, sound effects etc. of up to 74 minutes total duration. Initially the technology to create CDs from recordable media did not exist, but as it was introduced, long-running shows such as the Woman In Black moved over to CD playback, from the original reel-to-reel. When Multimedia PC computers became affordable, it became possible for many productions to use CD playback. However, due to the ease of playback control, and ability to easily (and reliably) re-record and edit the media, MiniDisk was a better replacement for reel-to-reel tape playback in many venues, although digital samplers (e.g. the Akai S1000) were used on bigger shows. The recordable disks were available in two types; CD-R - Recordable Compact Disc - Data was written to it, then it was 'Finalised' which made it playable in any standard-compliant CD player, including domestic decks. CD-RW - Rewritable Compact Disc - Data could be re-written many times. Not playable in domestic CD decks, so more suitable for computer-based playback. Wikipedia entry CHANNEL A complete control path for signals in lighting or sound equipment. In a lighting desk, the channels are directly controllable by the lighting operator. Within the desk, the channels are 'patched' to a dimmer or dimmers which the desk then sends a signal to depending on the level of the channel. CHECK 1) Opposite of Build; a smooth diminishment of light or sound level (e.g. Lighting: 'I think we should check this state down a touch as the song begins') 2) See Prefade Listen. CHINAGRAPH PENCIL CHOIR A group of vocal performers who perform songs, and remain relatively static whilst doing so. The vocal ranges of the performers are categorised in terms of the pitches of their voices: Soprano [high female or boys voice] Alto [low female or boys voice] Tenor [high adult male voice] Bass [low adult male voice] CHORUS 1) In Greek theatre, a character (or group) representing an element in the drama which comments on the action, and advances the plot. 2) A sound processing effect which adds 'body' to a sound by overlapping a number of slightly delayed versions of the original sound. CITT CLASSIC GEAR CLICK TRACK CLICKS AND POPS CLIPPING CLUSTER COAXIAL CABLE A shielded copper cable used for satellite TV, analogue TV, video and some digital connections. Sometimes shortened to 'Coax cable', it consists of an inner solid copper conductor surrounded by a plastic insulator, which is wrapped with a braided copper screen, with an outer protective sheath. There are different connectors used for coaxial cable, including RF connector, threaded F type satellite TV connectors, or locking BNC connectors. There are also different types of coaxial cable, for different purposes, identified by their electrical impedance. 75 Ohm (written as 75Ω) cable is used for video, while 50 Ohm (50Ω) is used for data and radio signals. COMB FILTERING COMPANDER COMPRESSOR CONDENSER MIC CONSTANT VOLTAGE SYSTEM CONTACT MIC CONTROL ROOM Room at the rear of the auditorium (in a proscenium theatre) where lighting and sometimes sound is operated from. Known in the US as the BOOTH. The stage manager calling the cues is very often at the side of the stage (traditionally stage left) but in some venues he/she may be in the control room also. The control room is usually soundproofed from the auditorium so that communications between operators cannot be heard by the audience. A large viewing window is obviously essential, as is a show relay system so that the performance can be heard by the operators. Obviously if sound is being mixed, the operator should be able to hear the same as the audience, so some control rooms have sliding or removable windows, or a completely separate room for sound mixing. Where possible, the sound desk is moved into the auditorium so that the operator can hear the same as the audience. Also known as the BOX. CROSS FADE / CROSSFADE Bringing a new lighting state up whilst bringing the previous one down, so that the new one completely replaces the old one. Also applies to sound effects / music. Sometimes abbreviated to Xfade or XF. A DIPLESS CROSSFADE occurs when the lighting doesn't dip significantly between states, which results in a more subtle transition. Some sound mixers (especially those for DJs) have a cross-fader - a single fader which can be used to fade one music source out while simultaneously fading the next one in. CROSSOVER 1) A route leading from one side of the stage to the other, out of the audiences view. 2) An electronic filter in a sound system that routes sound of the correct frequency to the correct part of the speaker system. Different speakers handle high frequencies (tweeters) and low frequencies (woofers). Sometimes known as a crossover network. An active crossover splits the signal from the mixing desk into high, mid and low frequencies which are then sent to three separate amplifiers. CROSSTALK CROWN CUE 1) The command given to technical departments to carry out a particular operation. E.g. Lighting Cue, Fly Cue or Sound Cue. Normally given by stage management, but may be taken directly from the action (i.e. a Visual Cue). Departments are often abbreviated: Lighting is LX, Sound is SD (or sometimes SX, but this is too similar to LX, so SD should be used). 2) Any signal (spoken line, action or count) that indicates another action should follow (i.e. the actors' cue to enter is when the Maid says "I hear someone coming! Quick - Hide!" - this is known as a Cue Line. Cues given verbally may be known as 'audible cues', although as this is the normal type of cues, they're usually just called 'Cues'. Cues that technical operators take themselves, without an audible cue, are known as Visual Cues.3) A journal published between 1979 and 1988. A complete collection of CUE journals is available on the Backstage Heritage Collection website to read online. The Prompt Book CUE LIST A list of sound, lighting, automation, scene change, video, followspot (etc) cues in order of their appearance in the show. Each cue is given a unique number, and the list includes a brief description of what it does (e.g. for Lighting: Blackout, Dim Downstage Wash, Red Spot Upstage; for Sound: Preshow Music, Fade Out, Snap Music to Quiet etc. ) Cue is often abbreviated to 'Q". Also known as a Plot Sheet. CUE TO CUE (also known as 'Topping and Tailing') Cutting out action and dialogue between cues during a technical rehearsal, to save time. (e.g. "OK, can I stop you there - we'll now jump to the end of this scene. We'll pick it up from Simon's line "And from then on it was all downhill" in a moment. OK - we're all set - when you're ready please.") CUEING DAISY-CHAINING DAT (Digital Audio Tape) DBX DCC DEAD ROOM DEATH BY CUES A colloquial phrase when the speaker believes that there are a lot of unnecessary cues going on. It's the job of the lighting or sound designers to ensure the show can be run reliably every night, in discussion with stage management. If there are lots of cues running in a short period of time, it may be better to simplify them, or make them timed auto-follows, or run them from timecode, to avoid 'death by cues'. DECIBEL (dB) DECK 1) Stage/Rostrum Floor (e.g. "Fly that flat in to the deck") [known in German as bühnenboden] 2) Tape deck/Record deck. 3) A steel-framed platform with a wooden top used with replaceable scaffold legs (Trade names include Steeldeck, Metrodeck (made by Maltbury), ProDeck). DELAY 1) Outboard sound equipment that can momentarily stores a signal being sent to part of a P.A. system so that delayed reinforced sound reaches the audience at the same time (or just after) the live sound from the stage. Using the 'Haas Effect' the audience cannot detect the sound as amplified. 2) The term Delay Line refers to the equipment that is used to produce the delayed sound signal. 3) A function in lighting control software / systems which holds the start of a cue (or part of a cue) for a specified time. The Delay Time can be used to hold (for example) the Up Time of a cue for a few seconds while the stage is cleared during a dim state. DI BOX / D.I.BOX DIAPHRAGM 1) Lighting: See IRIS. 2) Sound: The part of a microphone which responds to sound waves. 3) Human Biology: (from WIkipedia) a dome-shaped muscular partition separating the thorax from the abdomen in mammals. It plays a major role in breathing, as its contraction increases the volume of the thorax and so inflates the lungs. DIEGETIC Music or sound that is heard by the characters on stage (rather than just being for the audience to hear) is said to be DIEGETIC. (e.g. a piece of music played on a radio on the set). The opposite (NON-DIEGETIC) sound or music is specifically NOT heard by the actors (e.g. scene change music, or an emotional underscore). A piece of music can be both diegetic and non-diegetic, if it starts out at low-volume, coming from a radio on the set (diegetic), and then swells in volume and expands to fill the whole sound system (non-diegetic). It obviously cannot be both simultaneously, however! DIGITAL DIGITAL EFFECTS Reverb, Delay, Phasing, Flanging, Harmonising, Chorusing. Pitch Change. Yamaha SPX90 in the Backstage Heritage Collection DIGITAL RECORDING DIN DIPOLE DIRECT INJECTION BOX DISTORTION DIVERSITY DOGBOX DOLBY DOOR SLAM DRAMATIC PAUSE A brief pause (a few beats) in an actors' delivery of a line to emphasise a moment or to heighten anticipation. It's important that the DSM does not shout out the next line, while the lead actor is pausing dramatically. DRESS REHEARSAL A full rehearsal, with all technical and creative elements brought together. The performance as it will be 'on the night'. German: hauptprobe (final rehearsal) DRY 1) An actor forgetting the words of his script. 2) To record a sound without using any effect or other processing is to record it 'dry'. Recording with an effect is recording 'wet'. DUBBING DYNAMIC MIC EARTH LOOP EARTHING ECHO EDM EFFECTS, SOUND 1) Recorded : Often abbreviated to FX. There are many sources for recorded sound effects, from Compact Discs, to downloading from the internet. May form an obvious part of the action (train arriving at station) or may be in the background throughout a scene (e.g. birds chirping). ELECTRET MIC ENCODER WHEEL ENHANCER ENTERTAINMENT TECHNOLOGY Any technical or practical craft used in the creation of live events or experiences. As the definition of 'live events or experiences' includes music concerts, theatre, theme parks, visitor attractions, museums and sports events, the skills needed are very broad. It's not necessary for anyone to be highly skilled in all of the crafts, but an understanding of the whole picture is very helpful, and knowing when to call in a specialist (and where to find them) is vital. The crafts involved in entertainment technology include, but are not limited to: Lighting (stage lighting and architectural lighting) Sound (live and recorded) Video and Media (projection or display) Scenic Construction and Automation Show Control Animatronics Costume Props and Masks Make-Up and Prosthetics ENVIRONMENTAL SOUND A sound that is not specifically mentioned in the text of the play, but helps to create a feeling of reality / appearance of truth. Examples include dripping water in a cave, distant organ music heard in a church graveyard, traffic heard passing outside an office. See also MOTIVATED SOUND. EQUALISATION The process of adjusting the tonal quality of a sound. A graphic equaliser provides adjustment for a wide range of frequency bands, and is normally inserted in the signal path after the mixing desk, before the amplifier. See FEEDBACK. (Equalisation is the British English spelling. American English uses Equalization) ESTA EXCITER FADE A fade is an increase, diminishment or change in lighting or sound level. A crossfade smoothly transitions from one state to another, without going through darkness (or silence for sound). FADE UP FADER FAT FINGER FEED 1) A power supply to a piece of equipment or installation is termed a 'feed'. Sound equipment and sensitive computer equipment should have a clean feed - that is, a supply that is free from interference from other equipment. 2) A signal from one system to another is also known as a feed (for example, an audio signal from the FOH desk to a TV company videoing a concert is known as a feed. A video relay of the conductor to screens in the wings is known as a Conductor Feed, etc.) FEEDBACK / HOWLROUND FEEDBACK DESTROYER Outboard piece of sound equipment which can immediately block any unwanted feedback sounds, resulting from microphones being too close to speakers, or microphone being covered by a hand etc. The Feedback Destroyer has all of the live microphones routed through it, and can instantly filter out any narrow band of frequencies that is causing feedback. FEEDER FEMALE / MALE CONNECTORS This terminology is beginning to change, as it's not very subtle, and sometimes isn't as clear as it could be. Connector manufacturers and crew members refer to plug connectors (with pins) as MALE, and sockets (which receive the pins) as FEMALE. Many modern companies refer to plug and socket instead of the genderised terms, but that in itself can cause confusion. The situation remains confusing. Sound: Microphones have pins on them, so a XLR cable socket is used to connect to them. The other end of that cable is a plug, which connects to the mixing desk. Power: Sockets are used to supply power so that it's not possible to touch live connectors. Plugs are used to connect equipment to the supply. FIBRE OPTICS A method of directing light down a very thin glass fibre. Fibre Optics are used mostly in communication, but find theatre applications in star cloths which are black backcloths with the ends of optical fibres poked through, to create a mass of pin pricks of light. A large bundle or harness of fibres may be fed from one light source, sometimes with a motorised colour or flicker wheel. New technology enables digital sound signals to be sent down optical fibres, replacing heavy and expensive multicore cables. FILLS FILTER FLIGHTCASE / FLIGHT CASE Metal framed wooden box on wheels with a removable lid used for transporting equipment between venues. Flightcases are very strong, and have reinforced corners and edges. Care should be taken when lifting flightcases as they can be very heavy.The term comes from their original use in protecting delicate equipment when being loaded into air transport and being both very strong and relatively lightweight. Additional information by Chris Higgs FLOATS FOLDBACK FOUND SOUND Refers to an audio composition created using sounds that have been recorded for the project, sometimes all from the same location, to which the project relates. See also MUSIQUE CONCRETE. FREQUENCY FX GAFFER TAPE / GAFFA TAPE Ubiquitous sticky cloth tape. Most common widths are .5 inch for marking out areas and 2 inch (usually black) for everything else. Used for temporarily securing almost anything. Should not be used on coiled cables or equipment. Originally known as Gaffer's Tape, from the Gaffer (Master Electrician) on a film set. Also known as Duct Tape. See also PVC Tape. GAIN 1) The level of amplification given to a signal or of a system. 2) A control of the amount of pre-amplification given to a sound signal on its way into a mixer. Particularly important for microphone inputs - a quiet vocal will require a lot of gain, a loud singer less so. GENDER CHANGE GRAMS GRAPHIC GRAPHIC EQUALISER GROUP HAAS EFFECT HEAD SOUND The head of the sound department, which deals with any recorded music, sound effects, vocal reinforcement and music amplification required in the production.See also NO.1 SOUND. HEADSET 1) General term for theatre communication equipment. 2) A headphone and microphone combination used in such communications systems with a beltpack. See also CANS. HORN HOT One of three connections on an audio or power connector. Hot - the 'live' or positive or signal cable, often coloured red Cold/Common - the 'neutral' or return cable to complete the circuit Ground - the 'earth' or ground connection which ensures electrical safety. In an audio connector is this often connected to the metal sheath of the cable. HRTF HUM HEAD HUNDRED (100) VOLT LINE IEM / I.E.M. IMPULSE RESPONSE (Sound) Abbreviated to IR. An Impulse Response is a digital recording of a burst of a full range of frequencies (known as an impulse) across the audible spectrum, which is used to create a digital 'acoustic autograph' of a space. The impuise response recording is analysed by software which can then be used to recreate the acoustic of the original space digitally. This enables a precise match to how a recording sounded in the space when trying to recreate it in the studio. IN EAR MONITORS INCIDENTAL MUSIC INDUCTION LOOP INFRASOUND Very low frequency sound which is not normally audible by the human ear. Usually describes sound waves below 20Hz. At high enough volumes (sound pressure levels) sound waves as low as 12 Hz can be perceived by some ears. When they can't be perceived as sound, the waves can be felt as pressure either in the ear drums, or elsewhere on the body. Some scientists have linked the presence of infrasound in buildings (produced by air conditioning systems or large empty rooms) with feelings of unease, nervousness, or even perceptions of supernatural presences by visitors. Infrasound cannot be reproduced by normal (or even bass) speakers, and requires large specialist speakers and tubes to enable the powerful low-frequency waves to be generated. INSERT 1) An additional route into a sound desk. 2) An extra lighting state added into the sequence later. See POINT CUE. INTERCOM INTERRUPTIBLE FOLDBACK (IFB) INTERVAL MUSIC INTRO An introduction to set the scene at the start of a performance, or a piece of music / media at the beginning of a longer piece. See also OUTRO. JACK B-type jacks (also known as Bantam jacks) were originally designed for use in telephone exchanges and provide a high quality (and expensive) connection in jackfields. A-type jacks are cheaper and more common, but more fragile. A type jacks are available in 2 sizes : quarter inch and eighth inch. 2) (US) A hinged brace. In the open position, it holds up a flat or other unit of scenery. A Tip Jack is a combinaton of a jack and castors so scenery can be supported or rolled. When it is in position, it is tipped to vertical. When rolling, it leans backwards. JACKFIELD JUMPER KEY A section on a lighting or other technical layout plan, which denotes what the symbols on the plan refer to. Although many symbols are standardised, there are variations, and to avoid confusion (or errors) when rigging and laying out equipment, a key is essential to ensure the requirements of the design are correctly interpreted. Lighting Paperwork KILL To switch off (a light/sound effect); to strike/remove (a prop). (e.g. Kill channel 6 please) KILOWATT LADY AND THE TRAMP LATENCY LAVALIER MICROPHONE LEADER TAPE LEMO LEVEL 1) The setting of a light or sound control channel. On a lighting desk, levels range from 0% to 100% (also known as FULL). On a sound desk, the bottom of the fader is ∞ (infinity) and the top may be +20. The fader is designed to be operated at it's optimal position which is labelled 0dB. The decibel (dB) scale is a measure of sound intensity. 2) A platform used to change the height of an actor. Interesting dynamics between different characters in the play can be explored using various levels. LINE CHECK LINE LEVEL SIGNAL LINE-UP TONE LOOM A neatly-organised bunch of cables. A wiring loom is used to avoid messy runs of cables by keeping the cables going in the same direction (to the same piece of equipment) tied together. This saves time when installing and packing-down equipment, and ensures that a piece of cable can't be mislaid or left behind. The cables can be taped together (using PVC tape, never Gaffer Tape) or, for more long-lasting arrangements, with cable ties. More environmentally-friendly companies use short lengths of rope for the same purpose, which are re-used over and over again. Strips of rubber can be used for the same purpose. The looms are named according to their purpose (e.g. the Control Loom goes from the control desk to associated equipment, and may contain a power cable, a communication cable and a DMX512 cable for the control signals). Known as a 'hod' in the USA (apparently from old French term for intestines). Also known as a TRIPE. LOUDSPEAKER MADI MASTER 1) An overall control fader or lever on a lighting or sound control board. The Grand Master takes precedence over all other controls and allows the operator to fade out the entire output of the lighting desk.On a lighting desk the PRESET MASTER allows the control of a section of the desk independently from the rest. See also SUBMASTER. 2) An original (e.g. Master tape, master plan) which should be used only to make a copy from which to work. 3) A Department Head (e.g. Master Carpenter, Master Electrician). MATRIX OUTPUT MD 1) See MUSICAL DIRECTOR.2) Mini Disc. See DIGITAL RECORDING. MIC MIC CHECK Process of testing the functionality and audio quality of the microphones used in each performance. It's particularly important when using radio mics, to check for any crackles or loss of signal. One by one, the mics are tested, ideally with no other noise or activity taking place on stage. The sound team can listen for unusual noises and can confirm that each mic is connected correctly (ie that it appears in the correct channel on the sound desk) and that it works. It's a different process from the sound check, which takes place with the performers, to check for the correct placement of the mics, and to enable the sound team to balance / adjust the mics for best quality. MIC LEVEL SIGNAL MIC PLOT A chart showing which character / actor uses which radio microphone throughout the show. Vertically down the page are the scenes, musical numbers etc. Across the page are the numbered microphones. This enables the sound operator to instantly see who is using each microphone at every point during the show. MIC POUCH Mic Pouches from Canford Audio, UK MIC UP MICROPHONE A transducer which converts analogue sound vibrations into an electrical signal which can then be amplified or recorded onto tape. Signals from a microphone are very low level and are amplified in the mixing desk to line level. There are many different types of microphone, each designed for a specific purpose. They can broadly be divided into three groups: 1) General Use - designed to be placed in front of and relatively close to a sound source, used for vocals and instrument mic-ing. 2) Directional - also known as shotgun microphone - picks up from a longer distance away from the source 3) Body-worn - small size, consisting of a microphone head and a separate electronics pack. General use and body-worn mics are available in wired or wireless (radio) versions. See Dynamic Mic, Condenser Mic, Phantom Power, Pick-up, Radio Mic. MICROPHONE CAPSULE MIDI Musical Instrument Digital Interface. Control system established in 1983 for linking musical instruments or other electronic equipment and computers together and storing the control signals the equipment produces for subsequent playback. See MSC, MMC, SYSTEM EXCLUSIVE. MINI DISC MINIJACK MIXDOWN MIXER A desk comprising a number of input channels where each sound source is provided with its own control channel through which sound signals are routed into two or more outputs. Many mixing desks can also change the quality of the sound (see EQUALISATION). MMA - MIDI Manufacturers Association MMC MONITOR 1) An onstage speaker which allows a performer to hear the output of the PA system, or other members of a band. 2) A video display screen (not normally able to receive broadcast TV pictures) used with a CCTV system or a computer. MONOPHONIC (MONO) MOTIVATED SOUND A sound effect that is called for in the script of the play, or is motivated by the actions of a character. Examples include an actor switching on a radio to hear an announcement, an actor running a bath offstage, or a car pulling up outside the house. See also: ENVIRONMENTAL SOUND MP3 Compressed audio file format, short for MPEG-1 Audio Layer 3. Enables 'good enough' audio quality when moving music around on portable devices. However, MP3 compression can sound awful through a theatre PA system, so ensure you are always using the best uncompressed version of music and sound effects tracks for a show. The technological standard was agreed in 1991, and MP3s became widely used by the public in 1993. MP4 MP4 is a multimedia container format, which can store video, audio or still images. See also MP3 (audio only) What is MP4? MS MSC MULTI MULTICORE MULTIPAIR CABLE MULTITRACK MUSIQUE CONCRETE NAB National Association of Broadcasters. Also used as shorthand for the standard for tape recording equalisation characteristics that association developed.. NAB website NAGRA NLE NOISE BOY NOISE GATE OG 1) Abbreviation used by the Phantom in The Phantom of the Opera, when he writes letters to the theatre managers. Short for Opera Ghost. 2) Urban slang 'Original Gangster' or 'Old Git' (from Internetslang.com), meaning a product which is now past its' prime, or was one of the first of its' type. OHM OMNIDIRECTIONAL OUTRO OVERHEADS 1) Microphones positioned above a drum kit to pick up the cymbals etc. without getting hit.2) Microphones positioned over the stage to pick up the overall sound of the concert / production. PA SYSTEM PAD PAGE 1) See PAGING. 2) Some theatre announcement systems use the term 'PAGE' to mean making a call (e.g. 'Can you page Simon to come to the fly floor') 3) A way of increasing the functionality of a control on a lighting desk. For example, most computerised lighting desks with SUBMASTERS will allow you to store more than one lighting state in each submaster. Each group of submasters is given a page number which is used to select which set you want to use. See also SUBMASTER. PAGING PAN 1) A control on a mixing desk which allows the operator to position the channel's output in the final stereo image (L - R). 2) A horizontal (side-side) movement of a camera or a moving light. Short for Panorama. See also TILT. PANATROPE PARAMETRIC EQUALISER PARAMETRIC SPEAKER PASSIVE PATCH 1) (verb) The act of plugging a lantern into a dimmer (e.g. 'Can you patch circuit 12 into dimmer 18 please') or on a lighting desk allocating control channels on the desk to dimmers or fixtures in the rig - this is known as a SOFT PATCH. If written down, this is known as a Patch Schedule or Patch List. 2) (noun) The system for connecting lanterns to dimmers (The Patch). The term also applies to sound - a PATCH BAY is used to connect outboard equipment into the sound desk and to connect sound desk outputs to amplifiers, and amplifiers to speakers. PATCH PANEL PATCHING PCC PHANTOM POWER PHASE PHASES Electricity is generated and supplied to large installations as three separate supplies, known as phases, and labelled L1, L2 and L3 (for Line). Until recently, the three lines were colour-coded Red, Yellow and Blue in the UK. Now, across Europe, the three lines are colour-coded brown, black and grey, with the neutral coloured blue. Each of the phases and one neutral are supplied down a single multicore cable to the building, but effectively give three separate supplies. Because there is a potential difference (voltage) of 415 volts between any two phases and earth/ground, care must be taken that pieces of equipment powered by different phases are not capable of being touched at the same time in case of a fault. This usually means that such equipment should not be on the same physical lighting bar, or in the same part of the studio theatre. PHONE PLUG PHONO PHONO PLUG PICK-UP 1) Device which, when attached to an acoustic musical instrument, converts sound vibrations into an electrical signal. PIN PLUG PINK NOISE PIT NET PITCH 1) The frequency of a sound defines the pitch. A higher frequency gives a higher pitch note. See PITCH CONTROL. 2) The seat pitch is the distance between one row of audience seating, and the same point on the next row. PITCH CONTROL PLASA / P.L.A.S.A. Professional Lighting and Sound Association (UK). See ESTA for the American equivalent. PLASA website PLATE REVERB PLOT 1) List of preparations and actions required of technical crews during the performance (eg Sound Plot = list of sound cues and levels in running order.) In the US, the term plot refers to a plan. (eg Light Plot = scale plan showing lighting instruments). See also RUNNING PLOT, STATE PLOT. 2) The basic story thread running through a performance / play which gives the reason for the character's actions. PLOTTING SESSION PLUG A power or signal connector with a pin or pins which is used to make a connection from a power or signal source (the socket) to a device or another connector. Plugs are not used as a source of power, because of the risk of electrocution by touching the fully exposed pin connections. Sockets, where the connection is shielded, are used as the source. PMSE POINT CUE A cue inserted during / after plotting between two existing cues. (eg 8.5 is inserted between cues 8 and 9). Most computer lighting desks have the ability to either insert an additional cue in a sequence, or to link to another cue out of the sequence, and then link back again. Inserting cues into a plotted sequence on a manual lighting desk is more awkward, because it is a running plot (where only the changes between cues are noted down). Stage Management may prefer to call 8A instead of 8.5, but this is down to personal preference.Sound cues which relate to an already-running cue within a sequence should have lettered cues (e.g. 8A is a fade up of Cue 8 and 8B is the fade out). POP SCREEN POP SHIELD / POP FILTER POWER AMPLIFIER PPM PRE-FADE LISTEN PREFADE / POSTFADE PROCEDURAL AUDIO PRODUCTION SOUND ENGINEER PSYCHOACOUSTICS Psychoacoustics is the branch of psychology concerned with the perception of sound and its physiological effects. The Haas Effect is used to trick audience members into believing the source of a sound is the stage, rather than a nearby speaker with a slight delay on the sound. MP3 audio compression uses psychoacoustics to remove sounds that are masked by others to reduce the file size. PUBLIC ADDRESS SYSTEM PUNCH IN PZM QUADROPHONIC A sound system which uses four independent speakers (or sets of speakers). Each speaker replays a separate soundtrack, often fed by a four-track tape machine. The fore-runner of today's Surround Sound. See also Stereophonic. RACK RADIO MIC Device consisting of a microphone head, transmitter pack with batteries, aerial and mains receiver unit which allows actors and singers to be amplified with no visible means of connection. Almost universally used in musicals where the singers have to be amplified to be heard over the orchestra / band. Used in non-musical shows for sound reinforcement. RAT STAND RCA RCA Corp website RCD RECITATIVE REPETITEUR RESLO RESOLUTION 1) The point during a drama when the plotline reaches a conclusion, and conflict is resolved. 2) A measure of the quality of a video display / projection. Measured in the number of pixels width x height. 3) The quality of a sound sample is measured by the sample rate (e.g. 44.1kHz is CD quality sample rate) and the resolution (either 8 bit or 16 bit normally). RETURN 1) Flats joined to the DS edge of flats of a set or unit that 'return' into the wings. They help mask and also keep the DS edge of a set from looking raw. 2) A financial report given to theatre management staff by the box office manager on a daily or weekly basis setting out the takings for performances (known as the Box Office Returns). 3) Route for an auxiliary signal back into a sound mixer (see also SEND). REVERB REVERSE RADIO REVOX RF CO-ORDINATOR RIAA RIBBON MIC RIDING THE FADER RIFLE MIC RING OUT ROUTER RT60 RTA MICROPHONE (Sound) RTA stands for Real-Time Analyser - a system that analyses the audio through a sound system and displays the result, or uses the result to calibrate the system. The analyser requires a 'reference' microphone of known type and quality, to enable the analysis to be accurate. For example, the dbx RTA-M Measurement microphone is used with the DriveRack PA system to calibrate it for the environment. Pink Noise is played through the system, and the RTA mic 'listens' to the replayed audio and automatically calibrates the system for best audio quality. SAMPLER SAMPLING SCORE 1) The score is the written notation of a musical work. An arrangement of a piece of music for piano is called the Piano Score. An arrangement for a singer is the Vocal Score. See also LIBRETTO. 2) A series of directions for a physical theatre / dance performance is sometimes called a 'score'. 3) A soundtrack running underneath a performance is called UNDERSCORE. 4) The music / sound tracks running during a performance is sometimes called the score. SCRIBBLE STRIP DIsplay window on a lighting, sound or automation control desk which enables the user to add a description of the function of that channel. Can be entered as text, or a hand-drawn image or text. This enables graphical characters (e.g. Chinese) to be used, or other symbols. On older analogue systems, the channel function was written on a piece of white PVC tape that was stuck on the control desk. Some systems had a white plastic strip on which chinagraph pencils (wax) could be used. SEND SEQUENCING SFX 1) Abbreviation for SOUND EFFECTS. 2) Windows media playback software by Stage Research. SHIELD SHOTGUN MICROPHONE SHOW CONTROL* SHOW RELAY SHURE SIBILANCE SIGNAL TO NOISE RATIO SMPTE (pronounced 'SIMPTEE') SMPTE stands for Society of Motion Picture and Television Engineers (US). The term refers to a timecode for synchronising pre-recorded show elements (e.g. sound or video) with other elements. For example, a timecoded 'click' is played to the musicial director to enable her/him to keep in time, and lighting and video cues are triggered at a particular time within the piece of music. Timecode is measured in hours, minutes, seconds and frames. There are usually 30 frames per second, meaning an accuracy of 1/30th of a second is possible. Where the timecode is played as an audio track, it's known as Linear Timecode (LTC). SMPTE website SNAP A lighting or sound cue with no fade time - the cue happens instantly. This can be acheived on a computerised lighting desk by using a fade time of zero seconds. SOCAPEX SOCKET A power or signal connection point where a plug can be inserted to make a connection from the source of power. Sockets can be used as signal outputs or inputs, and are usually used as power outputs, due to the shielded connections, making it impossible to touch the live connections with fingers. Sockets are often wall or panel mounted, while plugs are used to connect portable equipment. There are exceptions of course - powercon connections which are panel mounted can be either power inputs OR outputs, and are differently colour coded to make it clear which is which, and the connectors are designed so they cannot be used incorrectly. SOFT KEY SOLO 1) On a sound desk, the solo button on each input channel silences all other inputs so that channel alone can be heard. Dangerous to use during a show, but can be useful for fault-finding or testing equipment.2) On a lighting desk, SOLO mode kills all other channels except the single dimmer you're working with. Again, can be useful for identifying a channel in a large rig, but can be dangerous during a show. Some desks allow you to assign flash buttons to SOLO mode which will turn off all channels except those loaded into that flash button or submaster. This can be used for a quick lightning effect (but it's a bit tacky). On Strand Lighting memory desks, the solo function is called REMAINDER DIM (or REM DIM). SON ET LUMIERE SOUND CARD Originally an accessory to a computer which equips the PC with the ability to play back and record sound. Early Windows sound interfaces were the Creative Sound Blaster (from 1981 - present) or cards made by Turtle Beach. The term now (sometimes) refers to any external sound interface designed to allow multiple audio devices to connect to a Windows or Mac (or other) computer. External sound cards / audio interfaces were connected via FireWire, and are now connected via USB. SOUND CHECK SOUND DESIGNER Member of the production team who has the responsibility for planning and executing the layout of all sound playback and reinforcement equipment for the show. This role also includes the sourcing of music and sound effects for the production. See also SOUND OPERATOR. SOUND EFFECT SOUND ENGINEER Member of the Sound Department / Audio Department, also known as Audio 1, who is responsible for operating the sound mixer to ensure that microphones and other audio sources are mixed to carry out the sound designers' vision for the show. Although many operations can be automated, to ensure that groups of microphones are unmuted at the right time, to ensure maximum quality and volume in the sound mix, faders must be continuously monitored and adjusted - only microphones that are needed at each precise moment should be 'live' so that no unwanted sounds are audible through the PA system. The sound engineer on a musical will usually have an assistant working backstage, who ensures that radio microphones are working, and are fully charged, and allocated to the correct performers. Any faults during the show should be remedied (by changing batteries, adjusting aerials or replacing microphone heads) and communicated to the sound engineer immediately to adjust the mix accordingly. SOUND OPERATOR Also known as Sound Op. The Sound Operator is responsible for operating the sound playback and mixing equipment for a show. He or she is sometimes a member of the Electrics department of the theatre and works with the sound designer for the production, or they may be employed just for the show. The main operator is called Sound No.1 (or Audio 1) A standby / second operator is Sound No.2 and so on. SOUND REINFORCEMENT SOUNDCRAFT SOUNDSCAPE SPDIF or S/PDIF SPEAKON CONNECTOR Neutrik website SPL (Sound Pressure Level) SPLICE 1) A join or edit in a sound tape. A splice may be between leader tape and audio tape or between two pieces of audio tape. Splicing tape is the adhesive tape used, a splicing block is used to hold the tape and guide the single-sided razor blade when making the cut. 2) A join in two pieces of rope, made by tightly interweaving the strands from the two ropes so they become a single piece of rope. SQ SQUELCH STAGE BOX STAGE LEFT / RIGHT Stage Right = OP (Opposite Prompt) French: Cote Jardin, Netherlands: Toneel Links (translates to Stage Left!) Stage Left = PS (Prompt Side) French: Cote Cour, Netherlands: Toneel Rechts (translates to Stage Right!). NB: The Netherlands, Portugal and Germany use the opposite to the rest of Europe; i.e. Stage Left UK = Stage Right. The directions are seen from the director's and audience's perspective, NOT the actors. In Portugal Isquerda (left) is the equivalent of UK Stage Right and Direita (right) is the equivalent of UK Stage Left. STAND-BY / STANDBY 1) A warning given to technical staff by stage management that a cue is imminent. The member of the stage management team calling the cues will say "Standby Sound Cue 12". Technicians acknowledge by saying "Sound Standing By". In the US, the word "Warning" replaces "Stand-by". 2) A member of the cast of a musical or play who understudies one (sometimes more) of the principal roles but is NOT also in the chorus. A standby often will not even be required to be at the venue at each performance unless he/she is called in to perform in the role for which he/she is an understudy. See also ALTERNATE, SWING, UNDERSTUDY. Additional information submitted by Pierce Peter Brandt STEREOPHONIC (STEREO) A sound recording that uses two separate channels (left and right) which in combination, and especially when using headphones, can produce a sense of spatial separation of the different parts of the recording. The PAN control on a digital audio workstation or on a mixing desk can be used to set the 'location' within the stereo image of a particular sound source. See also MONOPHONIC, SURROUND SOUND. SUB-BASS SUBWOOFER (often just SUB) - Speaker dedicated to reproducing very low frequencies. The large cabinet is often placed on the floor as the low frequencies radiate out, and the ear cannot detect their source, so the position of the Sub is not as critical as the rest of the sound system. See also BASS BIN. SURROUND SOUND Originally from cinema, where various different types of surround sound system evolved. The most popular now is made by Dolby Laboratories, and provides 6 different sound sources around the cinema: Front centre (main dialogue, from behind the screen) Front left & Front right (music, effects and directional dialogue, from behind the screen) Surround Left (auditorium wall) Surround Right (auditorium wall) Sub-Bass This is known as 5.1 Surround sound. Newer systems such as Dolby Atmos contain the above, as well as speakers above the audience, and provide a more immersive effect. Theatre sound systems often contain a huge number of speakers in comparison, with localised speakers near each bank of seating (for musical theatre, particularly). Any sound system where sound can appear to be all around the audience is said to be surround sound. SX Used by some as a shorthand for SOUND, in the same way LX is a shorthand for Lighting. However, when calling cues, stage management should always say 'Sound Cue 12 GO' rather than 'SX Cue 12 GO'. 'Sound' has one less syllable to say, and SX sounds too similar (no pun intended) to LX. SXOP can be shorthand for Sound Operator. Many venues use FX in the same way, but this can also refer to Stage effects like smoke, pyro etc. SYSTEM EXCLUSIVE TAKE-DOWN TAKE-UP SPOOL TALKBACK 1) On a sound desk, the talkback section enables the sound engineer to talk via a microphone to selected outputs of the desk. If the sound desk is used to feed on-stage monitor speakers for a musical group, the engineer can select a particular monitor feed (e.g. the drums) to politely ask the musician (drummer) to play quieter. 2) Term sometimes used interchangably with HEADSET for the communication system between technical crew on the production. TAPE LOOP TASCAM TDIF TECHNICAL REHEARSAL TELEX THREE TO ONE RULE THUNDER RUN Long series of channels down which wooden cannonballs are rolled to give a realistic thunder rumble effect. Built into the roof of some older theatres, but mostly now unused (for safety reasons). The Bristol Old Vic has restored their Thunder Run in 2016 for their 250th anniversary. History of Sound Effects for the Stage THUNDER SHEET TIE LINE TIMBRE TRACK 1) Metal structure with rails on which curtain runners are placed to enable curtains to open and close smoothly. 2) A sideways movement of a flying piece, or flown actor. See FLYING HARNESS. 3) Separate audio recording channel. Most playback / recording devices have two tracks - left and right. Some are used for MULTITRACK RECORDING and allow either four or eight tracks to be recorded onto standard media (see also DIGITAL RECORDING). Many more tracks can be recorded onto computerised systems. The most important feature of a multi-track system is the ability to record and playback at the same time (e.g. Recording vocals on track two with a pre-recorded piano on track one.) 4) An actor's (or crew member's) path through an ensemble performance, indicating which roles they take in each section of the show. Having a flexible approach to such performances means the production can be agile, and have adequate cover for actor holiday periods and any illness whilst also keeping the show fresh for the ensemble. Shows that use this approach include Hamilton and The Lord of the Rings The Musical. Swing performers are told before the show which tracks they are covering that day. Sometimes if multiple people are away, swings perform multiple tracks simultaneously - they are then said to be covering Split Tracks. TRANSDUCER TRIANGLE TRIPE (bundle) Bunch of cables tied or taped together into a single unit. Also known as a LOOM, or HOD (USA). TWEETER TWISTED PAIR UHF UNBALANCED LINE UPSTAGE 1) The part of the stage furthest from the audience. It's called Upstage because on a raked stage the stage slopes down towards the audience to improve sightlines. The furthest from the audience is literally higher due to the slope of the stage, so moving from close to the audience involves walking up the raked stage, towards 'Upstage'. US = Upstage, USC = Upstage Centre. USL = Upstage Left. USR = Upstage Right (see diagram) See also DOWNSTAGE, ONSTAGE. 2) When an actor moves upstage of another and causes the victim to turn away from the audience s/he is 'upstaging'. Also, an actor drawing attention to themselves away from the main action (by moving around, or over-reacting to onstage events) is upstaging. VCA VHF VISUAL CUE VOICE OVER VOLTAGE The pressure at which electric current is available. The UK standard voltage is 230 Volts alternating current (AC). The American standard is 120 Volts AC. The scientific name for Voltage is Electromotive Force. The frequency at which the current alternates (between positive and negative) is measured in Hertz (Hz) and in the UK is 50Hz, and in the USA is 60Hz. VOLUME 1) A measure of the loudness of a sound cue. 2) The amount of three-dimensional space an object takes up. 3) A large physical environment used for motion-capture or virtual reality production. VPLT VU METER WALLA WATTS WAVE Uncompressed audio format used on Windows computer systems, defined by IBM and Microsoft. File extension: .WAV WAVELENGTH The distance from one point on a vibrating wave to the same point on the next wave. The lengths of the sound waves (wavelengths) we can hear range from one inch to 40 feet. High frequency sounds have short wavelengths (and are more directional), low frequency sounds have long wavelengths (and are less directional). In lighting terms, blue light is short wavelength, green is medium and red is long wavelength. Beyond visible light are the short wavelength Ultra Violet light and the long wavelength Infra Red light. Wavelengths of light are measured in Angstroms. See also FREQUENCY. WEDGE WET 1) See DRY (Sound) 2) See TECH (Wet Tech). WHITE GLOVE WHITE NOISE WOOFER WORKSTATION 1) A PC and Monitor. 2) A synthesiser keyboard which also contains a sequencer and other MIDI software. XLR Multipin metallic connector. (3 pin for normal sound use, 5 pin for DMX, Colour Scrollers etc). Sometimes called Cannons after the original manufacturer. The UK standard for wiring the 3 pin connector is as follows : Pin 1 (Screen), Pin 2 (+ve / 'hot'), Pin 3 (-ve, 'cold'). (Xternal, Live, Return). A 5 pin connector for DMX512 use has the following connections: pin 1 = screen, pin 2 = data -ve ('cold'), pin 3 = data +ve ('hot'), pin 4 and 5 are not used by many manufacturers. A comparison is made between the signals carried by the two data cables, and any differences are cancelled out, meaning that noise/data error reduction is very effective. XY YELLOW JACKET ZERO DB Keywords: theatre sound vocabulary, theatre sound terms, theatre sound terminology |