Bedienungsanleitung Yamaha 01V (Seite 293 von 303) (Englisch)

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Glossary 295

01V—Owner’s Manual

MSB (Most Signiﬁcant Byte)—The byte of a digital word that represents the high-

est value. Contrast with LSB

Noise gate—An electronic switch that opens if the trigger signal falls below a speci-

ﬁed threshold and closes if the trigger signal exceeds the threshold. Typically used to

shut off unwanted hiss and noise.

Nominal level—See Operating Level.

Nyquist theorem—The Nyquist theorem states that the sampling rate of a digital

audio system must be at least twice that of the highest audio frequency, otherwise wave-

form distortion know as aliasing will occur. See also Aliasing.

OMNI—The MIDI mode in which a device responds to MIDI data on all 16 channels.

Operating level—This is the signal level at which a piece of audio equipment is

designed to operate. The two most common operating levels are –10 dBV (316 mV),

which is used by semiprofessional equipment, and +4 dBu (1.23 V), which is used by

professional equipment.

Oversampling—Sampling an audio signal at a rate higher than the actual sampling

rate to reduce noise caused by quantization errors.

PAM (Pulse Amplitude Modulation)—In the ﬁrst part of the A/D conversion

process, pulses occurring at the sampling rate are modulated by an analog audio signal.

See also PAM.

Peaking—A type of EQ circuit used to cut and boost a band of frequencies, producing

a mountain-peak type response. The width of the band is called the Q. Midband EQ is

usually of the peaking type. Compare with Shelving.

PEQ—An abbreviation for parametric EQ.

PFL (Pre Fader Listen)—Monitoring signals before the channel fader. Contrast with

AFL.

Phantom powering—The technique for supplying condenser-type microphones a

DC voltage via the signal carrying conductors of a balanced cable.

Pink noise—A type of random noise that contains an equal amount of energy per

octave. For example, the bands 100–200, 800–1600, and 3000–6000 all contain the same

amount of energy. White noise, on the other hand, has an equal amount of energy per

frequency band. That is, 100–200, 800–900, and 3000–3100.

Post fader—The point in the signal path after the fader. Aux sends are often conﬁg-

ured as post-fader sends, which means the aux send signal is sourced after the channel

fader. The advantage of this is that the aux send signal can be controlled at the same

time as the main channel signal using the same fader. Post-fader aux sends are typically

used to feed effects processors. See also AFL.

Pre fader—The point in the signal path before the fader. Aux sends are often conﬁg-

ured as pre-fader sends, which means the aux send signal is sourced before the channel

fader. The advantage of this is that the aux send signal can be controlled independently

of the main channel signal. Pre-fader aux sends are often used for foldback mixes. See

also PFL.

Program Change—A type of MIDI message for selecting programs.

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