Open Labs Miko LXD Operation Manual page 175

The entering into and out of record mode on a track that contains existing program material for
the purpose of correcting or erasing an unwanted segment.
QUANTIZATION
The amplitude component of the digital sampling process. In an A/D converter, the process of
generating a binary number (made of 1s and Os) that represents the voltage of the analog
waveform at the instant it is measured or sampled.
RELEASE
The final portion of a note's envelope, which falls from the sustain signal level to silence.
SAMPLE RATE
Level of accuracy with which audio data is stored. The higher the better the sound quality, but the
more costly in computer time and memory.
In digital audio, common sampling rates are:
8,000 Hz - telephone, adequate for human speech
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22,050 Hz - radio
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32,000 Hz - miniDV digital video camcorder
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44,100 Hz - audio CD, also most commonly used with MPEG-1 audio (VCD, SVCD, MP3)
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47,250 Hz - world's first commercial PCM sound recorder by Nippon Columbia (Denon)
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48,000 Hz - digital sound used for digital TV, DVD, DAT, films and professional audio
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50,000 Hz - first commercial digital audio recorders from the late 70's from 3M and
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Soundstream
50,400 Hz - sampling rate used by the Mitsubishi X-80 digital audio recorder
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96,000 or 192,400 Hz - DVD-Audio, some LPCM DVD tracks, BD-ROM (Blu-ray Disc) audio
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tracks, and HD-DVD (High-Definition DVD) audio tracks
2.8224 MHz - SACD, 1-bit sigma-delta modulation process known as Direct Stream Digital,
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co-developed by Sony and Philips
SEQUENCING
MIDI Sequencer - In the field of electronic music, a sequencer was originally any device that
recorded and played back a sequence of control information for an electronic musical instrument.
Nowadays, the term almost always refers to the feature of recording software which allows the
user to record, play back and edit MIDI data. This is distinct from the software features which
record audio data. Early analog music sequencers used control voltage/trigger interface, but were
replaced by digital hardware- or software-based MIDI sequencers, which play back MIDI events
and MIDI control information at a specified number of beats per minute.
SMPTE TIME CODE/MTC MIDI TIME CODE
Time codes contains binary coded decimal hour:minute:second:frame identification and 32 bits for
use by users. There are also drop-frame and color framing flags and three extra 'binary group flag'
bits used for defining the use of the user bits. The formats of other forms SMPTE timecodes are
derived from that of the longitudinal timecode.
Time code can have any of a number of frame rates: common ones are:
24 frame/s (film)
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25 frame/s (PAL color television)
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29.97 (30/1.001) frame/s (NTSC color television)
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30 frame/s (American black-and-white television) (almost obsolete)
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In general, SMPTE timecode frame rate information is implicit, known from the rate of arrival of
the timecode from the medium, or other metadata encoded in the medium. The interpretation of
several bits, including the "color framing" and "drop frame" bits, depends on the underlying data
Open Labs MiKo LXD Production Station Manual 175