1.
Equalization (audio)
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Equalization is the process of adjusting the balance between frequency components within an electronic signal. The most well known use of equalization is in recording and reproduction but there are many other applications in electronics. The circuit or equipment used to achieve equalization is called an equalizer and these devices strengthen or weaken the energy of specific frequency bands or frequency ranges. In sound recording and reproduction, equalization is the commonly used to alter the frequency response of an audio system using linear filters. Most hi-fi equipment uses relatively simple filters to make bass and treble adjustments, graphic and parametric equalizers have much more flexibility in tailoring the frequency content of an audio signal. An equalizer is the circuit or equipment used to achieve equalization, since equalizers, adjust the amplitude of audio signals at particular frequencies, they are, in other words, frequency-specific volume knobs. The term EQ specifically refers to this variant of the term, stereos and basic guitar amplifiers typically have adjustable equalizers which boost or cut bass or treble frequencies. Mid- to high-priced guitar and bass amplifiers usually have more bands of frequency control, such as bass, mid-range and treble or bass, low-mid, high-mid, some amps have an additional knob for controlling very high frequencies. Broadcast and recording studios use sophisticated equalizers capable of more detailed adjustments. The most common equalizers in music production are parametric, semi-parametric, graphic, peak, graphic equalizers are often included in consumer audio equipment and software which plays music on home computers. Parametric equalizers require more expertise than graphic equalizers, and they can provide more specific compensation or alteration around a chosen frequency and this may be used in order to remove unwanted resonances or boost certain frequencies. An acoustic guitarist who finds that her instrument sounds too boomy may ask the engineer to reduce the low frequency range response. A guitarist who finds that the instrument sound in the PA has too much finger noise may ask the engineer to reduce the frequency range response. The concept of equalization was first applied in correcting the frequency response of telephone lines using passive networks, a plot of the systems net frequency response would be flat, as its response to all frequencies would literally be equal. Much later the concept was applied in engineering to adjust the frequency response in recording, reproduction. Audio amplifiers have long had filters or controls to modify their frequency response and these are most often in the form of variable bass and treble controls, and switches to apply low-cut or high-cut filters for elimination of low frequency rumble and high frequency hiss respectively. Graphic equalizers and other equipment developed for improving fidelity have since used by recording engineers to modify frequency responses for aesthetic reasons. Hence in the field of audio electronics the term equalization is now used to describe the application of such filters regardless of intent
2.
Fade (audio engineering)
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In audio engineering, a fade is a gradual increase or decrease in the level of an audio signal. The term can also be used for film cinematography or theatre lighting in much the same way, a recorded song may be gradually reduced to silence at its end, or may gradually increase from silence at the beginning. Fading-out can serve as a solution for pieces of music that contain no obvious ending. Both fades and cross-fades are very valuable since they allow the engineer to quickly and easily make sure that the beginning and it is necessary that there is a clear section of silence prior to the audio. Fade-ins and out can also be used to change the characteristics of a sound, for example a fade-in is used to soften the attack and it can also be used to soften up the attack of the drum and/or percussion instruments. A cross-fade can be manipulated through its rates and coefficients in order to create different styles of fading, almost every fade is different, this means that the fade parameters must be adjusted according to the individual needs of the mix. Club DJs in house music and techno use DJ mixers, two or more sound sources along with a skill called beatmatching to make seamless dance mixes for dancers at raves, nightclubs, though relatively rare, songs can fade out then fade back in. 2 by Argent and Future by Paramore, possibly the earliest example of a fade-out ending can be heard in Joseph Haydns Symphony No. 45, nicknamed the Farewell Symphony on account of the fade-out ending and this was expressed by the players extinguishing their stand candles and leaving the stage one by one during the final adagio movement of the symphony, leaving only two muted violins playing. Esterhazy appears to have understood the message, allowing the musicians to leave, gustav Holsts Neptune, the mystic, part of the orchestral suite The Planets written between 1914 and 1916, is another early example of music to have a fade-out ending during performance. Until the imagination knew no difference between sound and silence, the technique of ending a spoken or musical recording by fading out the sound goes back to the earliest days of recording. This is called the “Pulse Continuity Phenomenon and was measured by a task to measure participants’ perception of pulsation. An 189478 rpm record called The Spirit of 76, a narrated musical vignette with martial fife-and-drum that gets louder as it nears the listener and quieter as it moves away, there are early examples that appear to bear no obvious relationship to movement. One is Barkin Dog by the Ted Lewis Jazz Band, another contender is America, a patriotic piece by the chorus of evangelist Billy Sunday. By the early 1930s longer songs were being put on both sides of records, with the fading out at the end of Side One. Records at the time only about two to five minutes of music per side. The segue allowed for longer songs, symphonies and live concert recordings, however, shorter songs continued to use the fade-out for unclear reasons—for example, Fred Astaires movie theme Flying Down to Rio. Even using fade-out as a segue device doesnt seem obvious, though we certainly take it for granted today and it is possible that movies were an influence here
3.
Mixing console
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In the 2010s, a mixer is able to control analog or digital signals, depending on the type of mixer. The modified signals are summed to produce the output signals. A typical, simple application combines signals from two microphones into an amplifier that drives one set of speakers simultaneously, a DJ mixer may have only two channels, for mixing two record players. A coffeehouses tiny stage might only have a six channel mixer, a nightclub stages mixer for rock music shows may have 24 channels for mixing the signals from a rhythm section, lead guitar and several vocalists. A mixing console for a large concert may have 48 channels, a mixing console in a professional recording studio may have as many as 96 channels. In practice, mixers do more than simply mix signals, some mixers have onboard electronic effects, such as reverb. Some mixers intended for small venue live performance applications may include a power amplifier. A mixing console is also known as a mixer, audio console, mixing desk, sound mixer, sound board. A typical analog mixing board has three sections, Channel inputs Master controls Audio level metering The channel input strips are usually a bank of identical monaural or stereo input channels. Each channel has rotary knobs, buttons and/or faders for controlling the gain, the master control section is used to adjust the levels of the overall output of the mixer. The master control section has sub-group faders, master faders, master auxiliary mixing bus level controls, in addition it may have solo monitoring controls, a stage talk-back microphone control, muting controls and an output matrix mixer. On smaller mixers the inputs are on the left of the mixing board, in larger mixers, the master controls are in the center with input faders and channel strips on both sides. The audio level meters may be above the input and master sections or they may be integrated into the input, the audio level meters indicate when the signals are clipping. Each signal that is plugged into the mixer has its own channel, depending on the specific mixer, each channel is stereo or monaural. On most mixers, each channel has an XLR input, the smallest, least expensive mixers may only have one XLR input with the other inputs being line inputs. These can be used by a singer-guitarist or other small acts, below each input, there are usually several rotary controls. The first knob is typically a trim or gain control, the inputs buffer the signal from the external device and this controls the amount of amplification or attenuation needed to bring the signal to a nominal level for processing. This stage is where most noise of interference is picked up, balanced inputs and connectors, such as XLR or phone connectors, reduce interference problems
4.
DJ
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A disc jockey is a person who mixes different sources of pre-existing recorded music as it is playing, usually for a live audience in a nightclub or dance club or via broadcasting. DJs typically perform for an audience in a nightclub or dance club or a TV, radio broadcast audience, or in the 2010s. DJs also create mixes, remixes and tracks that are recorded for later sale, in hip hop music, DJs may create beats, using percussion breaks, basslines and other musical content sampled from pre-existing records. In hip hop, rappers and MCs use these beats to rap over, DJs use equipment that can play at least two sources of recorded music simultaneously and mix them together. This allows the DJ to create seamless transitions between recordings and develop unique mixes of songs, DJ equipment, notably the specialized DJ mixer, a small audio mixer with a crossfader and cue functions. The crossfader enables the DJ to blend or transition from one song to another, the cue knobs or switches allow the DJ to preview a source of recorded music in headphones before playing it for the live club or broadcast audience. Previewing the music in headphones helps the DJ pick the track they want to play. DJs may also use a microphone to speak to the audience, effects such as reverb to create sound effects, drum machines. The title DJ is also used by DJs in front of their real names or adopted pseudonyms or stage names as a title to denote their profession. Some DJs focus on creating a mix of songs for the club dancers or radio audience. Other DJs use turntablism techniques such as scratching, in which the DJ or turntablist manipulates the record player turntable to create new sounds. In many types of DJing, including club DJing and radio/TV DJing, there are several types of disc jockey. Radio DJs or radio personalities introduce and play music that is broadcast on AM, FM, club DJs select and play music in bars, nightclubs or discothèques, or at parties, raves, or even in stadiums. Mobile DJs travel with portable sound systems and play recorded music at a variety of events. Some mobile DJs also serve as the master of ceremonies at weddings or other events, directing the attention of attendees, there are also many competitions for DJs that specialize in different turntablism techniques, such as mixing, hip hop music-style scratching or other kinds of techniques. Other types of DJ use musical performance techniques that allow them to be categorized as performing musicians, hip hop DJs and are also often songwriters or music producers who use turntablism and sampling to create backing instrumentals for new tracks. In reggae, the DJ is a vocalist who raps, toasts, chants or chats over pre-recorded rhythm tracks, the individual who helps the DJ by selecting tracks or records to be played is called the selector. Many electronica artists and producers who work as DJs often perform music by combining turntablism with keyboards, digital musical instruments
5.
Turntablism
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The mixer is plugged into a PA system for live events and/or broadcasting equipment (if the DJ is performing on radio, TV or Internet radio, so that a wider audience can hear the turntablists music. Turntablists typically use two or more turntables and headphones to cue up desired start points on different records, the word turntablist was originated by Luis DJ Disk Quintanilla. The new term coincided with the resurgence of hip-hop DJing in the 1990s, some turntablists use turntable techniques like beat mixing/matching, scratching, and beat juggling. Some turntablists seek to have recognized as traditional musicians capable of interacting and improvising with other performers. The use of the turntable as an instrument has its roots dating back to the 1930s, 1940s. Experimental composers used them to sample and create music that was produced by the turntable. Cages Imaginary Landscape No.1 is composed for two variable speed turntables, frequency recordings, muted piano and cymbal, edgard Varèse experimented with turntables even earlier in 1930, though he never formally produced any works using them. Examples of turntable effects can also be found on popular records produced in the 1960s and 1970s, creedence Clearwater Revivals 1968 self-titled debut album features a backspin effect in the song Walk on the Water. However, turntablism as it is known today did not surface until the development of hip hop in the late 1970s, Turntablism as a modern art form and musical practice has its roots within African-American inner city hip hop and hip hop culture of the late 1970s. Kool DJ Herc, Afrika Bambaataa and Grandmaster Flash are widely credited for having cemented the now established role of DJ as hip hops foremost instrumentalist. Kool Hercs invention of break-beat DJing is generally regarded as the development in hip hop history. His influence on the concept of DJ as turntablist is equally profound, to understand the significance of this achievement, it is important to first define the break. Briefly, the break of a song is a musical fragment only seconds in length, Kool Herc introduced the break-beat technique as a way of extending the break indefinitely. This is done by buying two of the record, finding the break on each record, and switching from one to the other using the DJ mixer. Using that idea, Grandmaster Flash elaborated on Kool Hercs invention of break-beat DJing and came up with the quick-mix theory and he described it as being. like cutting, the backspin, and the double-back. Kool Hercs revolutionary techniques set the course for the development of turntablism as an art form in significant ways, most important, however, he developed a new form of DJing that did not consist of just playing and mixing records one after the other. The type of DJ that specializes in mixing a set is well respected for his/her own set of unique skills, the DJ would be examined critically by the crowd on both a technical and entertainment level. Grand Wizzard Theodore, an apprentice of Flash, who isolated the most recognizable technique of turntablism, [ Eshun
6.
Phonograph
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The phonograph is a device invented in 1877 for the mechanical recording and reproduction of sound. In its later forms it is called a gramophone. To recreate the sound, the surface is rotated while a playback stylus traces the groove and is therefore vibrated by it. In later electric phonographs, the motions of the stylus are converted into an electrical signal by a transducer. The phonograph was invented in 1877 by Thomas Edison, while other inventors had produced devices that could record sounds, Edisons phonograph was the first to be able to reproduce the recorded sound. His phonograph originally recorded sound onto a sheet wrapped around a rotating cylinder. A stylus responding to sound vibrations produced an up and down or hill-and-dale groove in the foil, in the 1890s, Emile Berliner initiated the transition from phonograph cylinders to flat discs with a spiral groove running from the periphery to near the center. Later improvements through the years included modifications to the turntable and its system, the stylus or needle. The disc phonograph record was the dominant audio recording format throughout most of the 20th century, from the mid-1980s on, phonograph use on a standard record player declined sharply because of the rise of the cassette tape, compact disc and other digital recording formats. Records are still a favorite format for some audiophiles and DJs, vinyl records are still used by some DJs and musicians in their concert performances. Musicians continue to release their recordings on vinyl records, the original recordings of musicians are sometimes re-issued on vinyl. Usage of terminology is not uniform across the English-speaking world, in more modern usage, the playback device is often called a turntable, record player, or record changer. When used in conjunction with a mixer as part of a DJ setup, the term phonograph was derived from the Greek words φωνή and γραφή. The similar related terms gramophone and graphophone have similar root meanings, the roots were already familiar from existing 19th-century words such as photograph, telegraph, and telephone. In British English, gramophone may refer to any sound-reproducing machine using disc records, the term phonograph was usually restricted to machines that used cylinder records. Gramophone generally referred to a wind-up machine, after the introduction of the softer vinyl records, 33 1⁄3-rpm LPs and 45-rpm single or two-song records, and EPs, the common name became record player or turntable. Often the home record player was part of a system that included a radio and, later, from about 1960, such a system began to be described as a hi-fi or a stereo. In American English, phonograph, properly specific to machines made by Edison, was used in a generic sense as early as the 1890s to include cylinder-playing machines made by others
7.
Disco
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Disco is a genre of dance music containing elements of funk, soul, pop, and salsa. It achieved popularity during the mid-1970s to the early 1980s, Disco can be seen as a reaction against both the domination of rock music and the stigmatization of dance music by the counterculture during this period. It was popular with men and women, from many different backgrounds. The disco sound often has several components, a beat, an eighth note or 16th note hi-hat pattern with an open hi-hat on the off-beat. In most disco tracks, string sections, horns, electric piano, Orchestral instruments such as the flute are often used for solo melodies, and lead guitar is less frequently used in disco than in rock. Many disco songs use electronic synthesizers, particularly in the late 1970s, well-known 1970s disco performers included Donna Summer, the Bee Gees, Boney M. KC and the Sunshine Band, The Trammps, Sylvester, Village People, Gloria Gaynor and Chic. While performers and singers garnered much attention, record producers working behind the scenes played an important role in developing the disco sound. Many non-disco artists recorded songs at the height of discos popularity. Disco was the last mass popular movement that was driven by the baby boom generation. Disco was a phenomenon, but its popularity drastically declined in the United States in 1980. Disco Demolition Night, an anti-disco protest held in Chicago on 12 July 1979, is thought of as a factor in discos fast. By the late 1970s most major U. S. cities had thriving disco club scenes, Studio 54, a venue popular amongst celebrities, is a well-known example of a disco club. Popular dances included the Hustle, a suggestive dance. Discotheque-goers often wore expensive, extravagant and sexy fashions, Disco clubs were also associated with promiscuity. Disco was a key influence on the 1980s electronic dance style called house. The term is derived from discothèque, by the early 1940s, the terms disc jockey and DJ were in use to describe radio presenters. During WWII, because of restrictions set in place by the Nazi occupiers, eventually more than one of these jazz venues had the proper name discothèque. By 1959, the term was used in Paris to describe any of these type of nightclubs and that year a young reporter named Klaus Quirini started to select and introduce records at the Scotch-Club in Aachen, West Germany
