The rate at which an analog to digital converter measures the instantaneous amplitude of a source signal. Measured in samples per second, the higher the sample rate, the higher the frequency content of the corresponding digital data. The default rate for CD production is 44.1kHz, or put another way, the source material is sampled at 44,100 times a second.

A device that triggers a series of events in a particular order. Early audio sequencers were quite primitive, used control voltage to trigger voltage controlled oscillators, but had a certain musicality to them. These days software sequencers are MIDI based and offer a high degree of sophistication.
(See MIDI)

A software application that emulates some type of hardware synthesizer. Since computer power has increased radically in the last few years, it is now feasible to have a host computer do the work previously done using hardware. Some virtual synthesizers mimic a particular vintage synthesizer, while others are more generic in nature.

A standardized file format for exchanging MIDI data independent of originating software or platform. Comes in two flavors. Type 0, which is a single track that contains all sixteen MIDI channels and pertinent information. It should be noted that although the information is presented in a single track, the individual channel information is kept discreet and can be easily extracted.

In reference to wireless microphones, a synthesizer is a circuit that generates a stable and precise radio frequency output on any one of a number of preset frequencies. Synthesizers are used as the local oscillators for receivers, and to set the output frequency of transmitters.

The accurate timing of digital audio data is crucial for sending data from one location to another. It is equally crucial when synchronizing multiple streams of audio data on multiple pieces of equipment. The function that makes sure each bit of data arrives when it should is called word clock.

A cable used to split or combine two signals. Another use is to send a signal out of one side of the "Y" and return through the other, as when patching into an insert point of a console. There are occasions where "Y" cables should not, or cannot be used. One is for MIDI. It is impossible to combine two channels of MIDI using a "Y" cable.

Ok - Im releasing a CD (independently) and I want to use a contract that will allow the photographer exclusive ownership rights. So in the future if the photos are going to be used for any other purpose the photographer would negotiate with the other party involved and photographer would be reimbursed that way.

ok, so this is my first thread. i am the drummer and rhythm guitarist for my band. over years i have upgraded recording equipment. i started with a 4 tracks and bounced tracks by mixing down to a vcr, which sucked. i have grown up and want to pursue a degree in audio production. my band plans to record a 10 song album by ourselves. this is my set up, all my band and i have for gear:

A grade of recording tape that has been designed to reduce the amount of bias a recording deck needs to apply in order to achieve high-frequency reproduction. Since less bias is required, you get less noise in the recording.