The Audiophile's Lexicon
Coming to terms with the language
The following vocabulary is congruent with the audiophile community. However, the following terms stipulated are partial to subjects about audio and not video. The words ‘audio’, ’reproduction’, ‘sound’, and ‘music’ used in this lexicon may at times be used interchangeably. Please also cross-reference the relevant terms that are used for a better understanding of their meaning. It is pertinent to note that the descriptive terms used to characterize the music are used for sound evaluation purposes and may therefore apply either to a specific recording, component, component accessory, or system. This list is by no means exhaustive and serves to establish a common language among the audiophile community of practice which is qualitative yet subjective in nature. When necessary, this lexicon may be updated for the sake of accuracy, brevity, and clarity or to include ‘new’ language affirm by the audiophile community. We cannot continue without giving special mention to the late JGH of ‘Stereophile’ and the late HP of The Absolute Sound for pioneering some of these terms that remain part of their legacy.
A
Acoustics
The study of the effects of transmitted sound waves as they pass through various media and their interaction with the hearing mechanism. It includes the science of reflection, refraction, diffraction, absorption, and interference.
Acoustic Isolation
The use of absorbing, damping, and blocking materials to prevent vibration from migrating. See also ‘spikes’, ‘cones’, and ‘coupler’.
AES 3 (Audio Engineering Society)
It is a data link layer protocol as well as a set of physical layer specifications for carrying digital audio signals between devices and components utilizing a 110 Ohm Balanced cable (XLR connector) or a 75-ohm coaxial unbalanced cable (BNC connector) to transmit audio data.
Amplitude
It refers to the greatness of size; magnitude to the extent to which air particles are displaced from a periodically varying quantity and is experienced as the loudness of sound. The higher the amplitude, the louder the sound.
Ambiance
The overall impression of an acoustical space is suggested by an environment, such as a hall, or studio in which a recording was made.
Anti-phase
Of the opposite polarity - 180 degrees out of phase.
Attenuate
To lower (turn down) the volume of an audio signal or the Sound Pressure level
AV
It implies Audio/Video equipment, which gives equal priority to handling and processing audio (sound) and video (picture) signals.
Audible spectrum
A range of audio frequencies that humans can hear - typically 20Hz to 20KHz
Audiophile
They are audio practitioners who select and integrate high-end audio components and ancillary products in a dedicated listening space to facilitate high-resolution audio derived from quality recordings. Audiophiles would use their preferred media to try and experience a virtual musical performance as interpreted by mixing engineers and mastered as the artist intended.
Audio
The art and science of sound recording and reproduction.
Air
Or airy - It normally applies to the treble region. The ability to reproduce the minor cues that help characterize the sound of the recording space. The treble space should be delicate and open without any restraint in its upper registers. A system with silky and extended highs may be said to be "airy".
Analytical
This refers to sound with emphasis on detail, almost to the point of excess. It describes a system that will openly reveal all its strengths and weaknesses (faults), however the inherent faults, which no matter how subtle, will tend to aggravate the high frequencies.
Analog
Vibrations are converted into electrical signals and recorded onto an analog medium like vinyl or tape and recovered as sound as opposed to digital where mathematical data of ones and zeros are coded and decoded into an analog waveform and recovered as sound.
Articulate
It refers to clarity and intelligibility usually of voice reproduction (between 1.25Khz to 8Khz) or inner detail in complex sounds. It is the ability to hear and distinguish between different instruments and voices even within complex orchestrations. The individual notes should also be distinguished with well-defined attacks; not diffused or muddled.
Aggressive
It usually describes the sound that is annoyingly or excessively 'forward' and 'bright'. The sound may seem to have excessive treble. It is a form of sonic coloration having an aggressive attribute that suggests that music comes 'up your face which is too close for comfort. The intimacy here is however in excess often leading to the listener's fatigue.
Alluring
An alluring system or component draws a listener towards intimacy. It transports the listener to the recording venue; "You are there" enveloping the listener with the ambient soundstage.
B
Bandwidth
The nominal range of frequencies between two limits is passed by an electronic device or signal. The term is often referenced to the specification of components.
Basket
The conical frame that supports the cone and the magnet assembly of a loudspeaker, and whose circumferential flange is used to support the entire driver unit.
BNC
A type of 75ohm locking connector is used with a coax cable for digital connections. It provides a tighter and more secure fit than the RCA connectors.
Balanced
a. A method of interconnecting audio equipment using balanced line connections utilizing three-conductor connectors, usually an XLR or TRS jacks (positive, negative, and ground). Using balanced lines can reduce noise if using a long cable.
b. May refer to a control knob on a preamplifier used to adjust the gain for either the left or right channel. A useful control to capture a center image during music playback to compensate for poor recordings or poor loudspeaker setups.
Bass
The lower end of the audible spectrum, ranging from 160Hz to 20Hz and is characterized by a low pitch. Bass can be described as being tight, deep, with good definition, “muddy” or “boomy.”
Bloated
Or overblown – This suggests a phantom image that is excessively wide (fat) or sound that is generally dark, or overly warm, lacking definition and clarity in the mid-bass region.
Bit Rate
Digital audio refers to how much data is being stored per second. The higher the better it is said to be sonic.
Bit Depth
Digital audio refers to how much data is recorded per sample. The more information (higher sample/bit rates and depth) the larger the file size. The higher the better it is said to be sonic.
Body
A quality of roundness and robustness in reproduced sound due to the resonance material of the musical instrument.
Boomy
It is characterized by a pronounced exaggeration of the mid-bass, and often dominance of a narrow range of bass frequencies (one-note-bass). Over-emphasis in the frequency ranges between 80Hz to 250Hz makes music sound ‘boomy’. It is normally generated either by poorly designed loudspeakers or by misplacement of loudspeakers at room boundaries or when listening at a location where there is a peak in-room node.
Bright
It refers to the unnatural balance of spikes in the treble region (4Khz - 8Khz). It describes the degree to which reproduced sound has a hard, crisp edge to it. It is not related to output in the extremely high-frequency range.
c
Coloration
An audible acoustic 'signature' which an audio system permeates all music signals passing through it. The sins of commission. The opposite of “neutral.” compromises the tonal balance hence the natural rendition of the music. Most coloration is undesirable, which may sound "boomy or muddy" in the bass or "nasal or sibilant" in the voicing, or “thin or hornlike” in the midrange. See also Signature.
Capacitor
An electronic component is used to store electrical energy temporarily, commonly used for power supply and electrical circuits for DC coupling, tone controls, and filtering off frequencies.
Coherency
a. It describes uniformity over the entire audible spectrum in which no frequency or band of frequencies is emphasized or attenuated – see also ‘tonal balance.
b. It may also explain the dynamic ability of an audio system or component to distinguish the soft and loud passages, with good pace and rhythm including dynamic range extension – See also ‘dynamics’ and ‘Pace and Rhythm’.
Crisp
Sharply focused, clear, and detailed.
Control
a. This term applies mostly to loudspeakers and how they efficiently track the signal fed without strain producing a sound that is tight, detailed, and focused.
b. It can also be used for amplifiers where there is sufficient power to control a pair of loudspeakers (damping) without clipping or causing the amplifier or loudspeaker to be driven into distortion.
Closed-in
Or opaque - lacking in openness, delicacy, air, and fine detail, usually caused by high-frequency roll-off above 10Khz.
Coarse
Or chesty, grainy - A large-grained texturing of reproduced sound; gritty or hard.
Congested
A smeared and homogenized soundstage; devoid of imaging. See also ‘imaging’. Poor clarity is caused by overlapping sounds making it hard to hear separate instruments.
Consonant
Agreeable to the ear; pleasant sounding.
Character
It describes the basic elements of reproduced sound which contribute to its overall perceived quality. Frequency response, tonal balance, soundstage, dynamics, and imaging are examples of sonic characters.
Cable
A single or group of insulated conductors that act as a signal transmission line. They may be further classified as either an interconnect, loudspeaker cable, digital cable, video cable, or power cord.
Cabinet
The enclosure of a loudspeaker.
Component
A component is an electronic product designed for a particular function that is used in an audio system, thus becoming part of a whole audio system.
Conductor
An insulated length of wire is usually made of copper to conduct AC or DC currents.
Cone
a. A loudspeaker driver (woofer) that is attached to a basket is usually made of polymer material terminated to a voice coil at one end, designed to move the cone when energized by audio signals.
b. A small conical-shaped object is used below audio components as feet to quickly dissipate vibrations to the ground and at the same time to mitigate vibrations from the ground to the subject component hence their shape. See also ‘spikes’ and ‘De-coupler’.
Coupling
The physical connection through which transfer is accomplished is either through cables or mechanical feet under components.
Crosstalk
A form of distortion is when there is an unwanted breakthrough (leak) of one side of a stereo channel into another.
Critical Listening
A style of listening to music that focuses on the soundstage, imaging, tonal balance, macro, and micro details, and nuance. Requires proper equipment setup, allocating a sweet spot, and using reference recordings. Usually, an exercise when conducting equipment or music review.
Clarity
You will hear macro and micro details in music reproduction more distinctly.
Crossover
a. A selective electronic component consisting of a combination of bandpass filters that are used to divide the audio frequency spectrum in two or more ways e.g., high, mid, and low, etc., and distribute the signal to the respective amplifier units.
b. A dividing network circuitry inside a passive loudspeaker divides the signal into different frequency ranges (e.g., bass, midrange, and treble) and distributes the signal to the respective loudspeaker drive units.
D
DAC (Digital to Analog Converter)
A device that converts digital data into an analog signal which is then amplified for a loudspeaker or a headphone. DACs may be designed as a standalone component or are provided inside most digital electronics such as smartphones, computers, some active loudspeakers, AV amplifiers, and CD/DVD players.
DSD (Direct Stream Digital)
A trademark used by Sony and Philips to recreate audible signals for the Super Audio CD (SACD). The DSD coding system differs from PCM. A DSD recorder uses delta-sigma modulation instead of Pulse code modulation.
DSP (Digital Signal Processing)
A digital representation that expresses an audio waveform as a sequence of symbols, usually binary numbers. This permits signal processing using digital circuits such as digital signal processors, microprocessors, and general-purpose computers.
Damping
Damping refers to any mechanical application of any material used that diminishes, suppresses, absorbs, or controls the amplitude of vibration through conversion into heat, friction, or other resistance.
Decibel (dB)
The unit of a logarithmic scale is used for measuring perceived volume change - the magnitude of sound. A value of zero dB is considered the threshold of human hearing. One dB is the smallest volume change that is perceptible to an average listener. Three dB is a moderate change in volume, and about ten dB is an apparent doubling of volume.
De-coupler
Or Isolator – Describes physical isolation between two surfaces by a mechanical device that is inefficient in transferring mechanical energy but is instead efficient in absorbing them. The device is usually made of special polymers and elastomers that will quickly convert mechanical energy into heat. A De-coupler’s purpose is to prevent ground vibrations from exciting any component. For example, a Turntable’s feet are often constructed to act as an isolator. See also spike and cones.
Deep Bass
Frequencies below 32Hz.
Device
Anything that does something.
Dynamic driver
A loudspeaker component of any size or function e.g., Subwoofer, bass woofer, mid-bass woofer, midrange driver, and tweeter uses a static magnetic field to oscillate the voice coil and create sound waves.
Dynamics
The ability of a component to reveal the dynamic gradations between the very softest sounds (PPP) and the very loudest (fff) sounds in music. The ability to articulate details, ensuring the preservation of dynamic range and musical contrast. Like being punchy, such as when playing loudly and softly at the same time or changing the amplitude quickly and cleanly without appearing to seem tentative. A system is deemed dynamic if it could distinguish instrumental detail and character during complex passages with a feeling of effortlessness during musical climaxes.
Decay
The gradual, and natural fade-out (reverberant length) of a musical note. It describes the response of an audio system to a momentary impulse signal when the signal ends. A quick cessation of the bass peak hangover is an example of good decay.
Detail
Involves both low-level (micro-dynamics) and high-level (macro-dynamics) dynamic characteristics of music. It ensures the clarity of the subtlest most delicate parts of the musical nuance or the reproduction of those parts necessary for a sense of realism.
a. Micro-dynamics describes the sonic subtleties within a complex program signal whose audio signal is usually at pianissimo (PPP). The subtlest elements of musical sounds, such as the tail end of reverberation decay, and sounds of breathing by the soloist are examples of musical details which are usually the first things lost by imperfect components or room distortion.
b. Macro dynamics are characterized as clarity and intelligibility to articulate voices or inner details inherent in complex musical scores during peaks. Such as a transient attack and the sustain followed by the decay are all well-articulated.
Depth of Image
Aka depth of field or layering - The relative receding distances of spacing from front to back behind the loudspeaker’s plane and between images as perceived in the soundstage. Frontal images do not set in the way of those from behind. An unsatisfactory reproduction would have all the instruments at one distance (two-dimensional) or come too close. Front-to-back layering should ideally provide the illusion of at least 3 layers of depth on relevant recordings right up to the front wall and beyond. Good depth perspective is determined by the position of the loudspeakers, relative strengths of direct and reverberant sound, and the strength and direction of early reflections. See also ‘soundstage’.
Dry
a. It describes the texture of the treble; a very fine-grained, chalky, or
b. The bass quality is lean and overdamped
Dead space
a. It describes an acoustical space; deficient in reverberation or having a very short reverberation time. Such space is usually well furnished with thick carpets (wall to wall), thick drapes, cushioned furniture, and large bookshelves or
b. A room appropriately loaded with acoustic treatments in troubled areas.
Dark
A mellow and overly rich quality in reproduced sound. The audible effect of a frequency response that is deficient or less prominent in the upper-frequency register.
Diffuse
a. Music reproduction is severely deficient in detail and image specificity - confused or muddled images.
b. Reflected sound is scattered by a purposed design room treatment device lowering the strength (reverberation time) of the reflected sound through diffuser technology.
E
Error of commission
Signal degradation due to the addition of sounds that were not present in the original signal. Room distortions and component colorations are examples of errors of commission. Not to be confused with spurious signals.
Error of omission
Signal degradation is due to the loss of information that was present in the original signal. Poor transient response, restricted high-frequency extensions, and time-smearing issues are examples of errors of omission. This is nevertheless a more desirable choice if you have two choose between the two evils of commission and omission. Our brains may be able to compensate for the loss and `fill up the spaces’, but we cannot readily accept what was added to the music in prolonged listening situations where ‘listener’s fatigue’ will creep in.
EQ (equalization)
Or Equalizer. Software or hardware is used to adjust the relative frequencies and volume thereof in audio.
Excite
To stimulate and set into motion.
Extension
The usable limits of a component's frequency range should extend toward the limit of human hearing. More importantly how close it can come to the range of frequencies without distortion at either end of the audible spectrum.
Etched
Very crisp to an almost excessive degree due to a peak in the mid-treble region – may be deemed as a form of ‘coloration’
Euphonic
Pleasing to the ear. A kind of romantic sound. It has a connotation of exaggerating richness in the midrange rather than being neutral e.g., some quarters liken this to tube equipment especially the single-ended ones or certain moving coil cartridges – It may be welcome, nevertheless, it is deemed as a form of ‘coloration’. See also ‘Warm’.
Electrostatic driver
They feature an extremely thin diaphragm suspended between two electrified plates. They use static electricity to move the diaphragm, meaning there are no moving parts inside, therefore distortion-free but expensive and require special amplifiers and care of use.
F
Feedback
The signal energy is returned from the output of a device or system to its input.
Fidelity
The term implies faithfulness to the truth, fact, or exactness of reproduction detail. It describes the accuracy of a recording, component, or system designed to reproduce recordings with a high degree of faithfulness to the recording engineer's intent.
Frequency range
The range of human hearing is commonly given as frequencies between 20-20,000Hz. A measurement of how accurately a component reproduces audio frequencies is listed as a variance usually ±0.5 dB within a set range, which means the range will increase or decrease a signal within that range by up to 0.5 decibels. The ideal frequency response is flat (or closest to zero), meaning the output is identical to the input.
Front-end
The various components are considered the initial sources for sound reproduction. These are the turntable, phono-stage, compact disc players, tape decks, internet streamers, and tuners, and may also include the pre-amplifier.
Full-range loudspeaker
A type of loudspeaker that reproduces the `full’ (typically 30Hz to 20kHz) frequency range, using one or more drive units and a purpose build cabinet to achieve this.
Forgiving
A forgiving component or system will allow all manner of recordings (good or bad) to be 'listenable'. It will mask or compress distortions and excesses in a recording. This should not be confused with the ‘error of omission. The level of error here is less therefore less blended with the music. Most recordings will not exhibit dynamic contrast and details in a forgiving system. Sometimes a forgiving system is misconstrued by some quarters as being 'musical' - hence they say such a component/system has a sense of 'musicality'. A forgiving system may be ‘listenable’ nevertheless a transparent system should be favored instead because it is faithful to the recordings which should be the objective of audiophiles. See also ‘Musicality’.
Focus
A term used to describe the concentration of images within the soundstage (the apparent size of instruments or soloists). The focus of images should be clearly defined with sharp outlines of phantom images that are localized and precise. Images should be stable and not wander or waiver (ill-focused).
Forward
A characteristic of sound reproduction that places sound sources closer than they were recorded. Usually, the result of a peaked midrange, or a narrow horizontal dispersion pattern from the loudspeakers; is a front-row perspective that may be a form of ‘coloration’, opposite of laid back.
FLAC (Free Lossless Audio Codec)
An audio coding format for lossless compression of digital audio that supports metadata tagging, for the album and cover art. A better format for music streaming and downloads for hi-res audio.
Fullness
Or full - It refers to the number of low-frequency sounds and their balance concerning the middle and high-frequency sounds. Good bass should neither be too full nor too lean but have a distinct contrast that is recording-dependent.
G
Ground
A conducting path between an electrical circuit (component) and earth (Green conductor) ground.
Grainy
A moderate coarsening of tone in the midrange that is coarser than dry but finer than gritty. Will sometimes obscure detail when heard in spaces between instruments and notes.
Gritty
A harsh, coarse-grained texturing of reproduced sound.
Gain
The factor by which the audio signal is increased by an amplifier volume control. Normally expressed in dB, the signal is either increased or decreased by volts in and volts out.
Grill
The grill refers to the loudspeaker front covers located on the outside of the loudspeaker’s cabinet usually a cloth and a frame to protect the drivers and to look appealing. However, if they are not removed during playback, they will be detrimental to good sound, especially in the area of transparency. The sound may appear dark and the potential for good imaging may be lost.
Glare
Or glassy. An unpleasant combination of forwardness and hardness due to the excessive mid-treble energy.
H
Hz (Hertz)
The number of cycles per second. A measure of frequency, 1Hz = 1 cycle per second. Named after Heinrich Rudolf Hertz (1857-1894) who was the first to produce radio waves artificially.
Height
The third dimension of a soundstage describes vertical cues which make relevant instruments sound as if they are above or below the other performers. Although our ears can locate the height of sound sources in front of us, microphones and audio systems are not usually configured to handle absolute height information. Imaging of vertical information is unpredictable, but most properly set-up systems will produce enough vertical information so as not to seem detached from the generally lateral images.
Hi-Fi (High Fidelity)
This term was used to refer to an audio system (separate) other than composite audio components, radio, or television back in the day. Today this term refers to any consumer audio components.
High-End Audio
High-end audio refers to audio components or ancillary products used by audiophiles to facilitate high-resolution audio playback in their listening environment. That means recorded music is reproduced in a virtual fashion creating an illusion of the musicians within a soundstage. This phenomenon is fashioned by the mixing engineer and mastered with a tone and dynamic contrast as the artist intended. The products, relative to their price tag are purposefully designed and fashioned to maintain their resolve directly or indirectly from a given recording.
Hi-Res Audio (High-Resolution Audio)
Concerning digital audio, this refers to lossless audio formats that are capable of reproducing the full range of sound from recordings that have been mastered far better than CD quality music sources – i.e., the Red Book standard of 44.1KHz samples per second and in a bit depth range of 16 bits. Hi-res audio files usually use a sampling frequency of either 88.2kHz, 96kHz, 176.4kHz, or 192kHz at 20 or 24 bits.
High Frequency (HF)
They range approximately from 5Khz to 20Khz.
Hysteresis
The phenomenon in which the value of a physical property lags behind changes in the effect causing it, e.g., when magnetic induction lags behind the magnetizing force.
Harsh
Used to describe too much treble in the upper-mid to upper frequencies. An unpleasant quality that introduces the listener’s fatigue.
I
Inductance
a. An inductor is designed to introduce inductance into an electrical circuit behaving as though it were a resistor whose value varies with frequency.
b. An inherent property found in loudspeaker cables.
Inductor
An electronic component having an electrical specification measured in Henries or a fraction of Henries. Sometimes called a choke when used as an electrical filter with other electronic components found in power conditioners and loudspeaker crossovers.
Infrasonic
Below the range of audible frequencies. Although inaudible, the infrasonic range from 15-20Hz can be felt, if strongly reproduced.
Insulator
A jacket covering electrical cables.
Impedance
a. Refers to electrical resistance to the flow of current in an electrical circuit.
b. It is an electrical value measured in a given loudspeaker that dictates how much amplifier power may be required to get the maximum output from the driver. The higher the impedance of the loudspeaker or headphone, the more power is required, and less current will flow through it.
Immediate
Or immediacy or fast - Gives an impression of extremely rapid reaction time, which allows an audio system to 'keep up with the signal fed to it. It refers to the entire audio-frequency range such as a transient attack of a musical note instead of normally ascribing to the bass region.
Involving
It describes the degree to which an audio system or component draws the listener into the musical performance and evokes an emotional response of intimacy. The listener is close to the performance with the impression of being within the ambient sound field. It is like having the musicians perform live in front of you.
Intimacy
The acoustic quality is generated from wall reflections. This gives the illusion that the music is reverberating around you, rather than from a distance or a specific location. Nevertheless, the direction of the primary sound is still heard from the soundstage. Good intimacy can be obtained in a small room or when the sweet spot is located at a near-field listening position.
Imaging
Aka image specificity, imagery, image localization, dimensionality, holographic images, or image focus - all describe the illusion of specific phantom images of individual vocalists and instruments that are spatially separated from one another and their relative position well delineated. The ability to locate instruments on an imaginary soundstage. Poor image specificity would be images that are either diffused, wandering, or wavering. It also describes the focus of particular images that have a palpable presence, dimensions of scale, separation, and solidity. They are not flat and maintain a correct perspective of a size appropriate to the sound source. Good imaging provides a sensation that you could walk around and behind the performers on stage. Poor recordings, improper loudspeaker placements (not symmetrical with the sweet spot), out-of-phase connections, or poorly designed electronics would not allow your system to image well. A poorly designed loudspeaker that has no consideration for phase and time alignment and early wall reflections would also affect imaging.
Isolation
Refers to either mechanical or electrical isolation through expedient means. Separating signal and power cables from crosstalk or EMI or RF interferences. Separating audio components from the floor (ground) and each other by using damping, coupling, or decoupling techniques against airborne, or mechanical vibrations.
J
Jitter
Refers to a loss of data in a bitstream during playback in a digital device, thereby introducing noise. It may be caused by clock error or buffer issues with the digital interface which is why more data (higher samples and more bits) may help to minimize jitter.
K
Kilo Hertz (kHz)
1000 Hertz, one thousand cycles per second.
L
Low frequency
A bass note that describes any frequency lower than 160Hz.
Lower Bass
Describes low frequencies between 160Hz to 250Hz.
Lossless
In digital audio, there is no loss of any data compression and file quality is high. The file is restored to its original form after compression. Lossless data compression mainly supports RAW, BMP, PNG, WAV, FLAC, and ALAC file types.
Lossy
In digital audio, there is a loss of quality and data, which is not measurable. The file does not restore in its original form after compression. Lossy data compression mainly supports JPEG, GIF, MP3, MP4, MKV, and OGG file types.
Lean
Describes a sound that is somewhat deficient in body and warmth, due to a gradual progressive attenuation of frequencies below 500Hz.
Lumpy
Reproduced sound characterized by several audible response discontinuities through the range below about 1Khz. Certain frequency bands seem to predominate while others sound weak.
Laid-back
Recessed, distant-sounding, usually because of a broad response depression through the midrange. It usually has exaggerated depth and provides a back-row perspective.
Listener’s fatigue
This is a psychoacoustic phenomenon that happens when the listener gets tired and does not want to continue listening because intimacy with the reproduced sound is no longer pleasant. The discomfort if prolonged can induce headaches and tension. Overemphasis in the 1Khz to 4Khz frequency ranges is the cause of the listener’s fatigue.
Lush
A rich tone and usually with some warmth to the overall presentation.
M
Microphonic
Describes anything other than a microphone, which transforms vibration (mechanical) or sound waves into an audio signal (electrical). The frictional sound is caused by the movement or rubbing of the cable against itself or other objects. The term is usually applied to a vacuum tube, which `rings’ when tapped. Capacitors, cartridges, and shielded interconnects have microphonic tendencies.
Magnetic field
The area surrounding a magnet that is affected by it is usually only active by a foot or two around the magnet.
Medite
Or particleboard or medium-density fiber (MDF) board - A composition of wood-substitute materials made of fine wood chips, sawdust, and glue commonly used for loudspeaker cabinets. Medite is stiffer and denser than the common chipboard used in construction, its lack of grain makes it less resonant than hardwood or even plywood.
Musicality
Because music is psycho-acoustic, an emotional judgment is often used to describe the degree to which reproduced sound tries to resemble a live musical event. Musicality has often been misused to reference a system, which may not be transparent, but rather forgiving. See also ‘forgiving’.
Micro-dynamics
The subtlest elements of a musical note, include the delicate details of musical instruments and the final tail of reverberation decay. It’s all about nuance.
Mid-Bass
The low frequency ranges from 40 to 80Hz
Midrange
The range of frequencies between bass and treble is from 320Hz to 2.5KHz, the range where the human ear is the most sensitive and responsive.
MQA (Master Quality Authenticated)
A lossless codec of about one-third the size of FLAC formatting. It applies a digital fingerprint to guarantee a file was sourced from the original master recording. MQA files are backward compatible with FLAC decoders but require MQA decoders to unlock their full benefit.
Muddy
Or muddiness – Over-emphasis in the frequency range between 31Hz to 63Hz makes music sound muddy. An unclear presentation of the sound. The opposite of clean or clear.
N
Node or room mode
A node pertains to a standing wave - a point of minimum (null) or maximum (peak) amplitude (pressure). It’s a phenomenon where loudspeakers’ frequencies and parallel walls interact in that is proportional to the loudspeaker to the wall distance. The three most important nodes are the distance between the sidewall nearest the loudspeaker, the rear wall, and the side wall across from the loudspeaker.
Nasal
Reproduced sound has the quality of a person's voice whose quality is like one who speaks with their nose blocked. Like the vowel 'eh' coloration. Nasality is often due to a measured peak in the upper midrange followed by a complementary dip.
Noise Floor
a. It normally describes the lowest threshold of useful audio signals which is used as a reference point in establishing and evaluating signal-to-noise-ratios in audio components – the lower the better.
b. Spurious noise is normally inherent in audio components either generated by them or caused by external interference. Usually of a random or indeterminate pitch: hiss, crackle, ticks, pops, etc. See also ‘Spurious Signals’.
O
Ohm
Unit of measurement for electrical resistance or impedance.
Overhang
It is used to describe the tendency for reproduced sounds to last longer than they should. They are unlike reverberation or echo but are the problems of the loudspeaker woofers whose cones fail to stop immediately when the audio signal ends. Usually caused by inertia, the overhang is most noticeable at low frequencies where it obscures detail.
One-note-bass
The exaggeration of a single bass note, due to a sharp low-frequency peak is normally due to an underdamped woofer but is also caused by room resonance.
Open
Reproduction that gives the impression of having no upper-frequency limit. It exhibits qualities of delicacy, air, and fine detail.
P
Phase Alignment
In a dynamic loudspeaker design, the phase alignment (a.k.a. time alignment) of the individual drive units is an important aspect of good imaging. Therefore, the various elements of all drivers have been oriented in such a manner that the wavefront of each driver is equidistant to your ears. The various components in a loudspeaker system can deliver a unified acoustic wavefront to the listener. Unfortunately, phase alignment is said to be the most neglected aspect in a loudspeaker design.
Port
One or more holes (ports) are found on the cabinet of a loudspeaker that is designed to tune the bass characteristics of the loudspeaker. The ports may either be in the front baffle or behind the loudspeaker allowing the loudspeaker to `breathe’ and relieve the pressure created. It’s designed to allow for more bass which is why they are known as ‘ported design’ or ‘bass reflect’ loudspeakers.
Planar loudspeakers
Features a series of magnets on both sides of a very large, flexible diaphragm containing tiny, electrically charged wires. Planar loudspeakers are precise velocity devices. The image is well but has to be placed at least 3 feet off the nearest back wall and toed in to perform to its full potential.
Printed-circuit-board (PCB)
Or Circuit board is a pathway for electrical current to flow on an insulated board to which the traces of a printed circuit are attached. Normally copper traces. Electrical components are generally soldered onto the printed circuit board to both electrically connect and mechanically fasten them to it. Used in most electronic products. Double layer types (top and bottom) with thicker copper or silver traces and Teflon boards are desirable elements of a quality PCB board.
Perspective
a. May describe the soundstage that may appear near or distant.
b. May also describe the depth of images that is caused by layering from front to back
c. May also describe the relative size of each image or the whole ensemble i.e., Laid-back would be the back row, midway – the middle row, and forward - the front few rows.
Pace & Rhythm
These two attributes that work together provide an apparent tempo of a musical performance, which may be different from its actual beats-per-minute tempo. Phrasing in performance and speed in reproduction affect pace. Although it's psycho-acoustic it communicates the nuance in musical instruments. A system with poor pace & rhythm normally lacks speed, grace, and dynamics. It's uninvolving, anemic, and boring. The faster (timing) the apparent speed in one of two competing products, generally the more 'accurate' the faster one. See also ‘Dynamics’.
PCM (Pulse-Code Modulation)
The standard form of digital audio in computers and CDs. It is a method used to digitally represent sampled analog signals. A PCM stream has two properties that determine the stream’s fidelity to the original analog signal: the sampling rate, which is the number of times per second that samples are taken; and the bit depth, which determines the number of possible digital values that can be used to represent each sample.
Palpable Presence
A quality of realism and aliveness. This refers to the acoustic images that appear in spaces before the listener. The presence should be holographic with a sense of solidity. It suggests the relative positions and 'feel' of images whether from voice or instruments as if life. You should be able to feel that you could reach out and touch the instruments or singers. It involves the midrange area of the audio spectrum; approximately 1-4Khz, which contributes to the presence of reproduced sound. See also ‘Imaging’.
Passive
a. It describes the musicality factor of a component or system. A passive nature may be attributed to a perception that music is detached from the listener giving you the impression that you are outside a window looking in. The music somehow does not draw attention to itself.
b. The term may also apply to a circuit that is not electrically charged to operate such as a loudspeaker crossover, a subwoofer without a built-in amplifier, or a loudspeaker with an additional woofer without a voice-coil (Passive Radiator), etc.
Preamp (preamplifier)
The preamp acts as a switch, routing one or more signal sources to the amplifier. It manages noise and interference while boosting the signal and adjusting the voltage for the amplifier. Preamplifiers may feature tone controls and balance control with a remote controller.
R
Resolution
Or high-resolution - It encompasses more than just crystalline clarity, it showcases the texture of the sound. A system can resolve all the nuances within complex sounds of a recording unveiling them and hearing the musical equipment resonate are the attributes of a high-resolution system. It is characterized by a reduction in blurring of closely spaced transients (such as a rapid staccato guitar rift) or the degree of separation of individual violins in an orchestral passage are but some examples. It allows the listener to distinguish between and follow the melodic lines of individual voices in a chorus of violins in a string section or instruments comprising a large performing group. Resolution enhances the reproduction of the quiet intervals between sounds to hear the space and air around individual instruments. A high-resolution system will showcase the strengths of perceiving a certain 'magic' in a good recording and at the same time will be troubled by the faults of a bad one causing discomfort and may even provide listener's fatigue. See also ‘details’ and ‘transparent’.
Resonance
Or Resonance Frequency - The natural tendency of any mechanical or electrical device having mass and stiffness to vibrate (ringing) at some particular frequency. At its particular frequency, even a slight amount of energy whether mechanical or acoustical can cause the object to vibrate. The greater the mass the lower the resonant frequency. Energy may be transmitted either from structure to structure or applied to it through sound or a musical tone by reflection or by sympathetic vibration of other bodies. While this is the basis of musical instruments, it is undesirable in audio components. The object may continue to vibrate for a time even after its energy source is cut off. For example, a loudspeaker enclosure due to inadequate internal bracing or excessively flexible panels may suffer from a resonant and pressure-induced flapping motion of the cabinet.
Rack
A freestanding open framework with shelves usually made of metal, for stacking audio components.
Reticent
Moderately laid-back, distant-sounding, it describes the sound of a system whose frequency response is dished out through the midrange. The opposite of forward-sounding.
Rounding-off
The shearing-off of sharp attack transients is due to poor transient response or restricted high-frequency range.
Roll-off
Or roll-out. A progressive drop (gradual) in frequency response in either of the frequency extremes as the device approaches the limit of its ability to reproduce a frequency extreme. This is not like a 'cut-off' which implies an abrupt loss of level or below the frequency limit such as a subwoofer or a crossover control.
Reverb (reverberation)
A diminishing series of echoes spaced sufficiently closely in time that they merge into a smooth decay. This is usually an artifact of a large room but reverb can also be manufactured by an electronic device to provide a sense of spaciousness.
Resistance
The physical property of elements (resistor, voice coils) to resist the flow of electrons, and is measured in units of Ohms.
S
Spatiality
Or delicacy or delicate - The quality of spaciousness. It refers to the presentation of low-level information and its ability to hear subtle and faint musical details necessary for a sense of realism. The truncated decay of instrumental tones or extraneous noises such as the breathing of soloists or foot movements, and the pattering of the fingertip’s friction sounds produced when a guitar or a harp is played will enable the listener to approximate the size of the recording space. This outlines the performers when all spatial clues are manifested with clarity and precision.
Silky
Refers to the quality of treble performance. Also described as velvety, smooth, delicate, open, neither subdued nor mild, and not excessively hard, shrill, strident, or sharp.
Soundstage
The left-to-right and front-to-back localization of sound. The soundstage suggests an illusionary re-creation of a musical event. The area between, around, and behind loudspeakers where phantom images and the recordings of other acoustical artifacts are heard, as on a 'stage'. On appropriate recordings, there would be dimensions of width (lateral imaging) depth (depth of image), and height cues. Recreation is not a matter of actual dimensions but of musicians filling that space. With most systems, you will probably be limited to hearing only into the first few rows of the orchestra. The display of sound images should have specificity with a natural perspective of images individually and as a whole. The whole should take on a mid-hall perspective, not sounding forward or laid-back. Good sound staging is primarily a matter of correct loudspeaker placement concerning the room and the listening seat. It is also a matter of electronics designed to be level matched between channels including being phase and time coherent. The creation of a soundstage is a prerequisite to evaluating the tonal balance and dynamic qualities of an audio system. See also ‘Imaging’.
Spectrum
A broad range of frequencies - a wide bandwidth.
Spike
A sharp-tipped nail or bolt is used as feet under electronic components, equipment racks, loudspeaker stands, platforms, or loudspeakers to couple the component to the ground in the regard to loudspeakers or racks. In the case of other components, they may be coupled to the platforms they sit on. They are used to isolate the subject components whereby mitigating vibrations from the ground up. See also ‘Cones’.
Spurious signals
These are extraneous signals (alien) that have migrated into electronic components that were not present in the original signal such as a Ground Loop hum, Radio Frequency Interference (RFI), or Electro-Magnetic Interference (EMI).
Standing wave
The resonant condition by acoustic waves evolving from compression and rarefactions occurring simultaneously from opposite boundary surfaces, reinforcing waves from both directions. When sound waves bounce back and forth between the walls of a room or loudspeaker enclosure, they may add together and reinforce themselves. They may also subtract from each other and produce a sensation of increasing or decreasing volume by frequency. These standing waves usually occur at low frequencies, and can make a loudspeaker, or room sounds `boomy’.
Sub-bass
Or Deep Bass - The extremely low frequencies below 32Hz.
Sweet Spot
The single-only strategic position is where the listener sits to enjoy the full potential of an audio system. This focal point is located on the exact centerline between and in front of a pair of symmetrically positioned loudspeakers i.e., center seat, equidistant from both loudspeakers’ acoustic centers. This is an area where you will hear a wide soundstage, spatial imaging, and a natural tonal balance of an audio system as intended by the mixing engineer.
Strident
Unpleasantly shrill, piercing, steely. In music, one semitone up in pitch or an intentional error above the intended pitches. Normally refers to a hard upper midrange.
Subtle
Barely perceptible.
Sibilant
Or Sibilance - A coloration that exaggerates the vocal "s" sound, and also imparts a hissing quality of that sound like that of (sh) or (st). Over-emphasis of frequency ranges between 10Khz to 16Khz causes sibilance. They are usually unpleasant to the ear if they are too prevalent.
Sheen
A rich-sounding overlay of velvety or airiness. A quality of outstanding high-frequency smoothness and ease. Usually an inherent quality of ribbon tweeters.
Seamless
Having no audible discontinuities throughout the audible spectrum range. Able to integrate the bass, midrange, and highs providing a seamless tonal balance. See also ‘Tonal Balance’.
Synergy
The interaction of two or more audio components in an audio system, which, when combined produces an effect that is greater than the sum of their performance. For example the synergy between a DAC and a headphone amp, the pre and power amplifier, the amplifier and the loudspeakers, the cartridge and the tonearm, etc.
State-of-the-art
It refers to a product whose design is technically superior in its built quality (includes durability, safety, and aesthetics) using the best components available to enable high-resolution sound reproduction that showcases engineering excellence. This is normally the case for flagship products built with little or no compromise.
Speed
The ability of a device (amplifier, loudspeaker, etc.) to respond immediately to steep wavefronts and overall musical pace.
Smooth
It describes the quality of sound reproduction as having no irritating qualities; free from high-frequency peaks, no muddy bass or boom, and a relaxed midrange. It is not necessarily a positive outcome if all recordings have the same demeanor which in this instance may be described as a forgiving system.
Slow
Sound reproduction gives the impression that the system is lagging behind the electrical signals being fed to it.
Sample Rate
In digital audio, sample rates refer to how many samples of data were taken in a second.
Sensitivity
The amount of sound output is measured in decibels (dB). Sensitivity measures how loud a loudspeaker or headphone is at a set power level, typically 1 milliwatt. Sensitivity may also be represented as Efficiency or Sound Pressure Level (SPL).
Signature
The unique intrinsic sound quality of a component. Some audio products emphasize the treble ranges or midrange, while others the bass. This overall sound profile of audio equipment and its ancillaries helps audiophiles fine-tune the listening experience by pairing the relevant components for a balanced compromise. See also color.
Source
Aka front-end. The first device in the signal chain that spits out a signal. The turntable through a phono stage, A CD player through a DAC, or a Music Streamer through a DAC.
S/PDIF (Sony/Philips Digital Interface Format)
It is a data link layer protocol as well as a set of physical layer specifications for carrying digital audio signals between devices and components utilizing a 75-ohm coaxial cable (RCA connector) or a fiber optic cable (Toslink connector) to transmit the audio.
Signal-to-noise ratio
This suggests the difference between the noise floor and the signal. That means the quieter the noise floor can be in comparison to the signal the better.
T
Transient
The leading edge of a percussive sound may be described as a brief but sudden build-up of musical overtones (peaks) occurring at various loudness levels. The initial energy pulse will produce steep wavefronts in the air when an instrument is bowed, blown, struck, or plucked. A component must be able to reproduce the intense musical peaks quickly whilst holding the texture of the musical passage intact. The body of the instrument should not be missing or underscored like the smack of a tom-tom or drum head, the plucking of bass strings, the sizzle of a cymbal or triangle, the hammer of a piano string, etc. A rapid rise, sustain, and decay characterize the transient response. See also ‘Dynamics’.
Thin
The reproduced sound is deficient in the upper bass and or lower midrange. It has little body and no low-end content, resulting from progressive attenuation of the range below 500Hz. An example would be a snare drum that sounds lean and weak. Over-emphasis between the frequency range of 1khz to 2 kHz can make instruments sound thin.
Treble
The audio frequency above midrange 33 from 5KHz to 20KHz. In music, the highest-pitched voice, instrument, or melodic line. Good treble should neither be excessive (glassy) nor soft.
Texturing
A perceptible pattern or structure in reproduced sound, even if random. Texturing gives the impression that the energy continuum of reproduced sound is composed of discrete particles like grains on a photograph.
Tight
Or taut - describes bass reproduction that is under the tight control of the electrical signal. Free from the overhang and not slow.
Timing
The apparent instrumental ensemble (synchronism) of performance is affected by system speed. See also 'pace and rhythm'.
Transparency
Or Transparent or Neutral - It is said that the late J. Gordon Holt of ‘Stereophile’ first coined the term ‘transparent’ for use in evaluation. A component or a system is said to be neutral or transparent when it consistently appears passive in its ability to alter the sound. A transparent component would pass along information with little impact on the frequency balance of the signals passing through them. That means it would not add to the signal or mask any details in the primary signal. Although it's free from any sonic coloration its ‘garbage in garbage out’ character will expose inferior recordings or flawed components. See also ‘Resolution’.
Timbre
Aka tonality. The tone quality (color) of musical instruments has the right blend of body resonance. The inner detail that distinguishes says a trombone from a French horn, a viola from a violin, and a tenor sax from a bass clarinet. All instruments generate complex tones and numerous harmonics and are perceived as having different timbres. The number, kind, and relative amplitude of the overtones (harmonics) and fundamentals determine the tone color.
Tonal Balance
The seamless relationship between the relative loudness of the Bass, Midrange, and Treble frequencies. There must be an overall balance of all frequencies with no attenuation of any frequency or group of frequencies. The midrange should be rich and refined while the bass tight and full-bodied with good extension at lower octaves. The mid-bass to lower midrange and lower highs must be coherent without being strident or gritty. The highs should have a sheen, delicate with good extension, and not be aggressive or closed-in. Proper tonal balance is characterized by the correctness with which reproduced sound replicates the timbres of musical instruments.
Tweak
A term loosely used to describe innovative ideas and inventions either by way of expedient means or using aftermarket materials to improve sound reproduction when practically applied to an already good product. This term should not be confused with modification.
THD (Total Harmonic Distortion)
A measurement of the degree to which a piece of equipment distorts the signal.
U
Upper Bass
The range of audio frequency is from 80Hz - 160Hz.
Upper midrange
The range of audio frequency is from 500Hz - 2KHz.
Upper Treble
The range of audio frequency is from 10kHz - 20kHz.
V
Voltage
Measured in units of volts. It is an electromotive force or pressure that ‘pushes’ a large number of electrons.
Veiled
Lack of clarity due to noise or dark sound, opposite of transparency.
W
Warm
Although a little similar to dark, warm is less tilted to the dark side. A certain amount of warmth is inherent in live music where vocals are engaging.
Width
The apparent spread of a stereo image in the lateral plane (horizontal) i.e., left to right. Good recordings will provide the width of images within the soundstage.
Weight
The feeling of solidity is contributed by bass reproduction which gives music its foundation.
Wow and flutter
It describes small speed irregularities that can interfere with sound quality causing a slow warbling (wow) or quick pitch modulation (flutter). Wow, and flutter can also be heard as a general muddiness in sound reproduction.
X
XLR
A connector is commonly used in professional audio, typically with a 3-pin configuration used primarily in audio for balanced connections. With 3-pin plugs and sockets, one pin carries the in-phase signal, another the out-of-phase, and the third pin is the ground.