SoundCraft Ghost User Manual page 180

FREQUENCY – The number of cycles per second of a soundwave, measured in
Hertz and abbreviated Hz.
FREQUENCY RESPONSE – A graphical representation of an audio signal’s level
(amplitude) over a frequency range, usually specified within a +/- 3dB range. It is
commonly stated that the limits of human hearing are from 20Hz to 20kHz.
GAIN RIDING – Manually adjusting the gain in a signal path, by raising and lower-
ing the fader, in order to decrease dynamic range.
HEADROOM – The difference, in dBs, between the nominal operating level of an
audio device and 3% THD (Total Harmonic Distortion). Nominal operating level
plus the headroom equals the dynamic range.
HERTZ – (Hz). Cycles per second. Used to measure frequency.
IN-LINE CONSOLE – A console, such as Ghost, in which the channel input,
monitor input, and output controls are placed in-line with the channel fader.
INPUT/OUTPUT MODULE – (Also known as the Channel Strip.) On an in-line
console, a single module that contains the input, output, and monitor controls for
a single channel.
I/O – Input/Output.
KILO – A prefix, abbreviated k, meaning thousand. For instance, 10kHz equals
10,000 Hz.
LEVEL – The amplitude of a signal, expressed in decibels.
LINE – On Ghost, a Line Level input for the Channel, made via a 1/4" jack connec-
tion.
LINE LEVEL – There are two line levels in current use; one pro and one con-
sumer. The pro line level is +4dBu and the consumer line level is
–10dBV. Ghost can use both levels.
M-S RECORDING – (Mid-Side Recording.) A coincident microphone technique,
in which you use a cardioid mic for the M (middle) microphone, and point it
toward the middle of the performers, and you use a Figure-8 mic for the S (side)
microphone, and point it facing the left/right axes of the performers.
MASTERING – There is some confusion as to the use of this term today. For
purposes of this manual, mastering means to apply final tweaks to your stereo
master tape before duplication. This can be done either by sending your tape to a
professional mastering house, or trying to do it yourself, if you have the proper
equipment, the proper room, and the requisite expertise. Either way, during mas-
tering last minute EQ and compression can be applied and the final levels set, so
there is a consistency in volume from song to song.
Unfortunately, some people today are referring to the act of mixing down as mas-
tering and referring to the 2-track deck used for mixdown as a mastering deck.
This causes much confusion. When used in this sense, the rationale seems to be
that because they are creating a (stereo) master tape, they are therefore master-
ing. But when you record on a multitrack deck, you are also creating a (multitrack)
master tape, yet the act of multitrack recording is not referred to as mastering.
Because of this confusion today, if someone says that they mastered a tape, we
don’t know if they simply mixed it down, and skipped traditional mastering, before
sending it to the duplicator, or if after mixdown, they actually mastered it in the
traditional sense. In the latter case, it could be said they mastered it twice, if one
were to use the confusing terminology (once during mixdown and once when it
was sent to a mastering house). For our purposes, we will use the term "mixing
down", when referring to the process of creating a stereo master tape, and use
the term "mastering" in the traditional sense.
MASTER SECTION – On an in-line console, the section providing various mas-
ter controls for the Groups, Mix buses, studio and control room monitors, AUX
Send/Return, Talkback, and Oscillator sections.
12.4 GHOST Glossary