the variable groove depths on a vinyl record or the variable flux levels on a magnetic tape. Other transducers can convert this electrical signal back into air-pressure waves for listening or ‘ monitoring’ purposes (via loudspeakers or headphones) or into some other form for storage/replay (eg. Transducers such as pickups and microphones can convert air-pressure waves, or the vibrations which triggered them, into an electrical signal, representing their movements over time as voltage fluctuations – often displayed for inspection purposes as a waveform of voltage level (vertical axis) against time (horizontal axis). Any vibrating object can create these pressure waves, and when they reach your eardrums, those vibrate in sympathy, triggering the hearing sensation. Sound is a series of pressure waves moving through the air at the speed of sound (roughly 343 meters/second). (It’s a fact of life that every engineer applies studio terminology slightly differently, so I hope that clarifying my own usage will help minimise confusion for readers.) I’ve tried to keep the text as concise as I can, but you’ll find that many key terms are linked to sources of further explanation. Important pieces of technical jargon are in bold-face to make them stand out. Neither ‘ Mixing Secrets For The Small Studio’ nor ‘ Recording Secrets For The Small Studio’ are truly entry-level books, which means you’ll need the following basic background knowledge before you can get the best out of them.
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