Glossary - Revision history

Meambobbo: /* Augmented */

2016-04-10T02:50:49Z

‎Augmented

Meambobbo at 05:43, 25 February 2016

2016-02-25T05:43:11Z

Show changes

Meambobbo at 03:06, 8 October 2015

2015-10-08T03:06:08Z

Meambobbo at 04:03, 7 July 2015

2015-07-07T04:03:39Z

Meambobbo: /* Overtone */

2015-02-12T22:53:00Z

‎Overtone

Meambobbo: /* Squishy */

2015-02-02T20:54:46Z

‎Squishy

Meambobbo: /* Minor Scale (Natural Minor) */

2015-02-02T20:10:48Z

‎Minor Scale (Natural Minor)

Meambobbo: /* Just Intonation */

2015-02-02T20:06:24Z

‎Just Intonation

Meambobbo: /* Saturation */

2015-02-02T20:03:58Z

‎Saturation

Meambobbo: /* Major Scale */

2015-02-02T19:58:57Z

‎Major Scale

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 ==== Augmented ====
-In reference to intervals, the augmented 4th or augmented 5th is one half-step higher or larger than the perfect 4th/5th.  For example, C-F is a perfect 4th, but C-F# is an augmented 4th.  A chord is considered augmented if it contains a major 3rd and augmented 5th above its root.  See [[1st and 2nd Strings - Intervals]] and [[Harmonic Minor and Augmented Chords]].
+In reference to intervals, the augmented 4th or augmented 5th is one half-step higher or larger than the perfect 4th/5th.  For example, C-F is a perfect 4th, but C-F{{s}} is an augmented 4th.  A chord is considered augmented if it contains a major 3rd and augmented 5th above its root.  See [[1st and 2nd Strings - Intervals]] and [[Harmonic Minor and Augmented Chords]].
 {{top}}

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 ==== Chunky ====
-Refers to the amount of low-end in the tone. I associate chunk with the ultra-low-end around 100 HZ and punch more around 240 HZ, but many people use the terms interchangeably. Depending on the genre of music and the target guitar tone, it may refer to slightly different things. For example, in heavy metal, chunk is often in reference to how much [[#Squishy|squishy]] low end a palm mute generated, whereas for genres that have only mild distortion on guitars, punch might refer low-end percussiveness on the attack of a note or chord.
+Refers to the amount of low-end in the tone. I associate chunk with the ultra-low-end around 100 Hz and punch more around 240 Hz, but many people use the terms interchangeably. Depending on the genre of music and the target guitar tone, it may refer to slightly different things. For example, in heavy metal, chunk is often in reference to how much [[#Squishy|squishy]] low end a palm mute generated, whereas for genres that have only mild distortion on guitars, punch might refer low-end percussiveness on the attack of a note or chord.
 ==== Clanking ====
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 ==== Cold ====
-This term incorporates multiple facets of the tone. In the most general sense, it is a tone that is somewhat discomforting to hear for long stretches at a time, although a full mix with a cold guitar tone isn't necessarily difficult to listen to. It can refer to a [[#Dry|dry tone]], or a scooped tone, but even if a tone has plenty of mids, it can still be considered cold. Generally a "cold" tone is deficient around 350 - 800 HZ.
+This term incorporates multiple facets of the tone. In the most general sense, it is a tone that is somewhat discomforting to hear for long stretches at a time, although a full mix with a cold guitar tone isn't necessarily difficult to listen to. It can refer to a [[#Dry|dry tone]], or a scooped tone, but even if a tone has plenty of mids, it can still be considered cold. Generally a "cold" tone is deficient around 350 - 800 Hz.
 It can also refer to a [[#Bright|bright tone]], as well as an overly [[#Crunchy|crunchy]] or a [[#Grinding|grinding]] tone. It can also refer to a tone that focuses intensely in one aspect of the frequency range.
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 ==== Fizz ====
-"Fizz" is high-frequency noise, taking its name from the sound you get after pouring a carbonated soda into a glass. It also sounds similar to saying, "shhh" or the background noise you hear while flying on an airplane. It becomes prominent from around 3kHZ and up. Fizz is not limited to modelers, appearing in many analog devices such as microphones.  It tends to effect high-gain tones more than others due to their extended emphasis on higher frequencies.
+"Fizz" is high-frequency noise, taking its name from the sound you get after pouring a carbonated soda into a glass. It also sounds similar to saying, "shhh" or the background noise you hear while flying on an airplane. It becomes prominent from around 3 kHz and up. Fizz is not limited to modelers, appearing in many analog devices such as microphones.  It tends to effect high-gain tones more than others due to their extended emphasis on higher frequencies.
 ==== Flat ====
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 ==== Fundamental ====
-Sound waves often have a fundamental frequency, which is the lowest frequency audible.  This relates to what musical note the sound corresponds to (ex. A - 110 HZ), with various configurations of [[#Overtone|overtones]] changing the timbre of the sound but not altering how the note is identified musically.  The fundamental is typically the loudest frequency; however, this is not always the case (it could purposefully reduced or completely removed by filtering).  Even where the fundamental is physically absent, it is often perceived due to the presence of overtones and their relationship to the fundamental.
+Sound waves often have a fundamental frequency, which is the lowest frequency audible.  This relates to what musical note the sound corresponds to (ex. A - 110 Hz), with various configurations of [[#Overtone|overtones]] changing the timbre of the sound but not altering how the note is identified musically.  The fundamental is typically the loudest frequency; however, this is not always the case (it could purposefully reduced or completely removed by filtering).  Even where the fundamental is physically absent, it is often perceived due to the presence of overtones and their relationship to the fundamental.
 ==== Fuzzy ====
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 ==== Hum ====
-Hum, (also known as ground hum), is a constant sound at a fixed frequency, typically 50, 60, or 120 HZ.  Its low-frequency, low-overtone nature sounds similar to the vocal technique of humming.  It is usually caused by a [[#Ground Loop|ground loop]] but may simply be an artifact of the amplifier's design, requiring transforming AC from its power mains.
+Hum, (also known as ground hum), is a constant sound at a fixed frequency, typically 50, 60, or 120 Hz.  Its low-frequency, low-overtone nature sounds similar to the vocal technique of humming.  It is usually caused by a [[#Ground Loop|ground loop]] but may simply be an artifact of the amplifier's design, requiring transforming AC from its power mains.
 ==== Ice Pick ====
-This refers to a tone that is so extremely bright, it hurts to listen to. It is said to be like driving an ice pick into your ears. It can be due to high amounts of high frequencies that are normally very low volume compared to other frequencies in guitars - such as anything over 5-8 kHZ. But it can also be due to a peak frequency lower than this (such as 3kHZ) that is simply extremely loud.
+This refers to a tone that is so extremely bright, it hurts to listen to. It is said to be like driving an ice pick into your ears. It can be due to high amounts of high frequencies that are normally very low volume compared to other frequencies in guitars - such as anything over 5-8 kHz. But it can also be due to a peak frequency lower than this (such as 3 kHz) that is simply extremely loud.
 ==== Impedance ====
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 A tuning system in which the relationship between different notes is represented by ratios of small whole numbers.  In other words, the intervals in just intonation are as consonant or harmonic as possible.  Because the pitches of these intervals will vary from key to key, an instrument can only feature just intonation in one key at a time.  The further away from the just intonated key on the circle of fifths one goes, the more dissonant the instrument will sound.
-For example, a M7 interval in just intonation is a 15:8 ratio of the two notes.  So the just intonation A-G interval where A is 110 HZ means G is 206.25 HZ.  The A-C minor third is 6:5, which means C is 132 HZ.  C-G should be a P5 interval, which is 3:2.  But 3:2 x 132 HZ is 198 HZ, not 206.25 HZ.
+For example, a M7 interval in just intonation is a 15:8 ratio of the two notes.  So the just intonation A-G interval where A is 110 Hz means G is 206.25 Hz.  The A-C minor third is 6:5, which means C is 132 Hz.  C-G should be a P5 interval, which is 3:2.  But 3:2 x 132 Hz is 198 Hz, not 206.25 Hz.
 ==== Key ====
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 ==== Warm ====
-Refers to a tone that is generally easy to listen to, with most frequencies in balance, and a healthy dose of "warm" frequencies from 350-800 HZ.  Likely to have some resonance or reverb or delay to add at least some ambience.
+Refers to a tone that is generally easy to listen to, with most frequencies in balance, and a healthy dose of "warm" frequencies from 350-800 Hz.  Likely to have some resonance or reverb or delay to add at least some ambience.
 See also: [[#Cold]].

← Older revision		Revision as of 04:03, 7 July 2015
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		+	{{Top-Level Crumbs\|9}}
	==== ADSR ====		==== ADSR ====
	Acronym for Attack, Decay, Sustain, and Release. Commonly grouped together in an envelope filter.		Acronym for Attack, Decay, Sustain, and Release. Commonly grouped together in an envelope filter.

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 ==== Overtone ====
-Overtones are frequencies that follow an integer multiple of the [[#Fundamental|fundamental frequency]] of a note.  Any periodic waveform can be broken down into the synthesis of infinite sinusoidal waves of various frequencies and amplitudes.  The balance of the fundamental frequency and overtones impacts timbre heavily rather than being perceived as numerous simultaneous pitches.
+Overtones are frequencies that follow an integer multiple of the [[#Fundamental|fundamental frequency]] of a note.  Any periodic waveform can be broken down into the synthesis of infinite sine waves of various frequencies and amplitudes.  The balance of the fundamental frequency and overtones impacts timbre heavily rather than being perceived as numerous simultaneous pitches.
 ==== Pan ====

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 ==== Squishy ====
 Refers to a heavily compressed/distorted tone.  A squishy tone has a weak/subtle attack and a long sustain - the opposite of a percussive sound.  This is particularly evident on palm mutes.  Two factors that contribute to a squishy tone are plenty of distortion and a mid-range focus to the signal being distorted.
 ==== Stereo ====

← Older revision		Revision as of 20:10, 2 February 2015
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	see also [[#Harmonic Minor Scale]] and [[#Melodic Minor Scale]]		see also [[#Harmonic Minor Scale]] and [[#Melodic Minor Scale]]
		+
		+	==== Modeler ====
		+	A device that emulates the response and timbre of one or more analog devices by use of digital signal processing (DSP). Typically used in the guitar community to replace amplifiers and guitar cabinets.

	==== Mono ====		==== Mono ====

← Older revision		Revision as of 20:06, 2 February 2015
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	For example, a M7 interval in just intonation is a 15:8 ratio of the two notes. So the just intonation A-G interval where A is 110 HZ means G is 206.25 HZ. The A-C minor third is 6:5, which means C is 132 HZ. C-G should be a P5 interval, which is 3:2. But 3:2 x 132 HZ is 198 HZ, not 206.25 HZ.		For example, a M7 interval in just intonation is a 15:8 ratio of the two notes. So the just intonation A-G interval where A is 110 HZ means G is 206.25 HZ. The A-C minor third is 6:5, which means C is 132 HZ. C-G should be a P5 interval, which is 3:2. But 3:2 x 132 HZ is 198 HZ, not 206.25 HZ.
		+
		+	==== Key ====
		+	Describes a [[#Scale\|scale]] as well as a [[#Tonic\|tonic note]]. This tells us the absolute pitches or notes we are likely to use, as well as the [[#Tonality\|tonality]].

	==== Leading Tone ====		==== Leading Tone ====

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 ==== Saturation ====
 See [[#Squishy]].
 ==== Signal ====

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 ==== Major Scale ====
 A heptatonic (7 note) scale that consists of a tonic note and the notes above tonic with the following intervals: M2, M3, P4, P5, M6, M7.  This creates the following whole/half pattern: w w h w w w h.  C Major has the following notes: C D E F G A B.  See [[Music Theory Basics]].
 ==== Melodic Minor Scale ====