Everything is run exclusively by the computer, with no external DSP.

This cable connects the Pro Tools interface to the console. , It has 25 pins and carries 8 balanced audio signals (3 pins per signal).

A customizable audio interface that allows you to set up your own I/O configuration. , It has 25 pins and carries 8 balanced audio signals (3 pins per signal).

AAX. Pro Tools uses AAX., VST, Audio Units

A DSP-based system. I/O is processed externally from the computer using PCIe cards. , These cards connect to an interface using Digilink mini connectors., The tower that holds the PCIe cards connects to the computer using a Thunderbolt cable., Each card has 2 Digilink mini ports and can handle 64 ins and outs (One 32 in, 32 out interface per connection).

Perceivable latency is eliminated because the computer is not processing the I/O.

What they are, with the first letter of each word capitalized.

When you have production-specific effects so the engineer can reference the sound you want. , You should also include the clean audio signal.

Post-fader

It maintains the panning of multiple channels when summing them into one/two.

"Chan"

"Mon." It is monitoring the DAW Out signal.

Channel Output Path. The signal that is leaving the console and going into Pro Tools.

The point where a signal gets on a bus in analog equipment. , They create minor third-harmonic distortion

VCA. The Distressor, SSL Channel Compressor, SSL Bus Compressor

Opto-compressor. , The LA-2A.

Vari-mu., It has 20 tubes and 14 transformers, It's capable of MS Compression through "Lat/Vert" mode.

Fairchild 670

A Field Effect Transistor. Faster than opto, but slower than VCA. , The 1176

OPTO

Field Effect Transistor

The volume of an audio signal going up and down rapidly, creating a tremolo effect., It's caused by the attack and release settings on a compressor being too fast.

Release Distortion

Mic, Line, Bus

Select the channels you want to route to the bus and assign them to your chosen bus in the routing section., Then put the channel that corresponds to your chosen bus number into Bus Mode, then split mode., Create an audio track in Pro Tools and assign the i/o to be the same number as the bus.

Brings signal from mic level to line level

Mix A, Mix B, Mix C

To get a variety in tone.

The difference between the loudest level before clipping and the quietest level before you begin to hear noise.

Turn loud sounds down.

When the compressor starts working.

How much the signal gets turned down by.

How fast the signal gets turned down.

How fast the signal comes back up.

How much the compressed signal gets turned up by.

Threshold = When the compressor starts working., Ratio = How much the signal gets turned down by., Attack time = How fast the signal gets turned down., Release time = How fast the signal comes back up., Makeup Gain = How much the compressed signal gets turned up by.

Compressors turn down sounds that cross a threshold by a set ratio, Whereas limiters do not let anything pass the threshold.

An audio artifact that occurs when high-frequency components of a signal are misrepresented at a low sample rate.

Slowish attack and slow release.

Fast attack and fast release.

Compresses separately across different frequency ranges based on how hard different frequencies are hitting. , It has adjustable crossover points that allow you to control which frequency ranges are being compressed together.

Turns quiet things down more.

Determines when it starts to turn the signal down (triggered by the signal dropping BELOW it).

How much the signal is turned down by (opposite to compressor - 1:3 instead of 3:1)

How fast the gate opens when the signal goes above the threshold.

How fast the gate closes when the signal drops below the threshold.

How long the gate stays open.

The maximum gain reduction when the gate is closed.

Threshold: determines when it starts to turn the signal down (triggered by the signal dropping BELOW it)., Ratio: how much the signal is turned down by (opposite to compressor - 1:3 instead of 3:1), Attack: how fast the gate opens when the signal goes above the threshold., Release: how fast the gate closes when the signal drops below the threshold., Hold: how long the gate stays open., Range: the maximum gain reduction when the gate is closed.

Bell, Shelf, Filter

It controls the bandwidth of the EQ curve. , A higher Q = a narrower bandwidth.

The Q is set to a specific bandwidth, and remains the same no matter how much you boost/cut.

The more you boost/cut, the narrower the bandwidth gets. , The API EQ

Pulteq

How long the reverb lasts, which gives us a sense of the material of the space.

The location of the sound.

Reflections that return to the listener within 30ms of the initial impulse., This gives us a sense of the size of the space.

Early Reflections

The amount of time it takes for the reverb to drop 60db below its initial volume.

RT60

The time between the initial impulse and the first early reflections. , More pre-delay makes the sounds seem closer to you.

Capturing the reverb of a real space by using impulses and recording the space's response.

A computer program that recreates reverbs and allows you to control all the parameters (i.e. type, reverb time, pre-delay, etc.)

Engineers pushing on the flange of the repro tape head to create this effect.

A processor is something that is used in series, whose output REPLACES the original signal (i.e. EQ, dynamic processors, faders, etc.). , An effect is something that is used in parallel and is COMBINED with the original signal (i.e. reverb, delay, anything that is time-based).

Using the volume of one source to control the volume of another. Ducking frequencies to allow others to come in.

A compression curve where gain reduction begins at a lower ratio as levels approach the threshold, reaching the set ratio once the threshold is passed.

Opto, Vari-Mu, FET, VCA.

Audio tracks of the same instrument type are routed into an instrument bus. , Then, those buses are routed to a mix bus, which is then routed to a record track.

An aux track can't have audio playlisted to it; audio has to be routed to it. Other than that, they have the same features.

Lows: Proximity effect., Low mids: Fundamental frequencies., High mids: Detail and harshness., Highs: Sibilance and air.

Low-mids.

Panning

The frequency a pass filter is measured at, which is located at the -3db point.

Around 85dB.

An EQ that only makes adjustments when levels pass a certain point.

Octaves and fifths of the fundamental frequency.

3rd harmonic Distortion

Oversampling within the plugin.

No, aliasing only occurs in digital plug-ins.

The harmonic distortion caused by the plugin pulls up frequencies that are above the sample rate. , These frequencies are reflected back into our hearing range and become unharmonic.

It creates more headroom for the 3rd harmonic distortion to occur, so even if a harmonic aliases, it will reflect back down above 20kHz and remain unheard.

The difference between the average and peak level of a signal.

Adjustments we can make manually using faders and clip gain. , The overall dynamics within a song that are used to emphasize the performance.

Using devices to make adjustments that occur too fast to be done manually. , Changing the actual envelope of a sound.

Lets you set multiple delays with different times within one plugin.

A delay where each echo is panned hard left and hard right, alternating with each repetition.

Automating the send to a delay track to emphasize certain words.

How many times the delay is sent back into itself (how many repetitions of the echo there are).

Putting the tape machine into record mode while listening to the repro head. Delay time is determined by the distance between the record and repro heads, and the speed of the tape. The repeats are created by feeding the signal back into itself through the console.

Within 30ms, our brains will perceive the sound from its original location, even if a delay is added that is 8-12dB louder.

Phasing, Flanging, Chorusing

Phasing: Differences in time., Chorusing: Differences in pitch., Flanging: Differences in time and pitch

Time and Pitch

Pitch

Time

The input signal is sampled and recorded to a storage buffer, then played back based on set parameters.

Session with only the audio you want mixed (no alternate playlists), Your rough mix, The multitracks, all consolidated to the same length, in case they use a different DAW

Main mix print, Alternate versions of mix (i.e. vocal up/down 1dB), nstrumental mix, potentially an acapella and/or TV mix., Stems if negotiated

Stereo mixes of groups of instruments, printed as they sit in a mix.