Here is a dictionary of nearly 500 sound design terms and their definitions for the theatre.
Sound design in theatre encompasses a diverse and complex blend of artistic and technical disciplines that shape the auditory experience of a theatrical production.
At its core, sound design involves the creation, manipulation, and reproduction of audio elements to complement and enhance the plot, themes, and emotional landscape of a theatre performance.
The role of a sound designer is multifaceted, requiring a balance between the artistic vision of the production and the practical aspects of audio technology. This includes the selection and placement of microphones, the strategic use of speakers and amplifiers, and the integration of live and recorded sound effects and music.
The evolution of sound design in theatre has been marked by significant technological advancements, shifting from the basic use of live sound effects and offstage noises to sophisticated digital soundscapes and immersive surround sound systems in contemporary theatre.
Modern sound design has embraced digital audio workstations, programmable soundboards, and complex speaker arrays, offering unprecedented control over the quality and spatial distribution of sound.
Despite the reliance on technology, the essence of sound design in theatre remains an art form. A well-designed soundscape can subtly underscore dialogue, build tension, provide context, or evoke specific emotions, enhancing the audience’s engagement and immersion in the narrative.
500 Sound Design Terms
Absorption: The process by which material or structure takes in sound energy when sound waves are encountered, as opposed to reflecting the sound.
Acoustic Echo Cancellation (AEC): Technology used to prevent echo in sound systems, especially for clarity in live environments.
Acoustic Feedback: The high-pitched squeal from a sound system when its output is re-amplified by a microphone.
Acoustic Treatment: Modifying a room’s surfaces to improve sound quality by controlling sound reflections and absorption.
ADC (Analog-to-Digital Converter): A device that converts analog audio signals into digital format.
Ambience: Background sounds present in a scene or location in theatre.
Ambience Enhancement: Techniques used to create or enhance the ambient sound in a theatre space.
Ambient Microphone: A microphone used to capture the overall sound of an environment in theatre.
Amplification: Increasing the volume of sound, typically using electronic equipment.
Amplifier: An electronic device that increases the strength of an audio signal.
Amplitude: The magnitude or strength of a sound wave, correlating to the loudness of the sound.
Analogue: A type of audio signal that is a continuous representation of sound.
Array: A set of loudspeakers or microphones arranged in a specific configuration for directional control in sound design.
Aspect Ratio: The width-to-height ratio of a loudspeaker’s coverage pattern.
Assignable Controls: Features on a sound console allowing specific functions to be assigned to specific controls.
Atmospherics: Sound effects used to create a sense of environment or mood in theatre.
Attenuation: The reduction of the strength of a sound signal.
Audio Bandwidth: The range of audio frequencies that a system can process or transmit.
Audio Compression: A process that reduces the dynamic range of an audio signal.
Audio Engineering: The field focused on the recording, manipulation, and reproduction of audio.
Audio Format: The method or standard used to encode and store digital audio in sound design.
Audio Interface: A device that facilitates communication between audio devices and computers.
Automation: The use of software or systems to control audio changes during a performance.
Auxiliary Send (Aux Send): A control on a mixing console for sending audio signals to different devices.
Auto-Mixing: Automatic adjustment of microphone levels to maintain consistent output and reduce feedback.
Baffle: A physical barrier used to control the spread or direction of sound waves.
Balanced Audio: An audio signal carried by a cable with two signal wires and a ground to reduce noise.
Band Pass Filter: A device or circuit that allows frequencies within a certain range to pass through, while attenuating frequencies outside that range.
Bandwidth: The range of frequencies a device or system can accurately reproduce.
Bass: The lower range of sound frequencies, important for mood and depth in audio.
Bass Reflex: A loudspeaker enclosure that uses a port or vent to enhance low-frequency response.
Bass Trap: An absorber designed to damp low-frequency sound to control room resonances.
Bi-Amping: Using two separate power amplifiers for the low and high frequencies of a loudspeaker.
Binaural Audio: Recording or broadcasting with two microphones to create a 3-D stereo sound.
Bit Depth: The number of bits of information per sample in digital audio, affecting sound resolution.
Bit Rate: The number of bits processed per unit of time in digital audio, impacting audio quality and size.
Blanking: Intervals in digital audio where no data is transmitted.
Bleed: Leakage of sound from one audio source into another.
Boom Microphone: A mic mounted on a boom arm, used for dialogue or sound effects in theatre.
Boundary Microphone: A mic designed to be placed on a surface, capturing sound in a specific area.
Breakaway Cable: A cable that disconnects easily under stress for safety in theatre settings.
Bridge Mode: Operating an amplifier in a configuration that combines two amplifier channels into one for increased power output.
Bus: A pathway in audio engineering for routing an audio signal from several sources to a single output.
Butterworth Filter: A frequency filter in sound design used for its flat frequency response in the passband.
Byte: A unit of digital information in sound design commonly consisting of 8 bits, relevant in digital sound storage and processing.
Cabling: Wires and cables used for connecting audio equipment and transmitting sound signals.
Cardioid Microphone: A unidirectional microphone most sensitive to sound from the front.
Channel: A path for sending audio signals in a mixing console or recording interface.
Chorus Effect: An effect that thickens a sound by creating variations in pitch and timing.
Clipping: Distortion when an audio signal exceeds an equipment’s maximum level.
Compressor: A device that reduces the dynamic range of an audio signal.
Condenser Microphone: A microphone that uses a capacitor to convert sound to an electrical signal.
Crossover: A circuit dividing in sound design an audio signal into separate frequency bands.
Crown Power Amplifier: An amplifier brand known for professional audio use.
Cue: A signal for a specific action in sound design for a theatre production
Cue List: A list of all cues used in a theatrical production.
Cue-to-Cue: A rehearsal focusing on technical aspects, especially cues.
Curved Array Technology: Speaker design method for wide-area sound projection.
Cut: Removing frequencies from an audio signal using an equaliser.
DAW (Digital Audio Workstation): Software platform for recording, editing, and producing audio.
dB (Decibel): A unit for measuring sound intensity or loudness.
Decibel Meter: A device used to measure the intensity of sound, crucial in setting appropriate levels in theatre environments.
Delay: An effect that plays back a sound after a short duration, creating an echo or repetition effect.
Diaphragm: In microphones or speakers, the part that vibrates in response to sound waves.
Digital Audio: Sound that is encoded in a digital format for processing, storage, or transmission.
Digital Signal Processing (DSP): The manipulation of audio signals using digital technology to improve or alter the sound.
Direct Box (DI Box): A device that connects high-impedance, unbalanced audio signals to low-impedance, balanced inputs.
Directivity: The degree to which a microphone or loudspeaker focuses on sound from specific directions.
Distortion: An alteration of the original sound, often creating a ‘fuzz’ or ‘crunch’ effect, typically undesirable in clear audio transmission.
Dolby Atmos: An advanced surround sound technology that creates a more immersive audio experience.
Driver: The component in a loudspeaker that converts the electrical audio signal into sound waves.
Dry Signal: An audio signal with no effects or enhancements added.
Ducking: A technique where the level of one audio signal is reduced by the presence of another signal (e.g., background music lowering when a person speaks).
Dynamic Microphone: A type of microphone that converts sound into an electrical signal using electromagnetism, known for durability and less sensitivity to high sound pressure levels.
Dynamic Range: The range between the quietest and loudest parts of an audio signal in sound design.
Dynamic Processor: Equipment that alters the dynamic range of an audio signal, such as compressors, limiters, and gates.
DSP (Digital Signal Processor): A specialized microprocessor used for the processing of digital audio signals.
Dithering: A process used in digital audio to minimize quantization errors by adding low-level noise.
DIY (Do It Yourself): In sound design, refers to creating or modifying audio equipment or software independently rather than purchasing commercial products.
Dolby Digital: A digital audio coding technique that reduces the amount of data needed to produce high-quality sound.
Doppler Effect: The change in frequency or wavelength of a sound wave in relation to an observer moving relative to the source of the sound.
Ear Protection: Devices or equipment used to protect the hearing of individuals exposed to high sound levels, especially relevant in loud theatre environments.
Echo: The reflection of sound, arriving at the listener some time after the direct sound.
Echo Cancellation: Technology used to remove echo from audio signals, important in live sound reinforcement systems.
Effects Loop: A configuration in sound design that allows external audio processors to be inserted into the signal path without disrupting the original signal.
Effects Processor: Hardware or software used to add effects to audio signals, like reverb, delay, or chorus.
Effects Rack: A storage unit that houses multiple audio effects units, typically used in a theatre’s sound design setup.
Electret Microphone: A type of condenser microphone where the capsule has a permanently charged material, eliminating the need for an external power source.
Electronic Crossover: A device in sound design that divides the audio signal into separate frequency bands for different speaker drivers electronically.
Electronics: The branch of physics and engineering involved in the design and application of electronic circuits and devices, crucial in sound system design and operation.
Enhancer: An audio processor that improves the perceived sound quality of an audio signal by manipulating certain characteristics like phase and harmonics.
Envelope: The characteristic sound of a note or sound that describes how its volume, tone, and pitch change over time, described in terms of attack, decay, sustain, and release.
Environmental Microphone: A microphone used to capture the ambient sound of a location, used in theatre to add realism and atmosphere.
Equalisation (EQ): The process of adjusting the balance between frequency components within an audio signal.
Ethernet Audio: Audio systems that utilise Ethernet networks for signal transmission, offering flexibility and scalability in complex setups like theatres.
Exciter: An audio effect that enhances the clarity or presence of a sound by adding harmonic content.
Expander: A dynamic range processor that decreases the volume of audio signals below a certain threshold, essentially the opposite of a compressor.
Expansion: The opposite of compression in audio processing; it increases the dynamic range of an audio signal.
Excursion: The movement of a speaker cone or diaphragm back and forth from its resting position, crucial in determining the loudness and sound quality.
External Power Supply: A device providing power to audio equipment, often necessary for gear that requires more power than can be provided through standard connections like USB or audio jacks.
External Processing: The use of outboard gear or external software for sound manipulation, outside of the primary mixing console or DAW.
Equalisation Curve: The graphical representation of an EQ setting, showing which frequencies are being boosted or cut.
Fade: The gradual increase or decrease in the level of an audio signal.
Feedback: The screeching or howling sound when a microphone picks up sound from a speaker it’s connected to, creating a looped signal.
Field Recorder: A portable device used for recording audio outside of a studio environment, often used in theatre for capturing natural sounds or ambient noise.
Filter: A circuit or software component that removes certain frequencies from an audio signal.
Flanger: An audio effect producing a swirling or whooshing sound by mixing a signal with a delayed version of itself.
Flat Response: A speaker or microphone characteristic in sound design where all frequencies are reproduced at the same level, leading to a very accurate sound reproduction.
Foley: The reproduction of everyday sound effects added to enhance audio quality in theatre productions.
Frequency: The rate at which a sound wave vibrates, measured in Hertz (Hz), determining the pitch of the sound.
Frequency Range: The range of frequencies that a piece of audio equipment can reproduce.
Full-Range Speaker: A loudspeaker designed to reproduce the entire frequency range of audible sound without the need for additional subwoofers or tweeters.
Fundamental Frequency: The lowest frequency of a sound wave, determining the pitch of the note.
Feedback Suppressor: A device or software used to detect and eliminate feedback in a sound system.
Fader: A control on a mixing console or audio software used to adjust the level of an audio channel.
Fidelity: The degree to which a copy of sound accurately reproduces the original sound.
Figure-8 Pattern: A microphone pickup pattern where the mic is sensitive to sounds from the front and back but not the sides.
Foldback: The use of speakers on stage directed towards performers so they can hear themselves or other elements of the mix.
Fourier Analysis: A mathematical method in sound design used to decompose a function (like a sound wave) into its constituent frequencies.
FX Processor: Short for “effects processor,” it’s a device or software used to add various audio effects.
Frequency Modulation (FM): A method of transmitting sound by varying the frequency of a wave.
Frame: In digital audio, a single sample or a group of samples representing a slice of time.
Fuzz: A type of distortion effect that produces a warm, fuzzy sound by clipping the audio signal aggressively.
Gain: The level of amplification applied to an audio signal.
Gate: A device or software feature that silences an audio signal when it falls below a set threshold.
Graphic Equalizer: A type of equalizer in sound design with fixed frequency bands represented by sliders to adjust the level of each band.
Ground Loop: An unwanted hum or buzz in an audio system caused by multiple paths to ground in the electrical system.
Ground Lift: A switch found on many audio devices that disconnects the ground pin to break ground loops and reduce hum.
Group: A function on a mixing console that allows multiple channels to be controlled together.
GUI (Graphical User Interface): In sound software, the visual interface through which a user interacts with the program.
Gain Structure: The setting of gain levels at various stages in an audio system to achieve the optimal signal-to-noise ratio without distortion.
Galvanic Isolation: A design technique that separates electrical circuits to prevent ground loop noise.
Generator: Equipment used to create test tones for setting up and testing audio equipment.
Gooseneck Microphone: A flexible microphone that can be adjusted to different positions, often used on lecterns or for instrumental pickups.
Grid Controller: A hardware device used in electronic music production, often in sound design, for triggering samples, loops, and effects.
Grounding: The process of connecting electrical equipment to the earth to provide a safe path for excess electrical charge.
Gaffer Tape: Strong, durable tape used in theatre and live performances to secure cables and equipment safely and unobtrusively.
Gain Reduction: The decrease in audio signal level as a result of using a compressor or limiter.
Glitch Effect: A digital or electronic error in sound processing that creates a disruptive or ‘glitchy’ sound, sometimes used as an artistic effect.
Graphic Interface: The visual elements of a software application that allow the user to interact with and manipulate digital sound.
Green Room: A room in a theatre or studio where performers relax when not on stage, not directly related to sound design but part of the overall theatre environment.
Ground Wire: A wire that provides a path for electrical current to return safely to the ground in audio equipment.
Headroom: The amount of space left in an audio signal before it reaches the maximum level and begins to clip or distort.
Headset Microphone: A small microphone attached to a headset, often used in theatre for hands-free operation, especially by performers who move a lot.
High-Pass Filter: An electronic filter that passes signals with a frequency higher than a certain cutoff frequency and attenuates signals with lower frequencies.
Harmonics: Frequencies that are multiples of a fundamental frequency, contributing to the timbre of a sound.
Hertz (Hz): The unit of frequency in the International System of Units (SI), measuring the number of cycles per second in a sound wave.
Hum: A low, steady sound, often an unwanted background noise, typically caused by electrical interference.
Hypercardioid Microphone: A type of directional microphone with a tighter front pickup angle than a cardioid, but with a small lobe of sensitivity at the back.
Headphone Amplifier: A device that amplifies audio signals to a level suitable for driving headphones.
High-Frequency: Refers to the higher range of audible frequencies, usually from around 2,000 Hz to 20,000 Hz.
House Mix: The audio mix intended for the audience, typically through the main PA system in a theatre.
Hanging Microphone: A microphone that is suspended from above, often used in theatrical productions to capture ambient sound or unobtrusive stage audio.
Hard Knee Compression: A type of compression that abruptly reduces the gain above a certain threshold, often used for more aggressive sound dynamics control.
Harmonic Distortion: A form of distortion that occurs when the output signal contains harmonics that were not present in the input signal.
High Shelf Filter: An equalizer filter that boosts or attenuates all frequencies above a certain point.
Hiss: A type of high-frequency noise, often caused by electronic devices or poor quality recordings.
Hot Swap: The ability to replace or add components (like microphones or cables) without turning off the system.
Hybrid Console: A mixing console in sound design that combines features of both analog and digital technology.
Haptic Feedback: The use of touch or vibrations to communicate information or provide sensory feedback, occasionally used in immersive theatre experiences.
Hanging Array: A configuration of speakers suspended from a structure, used to provide even sound coverage over a large area.
Horn: A type of loudspeaker design that uses a flared passage to project sound more efficiently.
High-End: Referring to the highest quality in audio equipment or technology, often with an emphasis on superior sound fidelity.
Impedance: The measure of resistance a circuit presents to the passage of electric current, important in matching audio components like microphones to mixers.
Input: The point where a signal enters a device or system, such as a microphone input into a sound console.
In-Ear Monitor (IEM): A device used by performers to hear a mix of microphones and/or instruments directly into earphones.
Isolation: The reduction of sound leakage between different microphones, instruments, or rooms, crucial in recording and live sound situations.
Interface: A device that connects audio equipment to a computer, used in digital sound processing and recording.
Interference: Unwanted noise or distortion in an audio signal, caused by external factors like electromagnetic signals.
Inverter Phase: A switch on an audio device that reverses the polarity of the signal, used to avoid phase cancellation.
Impulse Response: A measurement of how a space reacts to sound, important in understanding room acoustics and designing sound systems.
Input Gain: The control on an audio device that adjusts the level of an incoming signal.
Intelligibility: The clarity with which spoken words can be understood, crucial in theatre sound design for dialogue.
Isolation Booth: A sound-proofed room designed to prevent sound leakage and external noise, used for recording.
Input List: A document detailing all the input sources (microphones, instruments, etc.) for a sound design or live sound setup.
Instrument Microphone: A microphone specifically designed for picking up the sound of musical instruments.
Induction Loop: A sound system used for assisting the hearing impaired, transmitting audio through a magnetic field directly to hearing aids.
Insert: A point in the signal path where an external processor (like an effects unit) can be connected without interrupting the flow of the signal.
Imaging: In audio, the ability of a sound system to localise sound sources in three-dimensional space.
Infrasonic: Sound frequencies below the lower limit of human audibility, under 20 Hz.
I/O (Input/Output): Term used to describe any point where data (audio signal in this context) enters or exits a system or device.
Integrated Amplifier: An amplifier that combines a pre-amplifier and a power amplifier in one unit.
Impulse Noise: A short burst of sound, typically of high intensity and short duration, like a gunshot or explosion.
iLok: A specific type of USB device used to authorise software, commonly used for digital audio workstation software licensing.
Jack: A common type of audio connector, used for connecting instruments, microphones, and other audio devices to mixers and amplifiers.
Jog Wheel: A control wheel on audio equipment, used for navigating through tracks or adjusting parameters.
Jump Cut: In audio editing, a sudden transition between two pieces of audio that can be jarring or disorientating, often used for dramatic effect.
Junction Box: A container for electrical connections, used to safely and neatly organize wire junctions in audio setups.
Jackfield (Patchbay): A panel of jacks used to connect different pieces of audio equipment together in a flexible manner, allowing for various signal routing configurations.
Jitter: In digital audio, this refers to the timing variations in the sampling of audio signals, which can affect sound quality.
JFET (Junction Field-Effect Transistor): A type of transistor often used in microphone preamplifiers for its low noise characteristics.
Joystick Control: In advanced audio systems, a joystick is used to manipulate and control sound movement, particularly in surround sound environments.
JBL Speakers: A brand of speakers known for their use in professional audio settings, including theatre sound systems.
Jet Effect: A psychoacoustic effect where the direction of a sound seems to change rapidly, which can be used creatively in theatre soundscapes.
Jumpers: Short cables or connectors within an audio device used to make permanent or semi-permanent connections between points in a circuit.
Joule: A unit of energy; in sound terms, it can relate to the energy carried by sound waves.
Keypad: A control surface with buttons or keys, used in some audio equipment for inputting commands or selecting functions.
Keying: The process of using one audio signal to control some aspect of another signal, such as in noise gates or sidechain compression.
KHz (Kilohertz): A unit of frequency equal to 1,000 Hertz. In sound design, it’s often used to refer to the higher frequencies in the audio spectrum.
Kick Drum Microphone: A microphone specifically designed or chosen for capturing the sound of a kick drum, with characteristics suited to low-frequency response.
Kilobit (Kb): A unit of digital information equal to 1,000 bits, relevant in digital audio for describing data rates.
Klystron: A specialized vacuum tube used in some high-frequency amplification applications, though more common in radio than audio.
Knob: A circular control on an audio device used for adjusting levels or parameters.
K-System: A set of standardized metering and monitoring guidelines developed by Bob Katz for audio mastering and mixing.
Kurzweil Synthesizer: A brand of keyboard synthesizers known for their advanced sound generation capabilities, sometimes used in theatre for sound effects and music.
Keyboard Amplifier: A type of amplifier specifically designed for electronic keyboards, often used in theatre productions involving electronic instruments.
Keynote: In acoustics, the fundamental note or tone that identifies the character of a sound or environment, akin to a ‘home’ note in music.
Knee (in Compression): The point in a compressor’s operation where the compression ratio changes, affecting how the compressor responds to the incoming signal.
Knot (Cable Knot): A method of coiling cables to prevent tangling and damage, an essential skill in sound equipment management.
Lapel Microphone: Also known as a lavalier microphone, a small microphone used for public speaking and theatre, often clipped to the speaker’s clothing.
Latency: The delay between an input being processed and the corresponding output, important in digital audio systems.
Layering: Combining multiple sounds or tracks to create a richer or more complex audio effect.
LED Meter: A visual representation of audio signal levels, using light-emitting diodes.
Limiter: An audio processor that restricts the maximum level of a signal, preventing it from exceeding a set threshold.
Line Array: A loudspeaker system that uses multiple speakers arranged in a vertical line to provide even sound coverage over a distance.
Line Level: The standard signal strength used to connect audio equipment, higher than microphone level but lower than speaker level.
Line Mixer: A simple type of audio mixer in sound design that combines line-level signals without additional processing features like EQ or effects.
Live Sound: Sound engineering in a live performance environment, as opposed to recording in a studio.
Load-In: The process of bringing equipment into a theatre or venue, often including the setup of sound equipment.
Loudness: The perceived volume or intensity of a sound.
Loudspeaker: An electroacoustic transducer that converts an electrical audio signal into sound.
Low Cut Filter: A filter that removes low-frequency content from an audio signal, also known as a high-pass filter.
Low Frequency Oscillation (LFO): An electronic frequency below the human hearing range, used in synthesizers and effects units to modulate other audio signals.
Low-Pass Filter: An electronic filter that passes signals with a frequency lower than a certain cutoff frequency and attenuates signals with frequencies higher than the cutoff.
Loop: A repeating section of sound material, common in electronic music and sound design.
Lossless and Lossy Compression: Methods of data compression. Lossless retains all original data, while lossy removes some data for efficiency, impacting audio quality.
Loudness War: The trend of increasing audio levels in recorded music over time to create a perception of loudness, relevant in mastering and sound design.
LUFS (Loudness Units Full Scale): A standard that measures audio loudness and is used for normalization in broadcast and music production.
Lavalier: Another term for a lapel microphone, typically a small clip-on device used for theatre performances, presentations, and broadcasts.
Main Mix: The primary audio mix that is sent to the main loudspeakers.
Matrix Mixer: A mixer that provides multiple inputs and outputs, allowing complex routing and distribution of audio signals.
Max SPL (Sound Pressure Level): The maximum level of sound a microphone or speaker can handle without distortion.
Measurement Microphone: A high-accuracy microphone used for measuring sound levels and acoustic properties.
Mic Level: The low-level audio signal generated by a microphone.
Microphone: A device that converts sound into an electrical signal for amplification, recording, or transmission.
MIDI (Musical Instrument Digital Interface): A standard for communicating performance data between musical instruments, computers, and related audio devices.
Mixer: An electronic device that combines, processes, and manipulates audio signals.
Mixing Console: A desk comprising various channels, used to control and combine different audio signals in theatre productions.
Monitor: A speaker used in recording studios and live performances so that musicians and singers can hear themselves.
Mono (Monaural Sound): Audio recorded or played back using one channel.
Multiband Compression: A type of audio signal processing that divides the signal into multiple frequency bands and applies compression separately to each band.
Multitrack Recording: Recording each instrument or voice separately to create a combined mix with greater control over each element.
Mute: A function to silence a specific channel or track.
Monitor Mixer: A separate mixing console or system used to create mixes for performers’ monitors, independent of the main house mix.
Multicore Cable: A cable that contains multiple individual conductors, typically used for connecting multiple audio signals between stage and mixing console.
Modulation: The process of varying a property of an audio signal in sound design, such as its amplitude, frequency, or phase.
Monitor Engineer: A professional responsible for operating the monitor mixing console and managing the sound heard by the performers on stage.
MP3: A common audio file format that uses lossy compression to reduce file size.
Music Sequencer: A device or software used for recording, editing, and playing back music, particularly useful in theatre for complex musical arrangements.
Mic Stand: A stand designed to hold a microphone at a desired height and position.
Noise: Unwanted sound or electrical disturbance that interferes with the audio signal.
Noise Floor: The level of background noise in a recording or audio signal, below which the signal is not distinguishable.
Noise Gate: A device or software function that silences an audio signal when its level falls below a set threshold, reducing unwanted background noise.
Non-Destructive Editing: An editing method in sound design where the original content is not altered or overwritten, commonly used in digital audio workstations.
Normalisation: The process of adjusting the gain of an audio recording to a standard or desired level without altering the rest of the mix.
Nearfield Monitor: A type of studio speaker designed for listening at close distances, providing an accurate sound representation for mixing and editing.
Neumann Microphone: A brand of high-quality microphones often used in professional recording and theatre sound design.
Notch Filter: A type of EQ that attenuates or boosts a very narrow range of frequencies to remove unwanted sounds like feedback.
Nyquist Frequency: The minimum rate at which a signal can be sampled without introducing errors, which is twice the highest frequency present in the signal.
Noise Reduction: Techniques or technologies used to reduce noise in an audio signal.
Noise-Cancelling Microphone: A microphone designed to reduce ambient noise, improving the clarity of the captured sound.
Non-Linear Editing: Editing audio in a way that allows for changes to be made without following a sequential order, common in digital editing.
NLE (Non-Linear Editing System): A system used for editing audio and video by accessing any part of the recording non-sequentially.
Nodal Point: In acoustics, a point in a standing wave where the wave has minimal amplitude, important in room acoustics analysis.
Nominal Level: The standard operating level at which an audio device is designed to work.
Note: In music and audio, a single tone with a specific pitch and duration.
Neutrik Connector: A brand of professional audio connectors known for their reliability and quality.
Nylon-String Guitar: Mentioned due to its distinct sound character, which presents unique challenges and considerations in miking and amplification in theatre settings.
Nasality: A sound quality in voices or instruments where the sound seems to resonate in the nasal cavity, often addressed in vocal mixing.
Octave: The interval between one musical pitch and another with double its frequency, important for understanding the harmonic structure of sounds.
Offstage: The area of the theatre not visible to the audience, where sound effects and offstage cues are often managed.
Ohm: The unit of electrical resistance, with the impedance of speakers and audio equipment typically measured in ohms.
Omni-Directional Microphone: A type of microphone that picks up sound equally from all directions.
Omni-Directional Pattern: The pickup pattern of a microphone that captures sound from all directions.
Online Sound Library: A digital collection of sound effects, music, and other audio files accessible over the internet, used for sourcing sound material in theatre production.
Op-Amp (Operational Amplifier): A type of integrated circuit used in audio equipment for signal amplification.
Open Mic: A live show where audience members may perform, or a microphone that is turned on and ready to use.
Optical Compressor: A type of compressor that uses a light element and optical cell to control gain reduction.
Orchestration: The method of writing music for an orchestra or arranging music for performance, including the integration of electronic sounds in modern theatre.
Oscillator: A device or software that generates tones or signals, often used in synthesizers.
Oscilloscope: A device that displays a visual representation of an audio signal’s waveform.
Output: The point where an audio signal leaves a device or system, such as from a mixing console to a speaker.
Output Impedance: The impedance presented by an audio device at its output, important for matching with the input impedance of the next device in the signal chain.
Outboard Gear: External audio processing equipment used in addition to the basic equipment found on a mixing console.
Over-Ear Headphones: Headphones designed to cover the entire ear, used for detailed audio editing and mixing.
Overdubbing: The process of recording an additional part onto an existing recording.
Overhead Microphone: A microphone positioned above the sound source, commonly used for capturing ambient sounds or a group of instruments.
Overload: A situation where a signal level exceeds the capacity of a device, causing distortion or clipping.
Overture: An introductory piece of music in musical theatre and opera, requiring specific sound amplification and design.
Overtones: Frequencies higher than the fundamental frequency of a sound, contributing to its timbre.
P.A. System (Public Address System): A sound amplification system used in public venues, including theatres, for distributing sound.
Pan (Panning): The distribution of a sound signal into a new stereo or multi-channel sound field, used to create a sense of location and movement.
Parametric Equalizer: An equalizer allowing precise control over the frequency, amplitude, and bandwidth of each frequency.
Patch: The connection or routing of an audio signal from one point to another.
Patchbay: A panel of connectors used to route audio signals in a flexible manner.
Peak: The highest point in an audio signal’s waveform, often used in setting levels to avoid clipping.
Phantom Power: A method of providing power to condenser microphones through audio cables, typically at +48 volts.
Phase: The relationship in time between waves or signals, important in sound reinforcement and recording.
Phase Cancellation: A phenomenon where two audio waves of the same frequency are out of phase, causing them to reduce or cancel each other out.
Piezoelectric Microphone: A type of microphone that uses a piezoelectric crystal to generate an electrical signal in response to sound pressure.
Pink Noise: A type of noise with equal energy per octave, used in audio testing and sound system calibration.
Pitch: The perceived frequency of a sound, determining how high or low it sounds.
Playback: The act of playing pre-recorded sound during a performance.
Polar Pattern: The sensitivity of a microphone to sounds arriving from different angles.
Pop Filter: A screen placed in front of a microphone to reduce popping sounds caused by fast-moving air during speech or singing.
Ported Enclosure: A type of loudspeaker enclosure that uses a port or duct to extend bass response.
Post-Production: The stage in production after the recording process, where audio is edited, mixed, and enhanced.
Power Amplifier: An amplifier that boosts the low-level audio signal to a level that can drive loudspeakers.
Preamp (Preamplifier): A device that amplifies low-level signals before further processing or amplification.
Processing: The manipulation of audio signals in sound design to alter their characteristics, including effects like reverb, delay, and compression.
Programme Sound: The sound that is part of a theatre production, including dialogue, sound effects, and music.
Proximity Effect: An increase in bass or lower frequencies when a sound source is close to a microphone.
Psychoacoustics: The study of the perception of sound, how humans interpret various audio elements.
Pulse Code Modulation (PCM): A method used to digitally represent analog signals, common in digital audio systems.
Punch-In/Out: Recording techniques where recording begins and ends at predetermined points to correct mistakes or add parts.
Q Factor (Quality Factor): A parameter that describes the bandwidth of frequencies affected around a selected frequency, often used in equalizers. It defines how narrow or wide the bandwidth is for filtering.
Quadraphonic Sound: An early form of surround sound system using four channels and speakers positioned in four corners of a room. While less common now, it was an important step in the development of spatial audio techniques.
Quality: In sound, it refers to the fidelity and clarity of an audio signal, as well as the subjective assessment of the sound’s characteristics.
Quartz Microphone: A type of microphone that uses a quartz crystal to convert sound vibrations into an electrical signal, though rare and more commonly found in scientific applications than in theatre.
Queue: In sound operation, this refers to the lineup or sequence of sound cues or tracks that are ready to be played.
Quick Fade: A rapid decrease in the level of an audio signal, used for dramatic or stylistic effect in live sound and recordings.
Quiescent Noise: The level of background noise present in an audio system when no signal is being processed, also known as the noise floor.
Quiet Zone: An area in a theatre or performance space where external noise is minimized, important for recording and sound clarity.
Radio Frequency (RF): The frequency band used for radio communications, significant in theatre for wireless microphones and communication systems.
RCA Connector: A type of electrical connector commonly used in audio equipment.
Real-Time Analyzer (RTA): A device or software used for measuring the frequency content of an audio signal in real time, useful for sound system calibration and troubleshooting.
Reamping: A technique in sound design where a recorded audio signal, usually from a guitar, is played back through an amplifier and re-recorded.
Recording: The process of capturing sound onto a storage medium.
Redundancy: Having backup systems or components in place to ensure reliability of the sound system, especially important in live theatre.
Reflection: The return of sound waves after hitting a surface, affecting room acoustics and sound quality.
Refraction: The bending of sound waves as they pass through different mediums or temperatures, affecting how sound is perceived in a space.
Rehearsal: Practice sessions in which actors and musicians prepare for a performance, with sound designers and technicians often participating to fine-tune the sound elements.
Remote Control: Using a device or software to control audio equipment from a distance, often used in theatre for sound desks and playback systems.
Resonance: The reinforcement or prolongation of sound by reflection or by the synchronous vibration of a neighboring object.
Retriggering: In electronic music, the initiation of a sound or sample each time a note is played.
Reverb Time: The time it takes for a sound to decay to inaudibility in a room, a crucial aspect of its acoustic properties.
Ribbon Microphone: A type of microphone that uses a thin metal ribbon to convert sound into electrical signals, known for its warm sound and sensitivity to higher frequencies.
Rider: A document provided by touring acts detailing stage, sound, and technical requirements.
Ring Out: The process of reducing feedback in a sound system by identifying and reducing frequencies that cause feedback.
RMS (Root Mean Square): A mathematical calculation used to determine the average level of an audio signal, important for understanding perceived loudness.
Road Case: A sturdy container used to transport audio equipment safely.
Roll-Off: The gradual reduction of the amplitude of a signal below or above a certain frequency.
Room Acoustics: The study of how sound behaves in an enclosed space, a key factor in theatre sound design.
Room Mode: Specific frequencies that are either amplified or attenuated due to the dimensions of a room.
Routing: The process of directing an audio signal from one place to another in a sound system.
Reverb Unit: A device or software plugin used to create artificial reverberation effects, adding depth and space to sounds in a mix.
Sample Rate: The number of samples of audio carried per second, measured in Hz. Higher sample rates provide greater fidelity for digital audio recordings.
Sampler: A device or software that records and plays back digital audio samples.
Schoeps Microphone: A brand of high-quality microphones, known for their use in capturing natural and accurate sound, often used in theatre productions.
Scribble Strip: A space on a mixing console where sound engineers can write notes about the channel’s content.
Send: A control on a mixing console that routes an audio signal to an external device, like an effects processor or monitor mix.
Sequencer: A device or software for recording and playing back music by triggering pre-recorded sounds and samples.
SFX (Sound Effects): Artificially created or enhanced sounds used in theatre to enhance the storytelling.
Shelving EQ: A type of equalizer in sound design that increases or decreases all frequencies above or below a certain point.
Shock Mount: A mechanical fastener that attaches a microphone to a stand while reducing handling and vibration noise.
Shotgun Microphone: A highly directional microphone used to capture sound from a specific area, minimizing background noise.
Signal Chain: The path an audio signal takes from the source through various processing devices and out to the speakers or recording device.
Signal Processor: Hardware or software that modifies an audio signal in some way, such as an equalizer, compressor, or reverb unit.
Signal-to-Noise Ratio (SNR): The level of a desired signal to the level of background noise, important in assessing the quality of an audio system.
Silence: The absence of intentional sound or the presence of very low-level noise, used for dramatic effect in theatre.
Sibilance: A hissing sound in speech, often produced by the pronunciation of the ‘s’ and ‘sh’ sounds, sometimes requiring special attention in sound processing.
Sidechain: Using the signal from one source to trigger an effect on another source, such as using a kick drum to control a bass line compressor.
Signal Flow: The path an audio signal takes from input to output in an audio system.
Slate: A device used to synchronise sound and video, especially in film production but also relevant in multimedia theatre productions.
SMPTE Timecode: A standard for labeling frames of video or segments of audio to ensure synchronisation in multimedia presentations.
Soft Knee Compression: A type of compression that applies the ratio gradually, creating a more natural sound.
Soundboard: Another term for a mixing console or audio mixer.
Sound Check: The session before a performance where levels are adjusted and the sound system is tested.
Sound Designer: The individual responsible for designing the overall sound of a theatre production, including the selection and manipulation of audio elements.
Sound Reinforcement: The use of audio amplification systems to distribute sound within a space or venue.
Spectral Analysis: Examining the frequency spectrum of an audio signal, often used for identifying problematic frequencies and fine-tuning system performance.
Speaker: An electroacoustic transducer that converts an electrical audio signal into audible sound.
Stereo: A method of sound reproduction that uses two or more independent audio channels to create the impression of sound heard from various directions.
Subwoofer: A loudspeaker designed to reproduce low bass frequencies.
Surround Sound: An audio system that surrounds the listener with sound from different directions, used in theatre to create a more immersive experience.
Sustain: In audio, the period during which a sound remains at a consistent level before it begins to decay.
Sweet Spot: The optimal listening position in a sound field, usually at the centre of two speakers where the stereo image is best perceived.
Talkback: A feature in sound systems allowing communication from the control room or sound booth to the performers onstage or in a studio.
Tape Loop: An old technique where a segment of magnetic tape is looped for continuous play, used for creating repetitive sound effects or musical phrases.
Threshold: In audio processing, it’s the level at which a processor (like a compressor or noise gate) begins to affect the audio signal.
Timbre: The quality of a sound that distinguishes different types of sound production, such as voices or musical instruments.
Time Alignment: The process of adjusting the timing of sound from various speakers so that the audio arrives at the listening position simultaneously.
Timecode: A sequence of numeric codes in sound design generated at regular intervals by a timing synchronization system, used for synchronizing audio and video.
Tone: The quality or character of sound.
Tone Control: A control on an audio device used to adjust the balance of frequency components in an audio signal.
Transient: A short-duration, high-amplitude sound at the beginning of a waveform, important in capturing the character of percussive sounds.
Transducer: Any device that converts one form of energy to another, such as a microphone (acoustic to electric) or a loudspeaker (electric to acoustic).
Transmission Line (in Speaker Design): A type of speaker enclosure design where sound from the rear of the speaker driver is directed through a long path or duct.
Transparency: In audio processing, the characteristic of a processor that does not audibly alter the sound, aside from its intended effect.
Tremolo: A modulation effect that varies the amplitude of a sound signal, creating a trembling effect.
Tri-Amping: A system where an audio signal is divided into three frequency bands (low, mid, high) and each band is amplified separately.
Trim: A control on a mixing console or preamplifier that adjusts the input gain of a channel.
Tube Microphone: A type of microphone that uses vacuum tubes to amplify the signal, known for their warm sound quality.
Tweeter: A type of loudspeaker driver designed to produce high frequencies.
Two-Way Speaker: A speaker system with two types of drivers, typically a woofer for low frequencies and a tweeter for high frequencies.
Threshold of Hearing: The quietest sound that can be heard by the average human ear.
Touch Screen Mixer: A mixing console that uses a touch screen as its primary interface for controlling sound.
Track: In recording and mixing, a single layer of audio, such as a vocal, instrument, or sound effect.
Truss: A framework typically used in theatres to support lighting and sound equipment.
Tube Compressor: An audio signal processor that uses vacuum tubes to provide compression, known for imparting a warm, musical character to the sound.
UHF (Ultra High Frequency): A range of radio frequencies between 300 MHz and 3 GHz used in wireless microphones and other communication devices in theatre.
Unbalanced Cable: A type of audio cable with one wire carrying the signal and another serving as a ground, more prone to noise interference compared to balanced cables.
Underscore: Background music in a theatre production, played to enhance the mood or support the action on stage.
Unidirectional Microphone: A microphone designed to capture sound predominantly from one direction, minimizing ambient noise.
Unity Gain: A setting where the output level is the same as the input level, meaning no amplification or attenuation of the signal.
Unison Choir: In theatre, a group of performers singing or speaking simultaneously at the same pitch, creating a powerful audio effect.
Upmixing: The process of converting audio from fewer channels (like stereo) to more channels (like surround sound), sometimes used in theatre to create a more immersive audio environment.
USB Interface: An audio interface that connects to a computer via USB, used for converting analog signals into digital form and vice versa.
USB (Universal Serial Bus) Microphone: A microphone that connects directly to a computer’s USB port, often used for digital recording.
User Interface (UI): The part of audio equipment or software that allows the user to interact with and control it. The design of the UI can significantly impact the efficiency and ease of use in sound design.
Utility Speaker: A versatile speaker used for various purposes, often as a fill or support speaker in a theatre setting.
Ultralow Frequency (ULF): Frequencies below 20 Hz, not typically audible but can be felt as vibration. In theatre, these frequencies can be used for special effects.
UV Meter: A type of volume meter that uses ultraviolet light to display the level of an audio signal, though now largely replaced by LED and digital meters.
Valve Amplifier: An amplifier that uses vacuum tubes (valves) to amplify the audio signal, known for their warm and rich sound quality.
Variable Acoustics: Systems or structures in a theatre that can change the acoustic properties of the space, such as adjustable panels or curtains.
VCA (Voltage Controlled Amplifier): A type of amplifier whose gain is controlled by a voltage level, commonly used in audio mixers and signal processors.
VCO (Voltage Controlled Oscillator): In synthesizers and electronic music, an oscillator whose frequency is controlled by a voltage input, used for creating various sounds and effects.
Velocity Sensitivity: A feature in musical keyboards and MIDI controllers where the volume or timbre of the note varies based on how hard the key is pressed.
Vent: A port or opening in a speaker enclosure that helps enhance its efficiency, especially in the low-frequency range.
VHF (Very High Frequency): A radio frequency range from 30 MHz to 300 MHz, often used in older wireless microphone systems.
Vibration Isolation: Techniques or equipment used to prevent unwanted vibrations from affecting audio equipment and sound quality.
Vibrato: A musical effect consisting of a regular, pulsating change of pitch, used to add expression to vocal and instrumental music.
Video Sync: The process of synchronizing audio with video, important in theatre productions that integrate multimedia elements.
Virtual Soundcheck: A feature in digital audio consoles that allows sound engineers to play back multi-track recordings through the console, enabling them to set up and tweak a live sound mix without the band being present.
Vocoder: An electronic device or software plugin that synthesizes the human voice, often used to create robotic or otherworldly vocal effects.
Voice Coil: The coil in a loudspeaker that moves in response to an electric current, creating sound waves.
Voiceover: A production technique where a voice that is not part of the narrative is used in a radio, television production, filmmaking, theatre, or other presentation.
Voicing: Adjusting the balance of different frequencies in a loudspeaker or sound system to achieve a desired tonal quality.
Voltage: An electrical measurement that is relevant in audio equipment for power supply and signal level specifications.
Volume: The perceived loudness or intensity of a sound.
Volume Automation: In digital audio workstations, the process of programming changes in volume levels over time within an audio track.
Volume Unit (VU) Meter: A device that displays a representation of the signal level in audio equipment.
VU Meter: An analog display device that shows the average level of an audio signal.
Wall Plate: A fixed panel in a venue or studio where cables can be connected, typically part of the permanent wiring infrastructure.
Watt: The unit of power in the International System of Units (SI), commonly used to measure the power output of amplifiers and the power handling of speakers.
Wave Field Synthesis: A spatial audio rendering technique that creates virtual acoustic environments.
Waveform: The shape of a sound wave, representing the variations of amplitude over time, visible in audio editing software.
Wavelength: The physical distance between repeating parts of a wave, which determines the pitch of the sound.
Wedge: Referring to a type of stage monitor speaker, often shaped like a wedge to direct sound towards performers.
Wedge Monitor: A type of stage monitor speaker that has a wedge shape, allowing it to be placed on the stage floor and directed towards the performer.
Wet/Dry Mix: A control on an effects processor that balances the level of the original (dry) signal with the effects (wet) signal.
White Noise: A type of noise that contains equal intensities of all frequencies of the audible spectrum, used for testing and masking unwanted sounds.
Wireless Frequency Coordination: The process of selecting and managing wireless system frequencies to avoid interference in a venue.
Wireless Microphone: A microphone that transmits audio signals wirelessly, commonly used in theatre for freedom of movement.
Woofer: A loudspeaker driver designed to produce low-frequency sounds.
Word Clock: A timing signal used to synchronize digital audio devices, ensuring that all components in a digital audio system are locked in time.
Workstation: In sound design, it typically refers to a digital audio workstation (DAW), a software platform used for recording, editing, and producing audio files.
Windscreen: A device placed over a microphone to reduce noise caused by wind or breath.
Wiring Harness: A collection of cables or wires that are routed and connected together, used in audio systems to organise and connect various components.
Wow and Flutter: Terms used to describe pitch variations in playback of analog recordings, caused by irregularities in the playback mechanism.
X-Curve: A reference response curve used in the calibration of movie theatre sound systems. It represents the ideal frequency response for cinema speakers during playback.
XLR Connector: A type of electrical connector commonly used in professional audio applications for balanced audio signals, including microphones and sound equipment.
XLR Cable: A cable equipped with XLR connectors, used for transmitting balanced audio signals.
X-Fade (Crossfade): A technique where one audio track is gradually faded out while another is faded in, creating a smooth transition between the two.
XY Microphone Technique: A stereo miking technique where two directional microphones are placed in close proximity at an angle (usually 90 degrees) to each other, capturing a stereo image of the sound source.
X-Y Control: In electronic music and sound synthesis, a method of control that uses a two-dimensional pad or screen to manipulate parameters, such as pitch and modulation.
Xenon Lamp: A type of high-intensity lamp often used in theatre projectors. While primarily associated with lighting, it can be relevant in theatre production where lighting and sound are coordinated.
X-Over (Crossover): A device that divides an audio signal into two or more frequency bands, typically used in speaker systems to direct appropriate frequencies to different drivers (woofers, tweeters, etc.).
XLR Panel: A panel equipped with XLR connectors, used in audio installations and sound systems for connecting various audio components.
Y-Cable: A type of cable that splits a single audio signal into two parts or combines two signals into one, resembling the letter “Y”.
Yellow Noise: A type of noise similar to white noise, but with a spectral density that increases with frequency. It’s not a common term in sound design but might be used for specific sound effects or acoustic treatments.
Yoke: A mechanical support structure used for mounting lighting or sound equipment, allowing for adjustable positioning.
Yield Point: In acoustics and material science, the point at which a material begins to deform permanently. In sound design, understanding this can be important when designing and installing custom speaker enclosures or mounts.
Yield Strength: Similar to the yield point, it’s the stress at which a material begins to deform plastically. In the context of sound equipment, understanding the yield strength of materials can be important for safely mounting and securing heavy equipment.
Yagi Antenna: A type of directional antenna used for wireless microphones and in-ear monitor systems in theatre, providing improved reception and reduced interference.
Zero Crossing: A point where an audio waveform crosses the zero line, representing a moment of silence in the wave. This concept is important in digital audio editing to avoid clicks or pops when editing or looping audio.
Zero Latency Monitoring: A feature in audio interfaces and digital audio workstations that allows performers to hear themselves in real-time, without the delay typically caused by digital processing.
Zone System: In sound design for larger venues, including theatres, it refers to dividing the space into different areas or ‘zones’, each with its own sound control, allowing for tailored audio delivery across different sections of the audience.
Zoom Microphone: A term sometimes used for shotgun microphones, which can ‘zoom’ in on a sound source from a distance, useful in theatre settings for isolating specific sound sources.
Z-Plane Filters: A type of digital filter used in some synthesizers and digital audio processors. They offer unique ways to manipulate sound, beneficial for creating diverse soundscapes in theatre.
Z-Axis: In surround sound and spatial audio design, the z-axis refers to the vertical plane. Adjusting sounds along this axis helps in creating a three-dimensional audio experience in theatre productions.
Zoning: Similar to the Zone System, zoning refers to the practice of dividing a space into different areas for specific sound control purposes.
Z-Weighting: A type of frequency weighting where no frequency weighting is applied to a sound measurement. It gives a flat response across all frequencies, useful in accurately assessing the loudness of sounds in theatre environments.