VCE Vet Music Sound Production key terms

Practices and controls that protect workers' hearing from loud sound, including exposure limits, hearing tests, quiet zones, and the use of personal hearing protection.

Items worn by a worker to reduce risk, such as gloves, safety glasses, or earplugs; it is the last line of defence after other controls.

A careful examination of what in a workplace could cause harm, how likely and severe that harm is, and what controls should be put in place.

A document supplied with a hazardous chemical that lists its hazards, safe handling, storage, and first-aid measures; it supports risk assessment and emergency planning.

Lifting, carrying, pushing, or pulling loads by hand or bodily force; in sound production it includes moving speakers, flight cases, and cable trunks safely.

The amount of sound energy a person receives over time, usually measured as sound level and duration; high exposure can cause permanent hearing damage.

A travelling disturbance in a medium such as air, in which particles vibrate and transfer energy; variations in air pressure reach the ear or microphone as sound.

The number of complete cycles of a sound wave per second, measured in hertz (Hz); it relates to pitch, with higher frequencies sounding higher.

The unit of frequency, equal to one cycle per second; audio work commonly refers to kilohertz (kHz), where 1 kHz equals 1000 Hz.

The size of a sound wave's variation in air pressure or voltage; it corresponds to loudness and is often expressed in decibels.

A logarithmic unit used to compare sound levels or signal levels; it compresses a very wide range of values into convenient numbers for audio measurement.

The loudness of sound in air measured in decibels relative to a reference pressure; it is the reading used for noise exposure and live-sound checks.

The path an audio signal takes from its source through processing and amplification to its destination, such as from a microphone to a speaker.

A cable and connector arrangement using two signal conductors plus a shield, so interference picked up on the line is cancelled at the receiving end.

A connection with one signal conductor and a shield serving as the return; it is simple and inexpensive but more prone to picking up interference over long runs.

A three-pin locking connector widely used for balanced microphone and line-level audio connections; it is robust and common in live and studio work.

The planned setting of levels at each stage of the signal path so the signal is strong enough to avoid noise but not so strong that it distorts.

Distortion that occurs when a signal exceeds the maximum level a device can handle, flattening the tops of the waveform and adding harsh artefacts.

A DC voltage, commonly 48 volts, sent along a balanced microphone cable to power condenser microphones and active direct boxes.

A microphone that uses a charged diaphragm and backplate to convert sound into an electrical signal; it needs power and is sensitive and detailed.

A rugged microphone that converts sound into a signal using a moving coil in a magnetic field; it needs no power and suits loud sources.

A device that converts an unbalanced instrument-level signal into a balanced signal suitable for long cable runs to a mixing console.

The way a microphone's sensitivity varies with the direction of incoming sound, such as cardioid, omnidirectional, or figure-eight.

Choosing the distance and angle of a microphone relative to a sound source to capture the desired tone, balance, and amount of room sound.

The increase in low-frequency response that occurs when a directional microphone is placed very close to a sound source.

Recording separate sources or performances onto individual tracks so they can be edited, processed, and balanced independently later.

Recording new parts onto existing tracks while listening to the previously recorded material, allowing a performance to be built up in layers.

Combining multiple recorded tracks into a balanced stereo or surround result by adjusting level, pan, equalisation, and effects.

Adjusting the balance of frequency ranges in a signal, for example by boosting or cutting highs, mids, or lows to shape tone.

Placing a mono signal at a position between the left and right speakers in a stereo field to create space and separation in a mix.

A control that taps a copy of a channel's signal and sends it to an effects device or monitor system independently of the main mix.

The blend of instruments and voices sent to performers' on-stage speakers or in-ear monitors so they can hear themselves and each other clearly.

A howling or ringing sound caused when amplified output from a speaker is picked up again by a microphone and repeatedly re-amplified.

The maximum usable level a microphone can be amplified before the system starts to feed back; it depends on microphone and speaker placement.

The mixing position and sound system that serve the audience, as distinct from the stage monitors; also refers to the engineer working there.

The legal right that gives creators control over how their original works, such as songs or recordings, may be copied, performed, or distributed.

Permission granted by a rights holder to use a work in a specified way, often for a fee and with conditions such as territory or duration.

A payment made to a creator or rights holder for the use or sale of their work, often calculated as a percentage or a set amount per use.

A planning tool that divides a project, such as a live event or recording session, into smaller manageable tasks with clear responsibilities and deadlines.

A timed schedule for an event or session that lists each activity, its start time, duration, and who is responsible for it.

A document that tells crew and performers when and where to report, what to bring, and whom to contact on the day.