ADSR: Abbreviation for Attack, Decay, Sustain, and Release. These
are the four parameters found on a basic synthesizer envelope generator.
When a key is pressed, the envelope generator will begin to rise to its full
level at the rate set by the attack parameter, upon reaching peak level it
will begin to fall at the rate set by the decay parameter to the level set by
the sustain control. The envelope will remain at the sustain level as long as
the key is held down. Whenever a key is released, it will return to zero at
the rate set by the release parameter.
Aliasing: Aliasing is the term used to describe the unwanted frequencies which are produced when a sound is sampled at a rate which is less than twice the frequency of the highest frequency component in the sound.
Amplifier: A device with electron tubes or semiconducters that is used to increase the strength of a signal.
Amplitude: Amplitude is a term used to describe the amount of a signal. It can relate to volume in an audio signal or the amount of voltage in an electrical signal.
Amplitude Modulation: A change in the level of a signal. For example, if a Voltage Controlled Amplifier (VCA) were being modulated by a Low Frequency Oscillator (LFO), the result would be a periodic increase and decrease in the audio level of the signal. In musical terms this would be referred to as Tremolo. The abbreviation of Amplitude Modulation is AM.
Analog: Data (signal) presented in a non-digital, continuous form.
Analog Synthesizer: A synthesizer which uses voltage controlled analog modules to synthesize sound. The three main voltage controlled modules in an analog synthesizer are: Voltage Controlled Oscillator (VCO), Voltage Controlled Filter (VCF), and Voltage Controlled Amplifier (VCA).
Aperiodic Waveform: A waveform that does not have a repeating pattern.
ARP: American Recording & Performance Co, a company which introduced some amazung synthesizers in the late seventires and early eighties.
Arpeggiator: A device or computer program that sequentially moves a
pattern of notes over a range of the keyboard.
Attack: The first parameter of an envelope generator which determines the rate or time it will take for the event to reach the highest level before starting to decay.
Attenuator: Attenuate means to reduce in force, value or amount. An Attenuator is a device that reduces the value of something, usually the amplitude of a signal.
Audible Range: The range of frequencies that the human ear can hear. A healthy young human can usually hear from 20 cycles per second to around 20,000 cycles per second (20-20,000 Hz).
Auto Correlation: A process that determines optimum start and ending loop points to produce minimum discontinuity.
Auxilary Controllers: These are external controlling devices used in conjunction with a main instrument or controller. Some examples of such controllers are foot pedals, pitch bending and modulation wheels.
Baud Rate: The speed at which digital information is passed through a serial interface expressed in bits-per-second. MIDI data is transmitted at 31.25 KBaud or 31,250 bits per second.
Binary: Of or based on the number two or the binary numeration system (base 2). Digital computers use this form of numbering because the values of 0 and 1 can easily be represented by an open or closed switch.
Bit: A Bit is a single piece of information assigned a value of 0 or 1 as used in a digital computer. Computers use digital words which are combinations of bits. A Byte is a digital word consisting of eight Bits.
Boot: Starting up a computer by loading a program that allows it to run other programs. The term comes from bootstrapping which means that the computer "pulls itself up by its own bootstraps."
Bounce: When recording or sequencing, to bounce tracks means to combine (mix) several tracks together and record them on another track.
Buffer: An area of computer memory that is used to temporarily store data.
Bug: An error in a computer program that causes it to work incorrectly.
Byte: A computer word made up of eight bits of data.
Catalog: A list of all files stored on a disk or in a bank. Sometimes called a directory.
Cent: Unit of pitch equal to 1/100 of a semitone.
Center Detent: A notch in the center of a modulation wheel or lever which allows the performer to find the home position.
Central processing unit (CPU): A microprocessor or computer which is used to perform complex task-related functions. Within an electronic musical instrument, it is a dedicated computer system for handling the many performance and control-related messages and commands that must be processed in real time.
Channel messages: These are messages that are assigned to a specific MIDI channel within a system or device.
Channel-voice messages: These are used to transmit real-time performance data throughout a connected MIDI system. They are generated whenever the controller of a MIDI instrument is played, selected, or varied by the performer.
Channel, Output: The circuitry through which an instrument outputs individual notes.
Channel, MIDI: An information pathway through which MIDI information is sent. MIDI provides for 16 available channels, each of which can address one MIDI instrument.
Channel, MIDI Control: A MIDI Channel also contains information about which controllers are being varied.
Chip: An integrated circuit.
Chorus: A voice doubling effect created by layering two identical sounds with a slight delay (20-50 mS) and slightly modulating the frequency of one or both of the sounds .
Click sync/click track: this refers to the metronomic audio clicks that are generated by electronic devices to communicate tempo.
Clock: A steady pulse from a generator which is used for synchronizing sequencers, drum machines, etc. Common sequencer timing clock rates are 24, 48, or 96 pulses-per-quarter note. MIDI timing clocks run at a rate of 24 ppqn.
Clipboard: A temporary holding place in RAM for what you last cut or copied.
Close Miking: A microphone placement technique which involves placing a microphone close to the sound source in order to pick up mainly direct sound, and avoid picking up reverberant sound.
Computer Interface: Hardware which enables a computer to communicate with other devices. A common example is a MIDI interface, which allows a computer to communicate with a musical instrument.
Condenser Mike: A microphone which converts sound pressure level variations into variations in capacitance and then into electrical voltage.
Continuous Controller: Refers to Midi information other than notes. For example, volume, pitch bending, modulation (vibrato). These parameters can change continuously over time and allow electronically generated music to sound more expressive.
Contour: See Envelope Generator
Controller: A device which let's you enter or change events into a computer or other digital device. Examples include keyboards, pitch and modulation wheels and wind controllers.
Copy: To make a copy of something, either a sound or segment, by selecting it and choosing the copy function from the module menu. What is copied is placed on the clipboard.
Crossfade: To gradually fade out one sound while fading in another so that a seamless transition is made between the two sounds.
Cursor: A visual indicator showing the position of the next entry.
Cut: To remove something, either a sound or a segment, by selecting it and choosing the cut function from the module menu. What you cut is placed on the clipboard.
Cutoff Frequency: The frequency above which a low pass filter will start attenuating signals present at its input. Abbreviated Fc.
Data: Information a computer needs in order to make decisions or carry out a particular action.
Data Wheel: A knob that allows you to scroll through Programs and change parameter values. Usually used when a keypad is not available or for fine tuning and scrolling through infinite variables.
dB/Octave: The unit typically used to indicate the slope of a filter, or how fast the frequency response rolls off past the cutoff frequency. Example: A 24 dB/octave filter would attenuate an input signal by 24 dB one octave above the cutoff frequency, by 48 dB two octaves above the cutoff frequency, and so on.
Decay: The second stage in an ADSR type envelope generator. See ADSR.
Decibel (dB): A reference for the measurement of sound energy. The minimum change in volume that the human ear can perceive. Named after Alexander Graham Bell. A decibel is 1/10th of a Bel.
Delay: A controllable time parameter giving the ability to start an event only after a predetermined amount of time.The Delay function on the EIII allows you to delay the start of a sound from 0 to 1.5 seconds from the time a key is pressed.
Depth: The amount of modulation. Sometimes called Amount, Width, Intensity or Modulation Index.
Digital: Equipment that uses quantities represented as binary numbers. In a digital synthesizer every aspect of the sound generation is handled as a numeric calculation. The digital information is not audible and so must be converted to analog form by a DAC before it is output.
Digital to Analog Converter (DAC): A device which interprets Digital information and converts it to Analog form. All digital musical instruments must have a DAC so that we can hear their output.
Digital Audio Tape (DAT): The medium that a machine that records sound digitally uses. They generally use a spinning drum similar to those found in VCR's as opposed to the record and playback heads found on regular analog tape recorders.
Digital Signal Processor: See Signal Processors. Most signal processors these days are digi tal. They allow the instant recall of all the para meter settings of t he device without having to manually reset all the controls every time a different sound effect is required.
Direct time lock (DTL) and enhanced time lock (DTLe): A synchronization standard that allows Mark of the Unicorn's Mac-based sequencer, Performer, to lock to SMPTE through a converter which supports these standards
Display: A device that gives information in a visual form.
Distant Miking: A microphone placement technique which involves placing a microphone far from the sound source in order to pick up a high proportion of reverberant sound.
Drum Machine: A sample based digital audio device that makes use of the playback capabilities of ROM (read only) memory to reproduce carefully recorded and edited samples of individual instruments which make up the modern drum and percussion set.
Drum Pads: The playing surface buttons which are designed into a drum machine and played with the fingers.
Drum-pad controller: Such a controller offers the performer a larger, more expressive playing surface that can be struck either with the fingers and hands, or with mallets and drum sticks for full expressiveness. Additionally, a drum controller will often offer extensive setup parameters.
Dynamic Allocation: On the EIII, Dynamic Allocation defeats any pre- assigned output channel assignments and assigns the output channels according to a modified circular algorithm.
Dynamic Mike: A microphone in which the diaphragm moves a coil suspended in a magnetic field in order to generate an output voltage proportional to the sound pressure level.
Dynamic Range: The range of the softest to the loudest sound that can be produced by an instrument. Or the range of the low and high signal levels obtainable by a velocity sensitive keyboard. The greater the Dynamic Range, the more sensitive the keyboard.
Envelope Generator: A circuit, usually triggered by pressing a key on a keyboard, that generates a changing voltage with respect to time. This voltage typically controls a VCF or VCA. An AHDSR and ADSR are two types of Envelope Generators. See ADSR.
Equal Temperament: A Scaling system where the octave is divided into 12 equal parts. The ratio of the frequencies between any two adjacent notes is exactly the same. Most keyboard instruments are scaled in this manner.
Equalizer: A device which allows attenuation or emphasis of selected frequencies in the audio spectrum. Equalizers usually contain many bands to allow the user a fine degree of frequency control over the sound.
Error Message: A message shown in the display to alert the user that an error of some type has occurred.
Fc: See Cutoff Frequency
Filter: A device used to remove unwanted frequencies from an audio
signal thus altering its harmonic structure. Low Pass filters are the most
common type of filter found on music synthesizers. They only allow
frequencies below the cutoff frequency to pass (Low Pass). High Pass filters
only allow the high frequencies to pass, and Band Pass filters only allow
frequencies in a selected band to pass through. A Notch filter rejects
frequencies that fall within its notch.
Flange: An effect created by layering two identical sounds with a
slight delay (1- 20 mS) and slightly modulating the delay of one or both of
the sounds. The term comes from the early days of tape recording when
delay effects were created by grabbing the flanges of the tape reels to
change the tape speed.
Floppy Disk: A thin portable disk used to store digital data.
Fourier Spectrum: The description of a sound that is in terms of its
distribution of energy versus frequency rather than its amplitude versus
time (waveform).
Frequency: The number of cycles of a waveform occurring in a
second.
Frequency Modulation: The encoding of a carrier wave by variation of
its frequency in accordance with an input signal.
FSK: Frequency Shift Keying. An audio tone (frequency) modulated by
a square wave, which is used both for data transfer and also for sequencer
and drum machine synchronization.
Fundamental: The first, lowest note of a harmonic series. The
Fundamental frequency determines a sound's overall pitch.
Glissando: A rapid slide through a series of consecutive tones in a
scale like passage. On an E-mu Sytems Emulator III arpeggiator for example,
when two notes are played with glissando on, every note in between the two
notes will be played in a sequential order. Similar to portamento except that
the pitch changes in semitone steps.
Ground Loop: Hum caused by currents circulating through the ground
side of a piece of equipment or system. This is due to grounding it at points
of different voltage potential.
Hard disk recorder: A computer-based hardware and software
package specifically intended for the recording, manipulation, and
reproduction of the digital audio data that resides upon hard diskand/or
within the computers own RAM.
Hardware-based sequencer: Stand-alone devices for the sole purpose
of MIDI sequencing. These systems make use of a dedicated operating
structure, microprocessing system, and memory that is integrated with top-
panel controls for performing sequence-specific functions.
Harmonic Distortion: The presence of harmonics in the output signal
of a device which were not present in the input signal.
Hertz/Hz: A unit of frequency equal to 1 cycle per second. Named
after Heinrich R. Hertz.
High Pass Filter: See Filter
Interactive sequencer: A computer-based sequencer that directly
interfaces with MIDI controllers and sequenced MIDI files to internally
generate MIDI prformance data according to a computer algorithm.
Internal sequencer: A sequencer designed into an electronic
instrument that directly interfaces with the instrument's keyboard and
voice structure.
G
Gain: The factor by which a device increases the amplitude of a
signal. Negative gain will result in the attenuation of a signal.H
Hard Disk: A storage medium for digital data which can hold more
information and access it faster than a floppy disk.I
Initialize: To prepare a disk to receive data. A hard disk or a floppy
disk must be initialized before it can be accessed.
J
Just Intonation: A system of tuning in which the distances between
pitches are based on the natural harmonic series instead of the octave being
equally divided.
Keyboard Assignment: The assignment of specific sounds to an area of the keyboard. For example, the lowest octave could be drum sounds, the next octave could be an electric bass, the rest of the keyboard could have various piano samples assigned to it.
Keyboard controller: A keyboard device expressly designed to transmit performance-related MIDI messages throughout a modular MIDI system
"> LFO: Low Frequency Oscillator. An oscillator used for modulation whose range is below the audible range (20 Hz). Example: Varying pitch cyclically produces vibrato.
Loading: To transfer from one data storage medium to another. This is generally from disk to RAM memory or vice-versa, as opposed to saving from RAM to disk.
Lock: To prevent data from being edited, discarded or renamed, or to prevent entire banks or disks from being altered.
Longitudinal time code :(LTC): Time code which is recorded onto an audio or video cue track. LTC encodes the biphase time-code signal onto an analog audio or cue track as a modulated square-wave signal
Looping: Looping is the process of repeating a portion of a sample over and over in order to create a sustaining sound. The looped sound will continue as long as the key is depressed. A sound is usually looped during a point in its evolution where the harmonics and amplitude are relatively static in order to avoid pops and glitches in the sound.
Low Note Priority: When more than one note is played on a monophonic synthesizer, only the lowest note will sound.
Low Pass Filter: A filter whose frequency response remains flat up to a certain frequency, then rolls off (attenuates signals appearing at its input) above this point.
Memory: Used for storing important internal data, such as patch information, setup configurations, and digital waveform data.
Merge: To combine or unite. To Merge means to combine sequences, sounds, tracks, MIDI data, etc.
Musical Instrument Digital Interface (MIDI): A digital communications language that allows multiple electronic instruments, controllers, computers and other related devices to communicate within a connected network. MIDI is an asynchronous, serial interface, which is transmitted at the rate of 31.25 KBaud or 31,250 bits per second.
MIDI Clock: Allows instruments interconnected via MIDI to be synchronized. The MIDI Clock runs at a rate of 24 pulses-per-quarter- note.
MIDI Continuous Controller: Allows continuously changing information such as pitch wheel or breath controller information to be passed over the MIDI line. Continuous controllers use large amounts of memory when recorded into a MIDI sequencer. Some standard MIDI Continuous Controller numbers are listed below.
PWH = Pitch Wheel
CHP = Pressure
1 = Modulation Wheel
2 = Breath Controller
3 = (Pressure on Rev. 1 DX7)
4 = Foot Pedal
5 = Portamento Time
6 = Data Entry
7 = Volume
8 = Balance
10 = Pan
11 = Expression Controller
16-19 = General purpose controllers 1-4 (High Res.)
64 = Sustain Switch (on/off)
65 = Portamento Switch (on/off)
66 = Sustenuto (chord hold)
67 = Soft Pedal (on/off)
69 = Hold Pedal 2 (on/off)
80-83 = General purpose controllers 5-8 (Low Res.)
91 = External Effects Depth
92 = Tremolo Depth
93 = Chorus Depth
94 = Detune
95 = Phaser Depth
96 = Data Increment
97 = Data Decrement
MIDI echo: The selectable MIDI echo function is used to provide an exact copy of any information recieved at the MIDI in port, and route this data directly to the MIDI out/echo port.
MIDI filter: A dedicated digital device, onboard processor, or computer algorithm that allows specific MIDI messages or range of messages within a data stream to be either recognized or ignored.
MIDI implementation chart: A standardized that easily relates information to all of the MIDI capabilities that are supported by a specific MIDI device.
MIDI in: This port receives MIDI messages from an external source and communicates this performance, control, and timing data to the device's internal microprocessors.
MIDI interface: A device used to translate the serial message data of MIDI into a data structure that can be directly communicated both to and from a personal computer's internal operating system.
MIDI mapper: A dedicated digital device, onboard processor, or computer algorithm that can be used to reassign the scaler value of a data byte to another assigned value.
MIDI messages: These are made up of a group of related 8-bit words, which are used to convey a series of performance or control instructions to one or all MIDI devices within a system.
MIDI out: This port is used to transmit MIDI messages from a single source device to the microprocessor of another MIDI instrument or device.
MIDI thru: This port provides an exact copy of the incoming data at the MIDI in port and and transmits this data to another MIDI instrument or device that follows within the MIDI data chain.
MIDI time code (MTC): A system for easily and cost-effectively translating SMPTE time code into an equivalent time code that conforms to the MIDI 1.0 Specification. It also allows for time-based code and commands to be distributed throughout the MIDI chain to devices or instruments capable of understanding and executing MTC commands.
Mixer: A device which allows combination of different audio signals together and outputs them in mono or stereo. Mixers come in many sizes and are referred to by the number of channels (different audio inputs) they have. Most software sequencers also have a mixer onboard which lets you control the volume levels of the individual parts of your song.
Modulation: The process of one audio or control voltage source influencing a sound processor or other control voltage source. Example: Slowly modulating pitch cyclically produces vibrato. Modulating a filter cyclically produces wa-wa effects.
Modulation Index: The depth of modulation when performing frequency modulation.
Module Identifier: The screen that displays information about what module is currently activated.
Monophonic: A musical instrument that is only capable of playing one note at a time. Music with only one voice part.
Multi-timbral: The ability of a musical instrument to produce two or more different sounds or timbres at the same time.
Multi-track: A way to record a complex musical piece by dividing it into simple tracks, and combining the tracks during playback.
Module: Same as tone module or sound module or tone generator. See tone module.
Monitor: This word can mean at least three different things.
Multitasking: The ability for many of the faster, more powerful personal computer's to process more than one program and/or task at a time.
Parallel Interface: A computer interface in which data is passed simultaneously over many wires. A Parallel Interface is usually much faster than a serial interface. The SCSI Interface on the Emulator III is an example of a Parallel Interface.
Paste: To put a copy of the contents of the clipboard (whatever was last copied or cut) in at the specified insertion point.
Patch: A synthesizer sound which is stored in it's computer memory. Usually refers to a sound which can be altered, i.e. it's stored in RAM memory. Sometimes also called preset, program, or sound. Comes from the use of patch cords on the original modular synthesizers.
Patch editor: A software-based package used to provide direct control over a compatible MIDI device, while clearly displaying each parameter setting on the monitor screen of a personal computer.
Patch librarian: A software package capable of recieving, transmitting, and often organizing patch data between one or more devices and a personal computer system.
Percussion Controller: Same as a drum controller, except that there are many percussion controllers which are configured like mallet instruments and thus are very adept at playing pitched parts.
Pitch Bend: A continuous controller which can be applied to synthesized note(s), usually from a joystick to the left of the lowest keyboard note. The sound is a raising or lowering of the pitch and changes as you move the joystick left and right.
Polyphonic: A musical instrument that is able to play more than one note at the same time. Music with more than one voice part.
Preset: A preprogrammed sound and control setup on a sampler or synthesizer. Presets can be made up in advance of a performance, stored in memory, then recalled instantly when desired.
Pressure Sensitivity: The ability of an instrument to respond to pressure applied to the keyboard after the initial depression of a key. Sometimes called aftertouch.
Proximity Effect: When cartioid microphones are placed very close to the sound source, a boosting of the bass frequencies occurs which is known as the proximity effect.
Punch-in: When recording, punching in over-writes a previously recorded track starting at the punch in point.
Punch-out: When recording, punching out stops the recording process started by a punch in, thus preserving the previously recorded track starting at the punch out point.
Quantization: A timing function of a sequencer or sequencing software used to correct human-performance timing errors within a composition.
RS 422: A high-speed serial communication port which allows data to be transferred to and from an external computer at a very high rate (500K baud).
ROM: Acronym for Read Only Memory. This is computer memory which can't be changed or erased. It is 'burned' into the computer or device. Most synthesizers have some sounds which are in ROM memory and can't be altered. A sign of a more expensive synthesizer is having sounds in RAM memory, implying that you can alter the sounds and save variations as your own.
Realtime Controls: Occurring in actual time or live.
Resonance: A frequency at which a material object will vibrate. In a filter with resonance, a signal will be accentuated at the cutoff frequency. See Q.
Sample Rate: When digitally sampling a signal, the rate at which level measurements of the signal are taken.
Sampling: The process of recording a sound into digital memory.
SCSI: Acronym for Small Computer Serial Interface, which is a connection on the back of your computer or electronic instrument which allows connection to other hardware devices such as external CD-ROM drives, external hard drives, some printers, scanners, etc.
SCSI Port: The port on the back of the instrument to which SCSI devices are connected. Sequencer: A device which steps through a series of events. A digital sequencer may record keyboard data, program changes, or realtime modulation data to be played back later much like a tape recorder or player piano. Digital sequencers use memory on the basis of events (key on, key off, etc.) while a tape recorder uses memory (tape) on the basis of time.
Serial Interface: A computer interface in which data is passed over a single line, one bit at a time. The MIDI interface is an example of a serial interface.
Software Sequencer: A sequencing software package designed to be loaded into a computer. Software sequencers usually have more features and have the advantage of showing you a lot more information at once because of it's computer screen.
Sound Module: See tone module.
Signal Processing: The art of modifying an existing sound through the use of electronic circuitry.
Signal Processor: An electronic device which audio signals can be routed through to affect the sound of that signal. Examples: echo and reverb units, distortion devices, etc. Most electric guitarists run their instruments through 'pedals' which are small floor units that process signals at the press of a foot pedal.
Signal to Noise ratio (S/N): The ratio between what goes in a device designed to alter or record sound, and what comes out the other end. If what you get out the other end is all distorted or hissy the piece of equipment has a low signal to noise ratio. A very expensive DAT machine for example, will have a high S/N ratio because what you get out will sound very close to what you put in. The same goes for a very expensive digital effects processor, if you want a sound to come out with reverb on it and instead it comes out with reverb and a bunch of hiss you would not be very happy.
SMPTE: Acronym for Society of Motion Picture and Television Engineers who adopted a standard time code in order to synchronize video and audio. SMPTE information is in the form of Hours, Minutes, Seconds, and Frames. There are two types of SMPTE time code, Longitudinal Time Code which can be recorded on audio tape, and Vertical Interval Time Code which is recorded on video tape.
Software: The programs or sets of instructions describing the tasks to be performed by a computer.
Song Pointer: MIDI information which allows equipment to remain in sync even if the master device has been fast forwarded. MIDI Song Pointer (sometimes called MIDI Song Position Pointer) is an internal register (in the sequencer or autolocator) which holds the number of MIDI beats since the start of the song.
Step Time: A sequencer mode where events are entered one at a time.
Subtractive Synthesis: The process of constructing a sound by starting with a complex sound and then removing harmonics with a filter. A low pass filter is most commonly used. The cutoff frequency of the filter is usually dynamically varied, which changes the harmonics that are removed. Using the low pass filter on the Emulator III to alter the sound is a form of subtractive synthesis.
Supermode: An Emulator III MIDI function designed to enhance the Sequencer/MIDI interface. It maps data occurring on a specific MIDI channel to a specific preset within the bank. Similar to standard MIDI Omni Off/Mono mode, but more flexible. Each channel can contain polyphonic note data.
Synthesizer: A device that creates sounds electronically through the use of voltage controlled amplifiers and filters. The settings for each sound are usually saved as presets. Synthesizers are great, go out and buy one today!
Terminating Resistors: Also called a terminator. A group of resistors that should be placed on the SCSI cable before the last device on a SCSI chain. Usually the terminating resistor is built inside the SCSI device. There should be no more than two terminators in a SCSI chain: one at the start, built into the EIII, and one at the end.
Timbre: Tone color. The quality of a sound that distinguishes it from other sounds with the same pitch and volume.
Tone Generator: See tone module.
Tone Module: A synthesizer without a piano keyboard. Since Midi
allows one keyboard to literally play another, there is little reason to
acquire more piano keyboards when wanting to expand your palette of sound
choices. Buying tone modules is usually a bit cheaper than the keyboard
version, and saves valuable space.
Trance Logic: as defined by Orne (1959) as an ability to mix physical perceptions with hallucinations and Bowers
Track:
Tremolo: A cyclic change in amplitude, usually in the range of 7 to 14 Hz. Usually achieved by routing a LFO (low frequency oscillator) to a VCA (voltage controlled amplifier).
Truncation: When manipulating a sample, truncation shortens a sample's length by trimming off parts of the beginning and/or end.
VCF: Voltage Controlled Filter. A filter whose cutoff frequency or resonant frequency is determined by a control voltage.
Velocity Sensitivity: A keyboard which can respond to the speed at which a key is depressed; this corresponds to the dynamics with which the player plays the keyboard. Velocity is an important function as it helps translate the performer's expression to the music. Velocity can be routed to many destinations on the Emulator III and is also translated over the MIDI line.
Vibrato: A cyclic change in pitch, usually in the range of 7 to 14 Hz.
Volatile Memory: Memory which loses its data when power is removed. The RAM memory in the Emulator II is volatile, the data on the hard disk is non-volatile.
Voltage Pedal: A pedal which outputs a control voltage which is dependant on its position.
Write Protect: To protect data (either on a disk or in memory) from being written to, although data can still be read.
X-Y-Z
Zero Crossing: The point where the polarity of an electrical or
sampled signal changes from positive to negative (or vice-versa) as it
passes through zero. A zero crossing provides a convenient point to splice
two sounds because the levels of the two splice points are the same at zero
volts.