Byron Booker — Music Production Glossary in Brief
Byron Booker a professional in the music industry says when you create your own songs at house; you need to know the terminology of the music-recording field. This guide briefly describes overall main terminology of a recording producer.
1) Air:
Air is about adjusting the high end of an audio signal so that it appears more specific and more clear than before, but without making it sound severe or bringing out any clear artificial artifacts. Relates to wavelengths above 12 kHz. A quality that allows the music to take in a little. A sense of space.
2) Byron Booker — Body:
Bloatedness of sound, with specific focus on upper bass. Contrary of thin. The frequency range of a device where it makes its wealthiest overall tone, usually around 800 Hz to 1 kHz.
3) Boomy:
Substantial bass close to 125 Hz. Improperly damped low frequencies. Excessive low-frequency power. To eliminate boominess, cut wavelengths below 120 Hz.
4) Boxy:
Having resonances just like the audios were encased in a box. In some cases a focus around 250 to 500 Hz. Sometimes excessive 400-Hz to 600-Hz power.
5) Bright:
A sound that focuses on the upper mid-range/lower treble. Harmonics are solid related to basics. Plenty of high end, usually making reference to wavelengths higher than 8 kHz.
6) Brown:
It is a phrase for the audio that is most frequently used to get from guitar amp. Brown generally represents a low mid-range top quality standing between 200 to 400 Hz. However muddy is a different term.
7) Cold:
Slightly lacking in body and warmth, because of augmenting attenuation of wave lengths under about 150Hz. Missing warmth. Typically used as a derogatory phrase to demonstrate electronic recordings. It could also mean too much top quality in recordings. In this situation wavelengths are reduced above 10 kHz a little bit.
8) Byron Booker — Crisp:
Expanded high frequency reaction, specifically with cymbals. See vibrant.
9) Dark:
A tonal harmony that tilts downwards with growing frequency. Contrary of bright. Weak high wave lengths. Missing high-frequency lighting. Also could be boring.
10) Depth:
A perception of distance just like near to far of various instruments. Full-bodied audio. Often the effect of boosting wavelengths just above and below the primary body of the device.
11) Dry:
A device without effects used in it. Deficiency of reverberation or hold up as produced by a damped environment. May come across as good grained and trim. Reverse of Wet.
12) Dull:
See darkness.
13) Edgy:
An intense of punchy, encompassing on unpleasant, based on the music. Excessive high frequency reaction. Trebly. Harmonics are too solid comparable to the fundamentals. Deformed, having undesirable harmonics that put an edge or raspiness.
14) Byron Booker — Focus:
A powerful, exact feeling of image projection.
15) Grainy:
Weak digital quality. A somewhat organic, exposed sound which does not have grace.
16) Harsh:
Peaks in the wave lengths response between 2 and 6 kHz. One more derogatory phrase for electronic recordings. This could also referred to wavelengths in the 5-kHz to 8-kHz range that are too noticeable. Decrease severe wavelengths to fit your flavor.
17) Imaging:
The perception that a voice or musical instrument is in a certain place in the room.
18) Byron Booker — Juicy:
Sound that has energy and life.
19) Low Mids:
The audio wavelengths in between 250Hz and 2000Hz.
20) Muddy:
Unclear. Poor harmonics, smeared time response, I.M. distortions. Deficiency of definition in an audio, normally due to too much low-mid energy lying between 400- to 800-Hz.
21) Nasally:
A lump in the response close to 600 Hz. A lot of mid-range power, close to 1 to 2 kHz in some equipment.
22) Orange:
This is not worthy term and also the guy who is producing it; he’s just building stuff up.
23) Plosives:
The outcome of saying or performing p or other to be quit consonant sounds like t, g, k, d, b.
24) Presence:
A perception that the instrument is in the listening room. Sufficient or accentuated response around 5 kHz for most of the instruments, or around 2 to 5 kHz for some. A great stability between an instrument’s strike and its main overall tone. Usually accomplished by including 2- to 5-kHz wavelengths.
25) Byron Booker — Punchy:
Good processing of dynamics. Good transient response, with powerful impact. In some cases a lump close to 5 kHz or 200 Hz. An awesome strike and feeling of existence. A punchy audio can come from your speed and agility, your device, or the effective use of pressure. To make impact with a compressor, set the limit to compress a few of audio levels (dB), set the strike long enough so that the preliminary transient goes through uncompressed, and set the discharge so that it does not stay longer than the device and so that it isn’t short enough to function the compressor.
26) Reverberation:
It is the persistence of audio in a specific space after the primary sound is removed. A reverberation, or reverb, is created when a audio is developed in an closed space resulting in a large number of echoes to build up and then slowly decay as the sound is absorbed by the walls and air.
27) Round:
Sometimes represents sounds that have a noticeable mid-range quality. When a sound is round, highs and bass are a little bit lowered. Not edgy.
28) Shimmer:
Wave lengths above 12 kHz. Identical to air.
29) Sibilance:
Articulated s sounds. Sibilant sounds have most of their energy in the 4Khz to 8Khz range, but can increase to 10kHz, relying on the particular person. Sibilance is usually heard on radio.
30) Byron Booker — Smooth:
Simple on the ears, not unpleasant. Flat frequency reaction, particularly in the mid-range. The other of punchy. Sleek audios are those that have an even stage to them. The body of the audio is not overshadowed by the preliminary strike.
31) Sweet:
Good or great, it is on you how you use the term. Usually used when mentioning to cymbals, strings, and sibilant sounds.
32) Warm:
Excellent bass, sufficient low frequencies, enough fundamentals comparable to harmonics. Also extreme bass or mid bass. Also, pleasingly ample, with sufficient reverberation at low frequencies. Missing rudeness or cold. This is a phrase used to explain anything from analogue devices to an attractive top quality that can’t be put into terms. Use this phrase around non-recording individuals whenever you want to appear to be like you know what you’re discussing about. When someone else uses this phrase continuously, take his or her recording guidance with a touch of suspicion.
33) Wet:
A reverberant sound, a thing with decay. Contrary of Dry. A device with effects used in it.
There are a lot of times when you need support and guidance regarding music production; then feel free to contact Byron Booker.
