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active – (1) Using or external in devices, such , , or . (2) Contributing and involved, such as an .
active balanced output – see .
active circuit – an that contains , such as , , or , which require a , as opposed to a , which has no active components.
active combining Amplifier – see .
active combining network – see .
active component – (1) A device that has the ability to a or produce a in power. Active components increase , , or and are powered by a that is separate from the electrical signal. Examples of active components include , , and . include and . (2) In a , things that require electrical power to operate, such as the power supply, fans, storage devices, transistors, and integrated circuits. Passive components include the , capacitors, and enclosures.
active crossover – see .
active filter – a that uses an , so that it can as well as a . Active filters can be constructed of smaller, less expensive than . The disadvantage is that they require external power, require more parts, and introduce a small amount of .
active loudspeaker – a that has a built-in and requires no external . Compare with .
active microphone – see .
active monitor – a that has a built in and requires no external . Compare with .
active noise cancellation – see .
active noise control – see .
active noise reduction – see .
active ribbon microphone – a with a built-in . Because a standard has a much lower output than other microphone types, it is convenient to use an active ribbon to boost the signal by 5 to 10 dB. Such microphones require to supply the preamp.
active sensing – a system used to verify that a connection is functioning, consisting of sending a to a MIDI device, and if no response is received within a specified period (typically 300 ms), all notes are switched off preventing notes from hanging when communication is lost. Active sensing is supported by only a few MIDI devices.
active speaker – see .
actual sound – see .
acuity – the ability to hear very soft sounds or to distinguish the subtle qualities of a sound.
A-curve – see .
A/D – Analog-to-Digital. See . Also written as , or A-to-D.
– a musical term indicating a slow and leisurely , typically 55 to 76 bpm. See .
– a musical term indicating a rather slow , typically 65 to 76 bpm. See .
– a musical term indicating a very slow and calm , slower than , typically 40 to 52 bpm. See .
ADAM® – Akai Digital Audio Multitrack. A 12-track , developed by , that used tape. It recorded using 16 bits at a of 44.1 kHz or 48 kHz. Sometimes written .
adapter – (1) A that enables two otherwise incompatible connectors to connect, such as an adapter that converts a to a plug. (2) An electrical plug that has provides two or three outlets. Usually called a . (3) A . Sometimes spelled .
adaptive bitrate streaming – a technique used for over the . It works by detecting a user's and capacity in real time and adjusting the quality of the stream accordingly. The technique provides the highest possible bit rate that will not cause stalls or buffering during playback. Techniques include (DASH), (HLS), (HDS), and .
ADAT® – (1) Alesis Digital Audio Tape. A trademark of originally used for their eight- . (2) Short for .
ADAT DOI – ADAT Digital Optical Interface. The digital communication standard designed by that uses an (which Alesis calls a ) to transfer signals between units. This system has since been adopted by other manufacturers as a means of transferring between various types of audio devices. It is capable of transmitting eight of digital audio with of 44.1 kHz and 24-bit on a single cable, or four channels at 96 kHz. Also known as and often simply called for short. See also , , and .
ADAT/FST – ADAT/File Streaming Technology. ADAT/FST is a protocol developed by for their HD24 24- . Instead of using typical FAT-32 or HFS hard drive formatting, Alesis developed a method to record data in a manner in which all the data for a recorded track remains together in associated clusters and does not become fragmented or separated from related data.
ADC – (1) . (2) .
add-in – see .
AD converter – . Also written as or .
additive flanging – in which the is added to the signal, as opposed subtractive flanging which subtracts the delayed signal from the dry signal (or adds a signal that is 180° ). While the results of these two opposite operations can be similar, it can dramatically change the character of the sound depending on the content and in the signal. Subtractive flanging tends to be more pronounced than additive flanging. Additive and subtractive flanging are sometimes called and , respectively.
additive synthesis – a method of (creating a sound with a ) by adding elementary to create more complex waveforms. See also , and .
AD/DA converter – (1) A term referring to both and . (2) A converter that does both analog-to-digital conversion and digital-to-analog conversion. Sometimes shown as , or .
Basic cathode follower with a choke for the cathode resistor
it was this reason that Laurens Hammond (and many others) decided on Tone-Wheel technology for his despite the inferior audio fidelity.Kock had decided early on to investigate the possibility of producing a commercially viable instrument that was able to produce the complexity of tone possible from vacuum tubes.
100% discrete signal path with the addition of DC servo circuitry to eliminate any capacitors in the signal path. It is pure Class A biased with zero global feedback. Signal amplification is provided by a High Definition Amplifier Module (HDAM) that is fully discrete and specially designed for high quality audio application. I'm doing my own PCB. See this original builder site: