Charts: Ed Iti On

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CHARTS
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A collection of music and audio production charts, references,

cheat sheets, templates and the occasional fun stuff.
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Title
Blank page of course.......... Info
www.synthdawg.com Charts Page 2
CONTENTS 3 DELAY TIMES 120-140 19
88 KEYBOARD 4 DELAY TIMES 140-160 20
49 KEYBOARD 5 DELAY TIMES 160-180 21
HARMONICS 6 DELAY TIMES 180-200 22
GENERAL FREQUENCIES 7 NOTE DURATION 23
VOCAL FREQUENCIES 8 MANCHESTER, UK 24
EQ FREQUENCIES 9 SYNTH TERMS 25
STUDIO TEMPLATE 10 FILTERS 26
BATTLESHIPS 11 WAVEFORMS 27
REVERB 12 ENVELOPES 28
REVERB 13 SAMPLE FORMATS 29
COMPRESSION 14 MIDI CONNECTIVITY 30
DELAY 15 CONNECTORS 31
DELAY TIMES 60-80 16
Title CONTENTS
Info Where the stuff is!
Page 3 Charts www.synthdawg.com

www.synthdawg.com
27.500
f/16
29.135
30.868
32.703
34.648
36.708
38.891
41.203
Charts
43.654
46.249
Octave 1
48.999
88 KEYBOARD
partial in the waveform
51.913
f/8
55.000
58.271
61.735
the Note pitch set by the lowest

65.406
Page
Fundamental in musical terms is
Fundamental Frequencies in Hz.
69.296
88 Key Keyboard Notes & Frequencies

73.416
77.782
82.407
87.307
92.499
Info
97.999
Octave 2
4
Title
103.83
f/4
110.00
116.54
123.47
130.81
138.59
146.83
155.56
164.81
Middle C
174.61
185.00
196.00
Octave 3
piano keyboard
207.65
f/2
220.00
233.08
246.94
261.63
277.18
293.67
311.13
329.63
Middle C or C4 at 261.625565Hz
349.23
is the nearest C to the middle of a

369.99
392.00
Octave 4
415.30
f
440.00
466.16
440Hz
493.88
523.25
554.37
587.33
622.25
659.26
698.46
739.99
783.99
Octave 5
830.61
880.00
fx2
932.33
987.77
1046.50
A440
1108.73
1174.66
1244.51
1318.51
1396.91
1479.98
1567.98
Octave 6
the Stuttgart Pitch
1661.22
1760.00
fx4
1864.66
1975.63
2093.00
2217.46
2349.32
2489.02
2637.02
above middle c. Sometimes called
The standard tuning reference on a
2793.83
piano. This is 440Hz, the first A note
2959.96
3135.96
Octave 7
3322.44
3520.00
fx8
3729.31
3951.07
4186.01
Title 49 KEYBOARD
Info 49 Key Keyboard Layout

AMPLITUDE
Fundamental Frequency
Harmonic
Harmonic
Harmonic
Harmonic
Harmonic
FREQUENCY
Different waveforms have different harmonic characteristics. Pure sine wave - Only contains a fundamental frequency with no harmonics while
noise carries full harmonic energy. Square waves have only odd harmonics
HARMONICS Title
Waveform Harmonic Theory Info
SUB BASS BASS UPPER BASS LOW MID MID UPPER MID HIGH ULTRA HIGH
20Hz - 60Hz 60Hz - 160Hz 160Hz - 300Hz 300Hz - 800Hz 800Hz - 2.5KHz 2.5KHz - 5KHz 5KHz - 10KHz 10KHz - 20KHz
VOCALS
BASS
VIOLIN
CELLO
GUITAR
SNARE
CYMBAL
KICK
TOMS
MARIMBA
ALTO SAX
PICCOLO
FLUTE
TUBA
TRUMPET
PIANO
20Hz 50 100 200 500 1K 2K 3K 5K 7K 10K 20K
Fundamental Freq’s Harmonic Freq’s

Title GENERAL FREQUENCIES
Info Overview of Instrument frequency ranges

MALE VOCALS De-ess around 3-7KHz
SIBILANCE
SIBILANCE
FEMALE VOCALS De-ess around 5-10KHz
LOW CUT. BOOST CUT CUT BOOST BOOST

Remove mic rumble and errant To thicken the Narrow Q cut between A subtle or small cut Add ‘presence’ Add ‘air’ to vocals
bass frequencies. Start a cut at vocal, if needed, 400-700Hz to remove around 1K can between 4-6K to cut with small hi-shelf or
70Hz and adjust depending on consider a boost ‘boxiness’ and 320-360Hz reduce vocalist through and a boost at around
character of vocal around 150-250Hz to remove ‘muddiness’ nasal tension ‘honk’ improve prominence the 8-10K area
SOPRANO
B3 - G6
ALTO
E3 - F5
TENOR
C3 - B4
BASS
D2 - E4
Octave 1 Octave 2 Octave 3 Octave 4 Octave 5 Octave 6 Octave 7 Octave 8 Octave 9
20Hz 50 100 200 500 1K 2K 3K 5K 7K 10K 20K
VOCAL FREQUENCIES Title

Vocal frequency characteristics Info
WARMTH CRUNCH PRESENCE AIR

WHACK
BOTTOM MUD BRILLIANCE
POWER HONK SIBILANCE

BOOM FATIGUE
Octave 1 Octave 2 Octave 3 Octave 4 Octave 5 Octave 6 Octave 7 Octave 8 Octave 9
20Hz 50 100 200 500 1K 2K 3K 5K 7K 10K 20K
SUB BASS BASS MIDS HIGH

High levels of energy, often a Typically an area which contains Low Mids can be overloaded with frequencies as many Sibilance occurs between 5-10K and letters such as
low cut removes some melodic and rhythmic elements. instruments cover this range and muddiness is a common S, T can stand out. De-essing can help. Typically a
‘unheard’ energy and helps The mix can be changed to be fat outcome. Honkyness can creep in around 500-1K and tinniness 1- high shelf can add air and presence to the mix
create headroom.Typically or thin by adjustments around this 2K. Cuts can help. Vocal frequencies appear in the high mid around 6K+. EQ’ing around 4-6K will affect the
frequencies would be cut in area. Muddiness occurs around range around normal words. 3K boost on vocals can help push definition and bring the sound closer or push them
this area to create clarity. 300Hz so a small cut can help through the mix. Ensure the balance between instruments and further back.
Emphasis for Sub Bass, Bass clarity of the mix. The mix can be vocals is correct.
and Kick Drums warmed up around 120Hz.
Golden Rule of EQ Mixing. Cut first and boost second. Cuts are used to correct, improve and manage the
mix definition and help correct problems. Boosting would normally change the overall sound. The general
arrangement should have the balance correct.
Title EQ FREQUENCIES
Info Overview of important EQ areas.

SONG TITLE STUDIO
SONG
NUMBER
ARTIST ENGINEER
ALBUM NAME DATE
Bit Depth 16 Bit 24 Bit Sample Rate 44.1K 48K 96K Tempo _______ BPM Track Time ________
1 2 3 4 5 6
7 8 9 10 11 12
13 14 15 16 17 18
19 20 21 22 23 24
Comments
STUDIO TEMPLATE Title

Studio Session 24 Tracking Sheet Log Info
A B C D E F G H I J K L
S 1
2 x Subs
Mark 1 Square
2
C C
3 x Cruisers
Mark 2 Squares
3
4 x Battleships
B B B 4
Mark 3 Squares
5
A A A A
1 x Aircraft Carrier
Mark 4 Squares
6
Rules
7
Fill In squares with the letters
representing the 10 ships based
8
on the size for each as stated.
Mark horizontal or vertical cells

9
Each participant holds their own
chart and takes it in turns to 10
target the opponents ships by
calling a Column and Row i.e.
C9 11
Winner is whoever destroys the
opponents ships first. 12
Title BATTLESHIPS
Why would we need a Battleship game in a music chart guide?
We all know that studio engineers get loads of downtime, right !!! Info Fun & Games

Why a design of an 80’s indie, electronic, punk loving lads room? Well, 1, it looks cool. 2, reverberation is
REVERB Title created from sound ricocheting and bouncing around a room, sound is absorbed in the furniture and some
My 1980’s Bedroom Info reflects from hard surfaces. Room size and shape are of course factors too. The combined original, delayed
Charts Page 12 and echoed sound produced is called the reverberation and can be simulated in modern audio production.
www.synthdawg.com
Traditionally Reverb was simulated using devices such as physical
springs and metal plates. Modern software reverbs can have filtering,
feedback, dry / wet control and more built in. Convolution reverb even
uses real recordings of space characteristics to be applied in software
to simulate a real room and environment.
Initial Original Signal

The original and initial signal emitted which will
be heard. This will also ricochet, bounce and be
absorbed by the walls and contents of the room
Room Size: The size of the room to emulate is

a typical parameter / setting. Often this can 50-80ms
also be in the form of the algorithm description
for example Hall, Small Room, Cathedral etc.
Parameters
Option Option Mix

Input Reverb Output
Input Filter Output Filter
Dry / Wet
Decay
Early Reflections
It takes time to hear the sound once emitted. Reverb Tail
Depending on the listener and position from the emitter.
Psychologically you will develop a sense of room size The reflections will dissipate over time and reduce in
from the early reflections. In Audio production 80- level. The room size will also determine the length of
100ms is a typical range of delay. the tail. This is an area in audio product that needs
careful attention as this can muddy a mix or tails can
be cut accidentally and not give the full realistic effect.
Pre-delay: Time, usually in mS from the initial sound to
the first early reflections.
Subsequent Reflections Decay Time: This is the time in seconds for the sound
Diffusion: Distance between each of the early to fully dissipate.
reflections waves. Closer together thickens the sound. As the sound reflects and is absorbed then more
reflections will occur. Given the amount of waves and
short time period these echos give the sense of space
and confinement or emptiness
Damping: Represents a softer environment and more

sound absorption.
Title REVERB
Info Reverb Overview & Typical Parameters

Think of a compressor like an automatic volume control. It can be used as a mixing
and mastering tool to level or control audio dynamics and also as a creative effect for
example to give a pumping rhythm when used with a sidechain trigger.
1:1
Gain
Threshold
Reduction 2:1
Threshold 4:1
Output (dB)
Signal is attenuated when
crossing the threshold. 8:1
Dynamic
Make Up Range
Gain ∞ Limiting
Audio over Time Input (dB)
MAKE UP GAIN: Allows the level to be increased to compensate for the gain reduction in the Gain reduction will be based on the RATIO setting and the
compressor. This is typically set back to the same level as the gain reduction but the overall amount of level that exceeds the THRESHOLD.
average will now be perceived louder as the peaks have been reduced giving more headroom.
Gain Reduction is made using a Ratio. Ratio attenuates signal
Sidechain compression uses a separate / external input to trigger the compressor. This can be above threshold by an amount based on the ratio setting.
used for example to ‘duck’ - dip the level, of a bass track by using a kick drum as the sidechain
source. This can provide a pumping effect or simply be a tool to create harmonic space in a mix 2:1 ratio (gentle) attenuates the signal to 1dB above the threshold
to site various instruments together. for 2dB that exceeds the threshold. With a 4:1 ratio (medium) , if
the signal exceeds by 8dB then reduction will be down to 2dB
Some compressors have an envelope to control the speed at which the compression kicks in and above threshold. 20:1 ratio (strong) would be considered limiting
out. This is more likely to be a AR envelope
A Soft or Hard Knee can govern how aggressive the

compression affects the audio at the point of the threshold.
COMPRESSION Title
Overview of a Compressor Info
A delay is a common production effect used to delay an incoming signal to the output. While this is a simple principle there are many effects that use
delay as a foundation. Some examples are echo (creating defined repeats) and chorus (short delay taps to give a thicker rather than echo style feel)
as well as delay types such as ping-pong delay spreading the delay points across the stereo field left to right and slap-back delay emulating old tape
delays which are used successfully to thicken vocals.
Slap-back Delay Technique:

To thicken vocals or on a lead guitar.
Delay Time
Time delay between input and output.
1. Create a second vocal or guitar track
2. Set a delay with short delay time on the right channel (say
100ms).
Input Delay Line Output 3. Set a slightly different delay on the left (say 130ms) to that of
the right channel. Don't use increments of each other i.e. 64ms
and 128ms as this isn't a slap-back and will be on the beat.
4. Use a high level of wet mix.
Connecting the output to the input creates feedback
and increases the delays 5. Try a high pass and low pass filter to create the right tone on
the delayed signal.
6. Use the delay track as a secondary track to the main dry vocal.
7. Iterate and experiment with delay times and mix accordingly.
Being a time based effect the delay time should be synchronised with the track. Some delays will allow this to be automatically synchronised with the
tempo. Manual delay times however can be set up to align to the feel and sound desired.
Title DELAY
Info Overview of a Delay Module

Whole ½ Dotted 1/2 ¼ Dotted ½ Triplet 1/4 ⅛ Dotted ¼ Triplet 1/8 ⅛ Triplet 1/16 1/16
Note Triplet
60 4000 3000 2000 1500 1333 1000 750 666 500 333 250 166
61 3934 2951 1967 1475 1311 984 738 655 492 328 246 163
62 3871 2903 1935 1452 1290 968 726 645 484 322 242 161
63 3810 2857 1905 1429 1270 952 714 634 476 317 238 158
64 3750 2813 1875 1406 1250 938 703 624 469 312 234 156
65 3692 2769 1846 1385 1230 923 692 615 462 307 231 153
66 3636 2727 1818 1364 1212 909 682 605 455 303 227 151
67 3582 2687 1791 1343 1194 896 672 596 448 298 224 149
68 3529 2647 1765 1324 1176 882 662 588 441 294 221 146
69 3478 2609 1739 1304 1159 870 652 579 435 290 217 144
70 3429 2571 1714 1286 1143 857 643 571 429 285 214 142
71 3380 2535 1690 1268 1126 845 634 563 423 281 211 140
72 3333 2500 1667 1250 1111 833 625 555 417 278 208 138
73 3288 2466 1644 1233 1096 822 616 547 411 274 205 136
74 3243 2432 1622 1216 1081 811 608 540 405 270 203 135
75 3200 2400 1600 1200 1066 800 600 533 400 266 200 133
76 3158 2368 1579 1184 1052 789 592 526 395 263 197 131
77 3117 2338 1558 1169 1039 779 584 519 390 259 195 129
78 3077 2308 1538 1154 1025 769 577 512 385 256 192 128
79 3038 2278 1519 1139 1012 759 570 506 380 253 190 126
80 3000 2250 1500 1125 1000 750 563 500 375 250 188 125
Delay times shown in milliseconds

DELAY TIMES 60-80 Title
Delay times used to sync to tempo BPM Info
Note Triplet
80 3000 2250 1500 1125 1000 750 563 500 375 250 188 125
81 2963 2222 1481 1111 987 741 556 493 370 247 185 123
82 2927 2195 1463 1098 975 732 549 487 366 244 183 121
83 2892 2169 1446 1084 964 723 542 481 361 241 181 120
84 2857 2143 1429 1071 952 714 536 476 357 238 179 119
85 2824 2118 1412 1059 941 706 529 470 353 235 176 117
86 2791 2093 1395 1047 930 698 523 465 349 232 174 116
87 2759 2069 1379 1034 919 690 517 459 345 230 172 114
88 2727 2045 1364 1023 909 682 511 454 341 227 170 113
89 2697 2022 1348 1011 899 674 506 449 337 224 169 112
90 2667 2000 1333 1000 889 667 500 444 333 222 167 111
91 2637 1978 1319 989 879 659 495 439 330 220 165 109
92 2609 1957 1304 978 869 652 489 434 326 217 163 108
93 2581 1935 1290 968 860 645 484 430 323 215 161 107
94 2553 1915 1277 957 851 638 479 425 319 213 160 106
95 2526 1895 1263 947 842 632 474 421 316 210 158 105
96 2500 1875 1250 938 833 625 469 416 313 208 156 104
97 2474 1856 1237 928 825 619 464 412 309 206 155 103
98 2449 1837 1224 918 816 612 459 408 306 204 153 102
99 2424 1818 1212 909 808 606 455 404 303 202 152 101
100 2400 1800 1200 900 800 600 450 400 300 200 150 100
Delay times shown in milliseconds Title DELAY TIMES 80-100

Info Delay times used to sync to tempo BPM

Note Triplet
100 2400 1800 1200 900 800 600 450 400 300 200 150 100
101 2376 1782 1188 891 792 594 446 396 297 198 149 99
102 2353 1765 1176 882 784 588 441 392 294 196 147 98
103 2330 1748 1165 874 777 583 437 388 291 194 146 97
104 2308 1731 1154 865 769 577 433 384 288 192 144 96
105 2286 1714 1143 857 762 571 429 381 286 190 143 95
106 2264 1698 1132 849 755 566 425 377 283 188 142 94
107 2243 1682 1121 841 747 561 421 373 280 187 140 93
108 2222 1667 1111 833 741 556 417 370 278 185 139 92
109 2202 1651 1101 826 734 550 413 367 275 183 138 91
110 2182 1636 1091 818 727 545 409 363 273 182 136 91
111 2162 1622 1081 811 721 541 405 360 270 180 135 90
112 2143 1607 1071 804 714 536 402 357 268 178 134 89
113 2124 1593 1062 796 708 531 398 354 265 177 133 88
114 2105 1579 1053 789 702 526 395 351 263 175 132 87
115 2087 1565 1043 783 695 522 391 347 261 174 130 87
116 2069 1552 1034 776 689 517 388 344 259 172 129 86
117 2051 1538 1026 769 684 513 385 342 256 171 128 85
118 2034 1525 1017 763 678 508 381 339 254 169 127 84
119 2017 1513 1008 756 672 504 378 336 252 168 126 84
120 2000 1500 1000 750 667 500 375 333 250 167 125 83

Note Triplet
120 2000 1500 1000 750 667 500 375 333 250 167 125 83
121 1983 1488 992 744 661 496 372 330 248 165 124 82
122 1967 1475 984 738 656 492 369 328 246 164 123 82
123 1951 1463 976 732 650 488 366 325 244 162 122 81
124 1935 1452 968 726 645 484 363 322 242 161 121 80
125 1920 1440 960 720 640 480 360 320 240 160 120 80
126 1905 1429 952 714 635 476 357 317 238 159 119 79
127 1890 1417 945 709 630 472 354 315 236 157 118 78
128 1875 1406 938 703 625 469 352 312 234 156 117 78
129 1860 1395 930 698 620 465 349 310 233 155 116 77
130 1846 1385 923 692 615 462 346 307 231 154 115 77
131 1832 1374 916 687 611 458 344 305 229 153 115 76
132 1818 1364 909 682 606 455 341 303 227 151 114 75
133 1805 1353 902 677 601 451 338 300 226 150 113 75
134 1791 1343 896 672 597 448 336 298 224 149 112 74
135 1778 1333 889 667 592 444 333 296 222 148 111 74
136 1765 1324 882 662 588 441 331 294 221 147 110 73
137 1752 1314 876 657 584 438 328 292 219 146 109 73
138 1739 1304 870 652 580 435 326 290 217 145 109 72
139 1727 1295 863 647 575 432 324 287 216 144 108 72
140 1714 1286 857 643 571 429 321 285 214 143 107 71


Note Triplet
140 1714 1286 857 643 571 429 321 285 214 143 107 71
141 1702 1277 851 638 567 426 319 283 213 142 106 71
142 1690 1268 845 634 563 423 317 281 211 141 106 70
143 1678 1259 839 629 559 420 315 279 210 140 105 70
144 1667 1250 833 625 555 417 313 278 208 139 104 69
145 1655 1241 828 621 552 414 310 276 207 138 103 69
146 1644 1233 822 616 548 411 308 274 205 137 103 68
147 1633 1224 816 612 544 408 306 272 204 136 102 68
148 1622 1216 811 608 540 405 304 270 203 135 101 67
149 1611 1208 805 604 537 403 302 268 201 134 101 67
150 1600 1200 800 600 533 400 300 266 200 133 100 66
151 1589 1192 795 596 530 397 298 265 199 132 99 66
152 1579 1184 789 592 526 395 296 263 197 131 99 66
153 1569 1176 784 588 523 392 294 261 196 131 98 65
154 1558 1169 779 584 519 390 292 259 195 130 97 65
155 1548 1161 774 581 516 387 290 258 194 129 97 64
156 1538 1154 769 577 513 385 288 256 192 128 96 64
157 1529 1146 764 573 509 382 287 255 191 127 96 63
158 1519 1139 759 570 506 380 285 253 190 126 95 63
159 1509 1132 755 566 503 377 283 251 189 126 94 63
160 1500 1125 750 563 500 375 281 250 188 125 94 62

Note Triplet
160 1500 1125 750 563 500 375 281 250 188 125 94 62
161 1491 1118 745 559 497 373 280 248 186 124 93 62
162 1481 1111 741 556 494 370 278 247 185 123 93 61
163 1472 1104 736 552 491 368 276 245 184 123 92 61
164 1463 1098 732 549 488 366 274 244 183 122 91 61
165 1455 1091 727 545 485 364 273 242 182 121 91 60
166 1446 1084 723 542 482 361 271 241 181 120 90 60
167 1437 1078 719 539 479 359 269 239 180 120 90 60
168 1429 1071 714 536 476 357 268 238 179 119 89 59
169 1420 1065 710 533 473 355 266 236 178 118 89 59
170 1412 1059 706 529 470 353 265 235 176 118 88 59
171 1404 1053 702 526 468 351 263 234 175 117 88 58
172 1395 1047 698 523 465 349 262 232 174 116 87 58
173 1387 1040 694 520 462 347 260 231 173 115 87 58
174 1379 1034 690 517 460 345 259 230 172 115 86 57
175 1371 1029 686 514 457 343 257 228 171 114 86 57
176 1364 1023 682 511 454 341 256 227 170 114 85 57
177 1356 1017 678 508 452 339 254 226 169 113 85 56
178 1348 1011 674 506 449 337 253 224 169 112 84 56
179 1341 1006 670 503 447 335 251 223 168 112 84 56
180 1333 1000 667 500 444 333 250 222 167 111 83 55


Note Triplet
180 1333 1000 667 500 444 333 250 222 167 111 83 55
181 1326 994 663 497 442 331 249 221 166 110 83 55
182 1319 989 659 495 439 330 247 220 165 110 82 55
183 1311 984 656 492 437 328 246 218 164 109 82 54
184 1304 978 652 489 435 326 245 217 163 109 82 54
185 1297 973 649 486 432 324 243 216 162 108 81 54
186 1290 968 645 484 430 323 242 215 161 107 81 54
187 1283 963 642 481 428 321 241 214 160 107 80 53
188 1277 957 638 479 425 319 239 213 160 106 80 53
189 1270 952 635 476 423 317 238 211 159 106 79 53
190 1263 947 632 474 421 316 237 210 158 105 79 52
191 1257 942 628 471 419 314 236 209 157 105 79 52
192 1250 938 625 469 417 313 234 208 156 104 78 52
193 1244 933 622 466 414 311 233 207 155 104 78 52
194 1237 928 619 464 412 309 232 206 155 103 77 51
195 1231 923 615 462 410 308 231 205 154 102 77 51
196 1224 918 612 459 408 306 230 204 153 102 77 51
197 1218 914 609 457 406 305 228 203 152 101 76 51
198 1212 909 606 455 404 303 227 202 152 101 76 50
199 1206 905 603 452 402 302 226 201 151 100 75 50
200 1200 900 600 450 400 300 225 200 150 100 75 50

NOTE & REST VALUES NOTE DURATIONS DURATION OVER 1 BAR
Beat 1 Beat 2 Beat 3 Beat 4
Whole
Note
=
1/2
=
1/4
=
1/8
=
1/16
Dotted Note Value: Indicated by a dot after the note increases its duration
by 50% of its original duration. An eight would be
Triplets: Triplets play 3 notes across the duration of the original value. So
an eighth note triplet will play 3 notes across its normal 2 note duration.
Title NOTE DURATION

Info Overview of Note Theory

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Former home of Factory
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Q. What does a map of Manchester’s First Street Area have to do with Musical charts?
MANCHESTER, UK Title
A. Nothing. But its good to see where the Hacienda used to be! Its now apartments by the way.
First Street Info
ADDITIVE SYNTHESIS: A synthesizer which develops sounds sound. Typically used to ‘carve’ out frequencies and shape the called noise. White noise contains all frequency harmonics and
by adding and manipulating sine waves. sound. has a wind like sound.
ADSR: Attack, Decay, Sustain, Release describe the 4 FILTER CUT OFF: The frequency at which a filter starts to OCTAVE: Whilst an Octave refers to the range of notes across
elements of an envelope. attenuate the sound. a range, in synth terms octave would normally refer to the
range associated with the oscillators.
AMP: Amplification circuit. Controls the volume level, amplitude FILTER RESONANCE: Resonance is when the sound is
of the sound. Also sometimes VCA - Voltage controlled changed due to enhanced frequencies at the cutoff point on a OSCILLATOR: An electronic device that generates a waveform
Amplifiers are seen in analogue synths. filter. and is the initial source for the initial synth sound. VCO -
Voltage controlled oscillators were the fundamental.
ANALOGUE: The older classic synths were developed using JUNK: Term normally preceded with ‘Pile of..’ or ‘Heap of..’.
electronic components and driven by voltage settings. These Used by producers during periods of creative block or midi POLYPHONIC: A Synth that can produce multiple notes
gave the synth a unique sound and character through the sync problems to blame the poor old synth for all the ills of the simultaneously. Normally this is dependant on the number of
natural variation of components. studio. voices available (for each note).
ARPEGGIATOR: A function which automates a sequence of KEY TRACKING: The ability to set how the linear notes on a PORTAMENTO: A function that glides between two notes
notes played in an arpeggio style. Typically this could include a keyboard affect a parameter. Typically the higher a key is rather than making a step change.
series of notes from a chord in an up / down/ up-down / played the more its affects a parameter such as cut off freq.
random format. RE-TRIGGER: Refers to the term used to describe how a
LEGATO: A function which allows one key note to be retained waveform, note, envelope, LFO etc is started / re-started. If a
CLOCK: An internal feature or external device which governs while another is being played allowing overlapping notes. note is played re-trigger will explain if it restarts from the
or manages the timing of the synth functions and synchronises beginning or an alternative state.
with externally connected devices. LFO: Low Frequency Oscillator - A waveform which operates
slower that the frequency normally within the audible range RING MODULATION: A function that takes the sound of two
CV: Control Voltage is a technology which allows synths to (typically less than 20Hz) and used to modulate other oscillators and multiplies them together to create unique
communicate control signals, typically pitch and an associated parameters i.e. Cut-off frequency, creatively sounds.
GATE controls note on/off. Standards are either Volts/Octave
as used in Moog and Roland synths and Hertz/Volt used by MIDI: Musical Instrument Digital Interface is a connectivity SEQUENCER: A feature in some synths that allows note
manufactures such as Korg and Yamaha. standard used often in synth technology old and new. MIDI sequences to be recorded step by step and then replayed
enables devices to communicate together for example for a automatically.
DIGITAL: In modern electronics synths can be digitally driven separate keyboard to control a modular synth.
meaning software algorithms control sound and parameters. SUBTRACTIVE SYNTHESIS: A synthesizer which develops
This can emulate Analogue characteristics or create unique MIXER: Although the mixer can refer to the audio output sounds by carving out (filtering) frequencies to shape the
digital sounds. missing, In synth terms a mixer would typically combine sound
together a number of oscillators to develop sound structures.
ENVELOPE: A control function which affects a parameter or VELOCITY: Synths usually respond to the sensitivity and how
sound over a period of time. For example to create a fade in MOD WHEEL: A physical device on a midi controller or synth hard the keyboard is played.
that modulates parameters to form expression.
FM SYNTHESIS: Frequency Modulation synthesizers operate EFFECTS: Some synths contain a number of effects that are
by modulating a waveform (carrier) by another frequency wave MONOPHONIC: A synth that produces only one note at a time, used on the synthesised sound. Typical effects found in synths
(modulator) typically used for bass synths. include Delay, Chorus, Distortion and some contain EQ and
Reverb features. These are normally provided at the AMP or
FILTER: A device that controls the frequency of the generated NOISE: Some synths generate a sound (like an oscillator) Output stage.
Title SYNTH TERMS

Info Synthesizer Terminology

ATTENUATION
ATTENUATION
ATTENUATION
ATTENUATION
FREQUENCY FREQUENCY FREQUENCY FREQUENCY
HIGH PASS FILTER LOW PASS FILTER BAND PASS FILTER NOTCH FILTER
STOP TRANSITION PASS

BAND BAND BAND
Resonance
ATTENUATION
ATTENUATION
Cut Off Frequency 4 Pole 24dB/ 2 Pole 12dB/
Octave Octave
FREQUENCY FREQUENCY
HIGH PASS FILTER LOW PASS FILTER
FILTERS Title
Overview of Filter curves and terms Info
0 deg 180 deg 360 deg
AMPLITUDE
AMPLITUDE
AMPLITUDE
TIME TIME
SINE WAVE SQUARE WAVE

Pure Tone, No Harmonics, Whistle, Sub Hollow, Odd Harmonics, Clarinet and
Bass. Wind instruments. 1 cycle
TIME
PHASE AND FREQUENCY

AMPLITUDE
AMPLITUDE
Frequency can be shifted for the Sine wave to affect the
sound and tone. With square waves, the pulse width is often
modulated to affect the sound and generate pulse waves.
Frequency is the number of cycles per second, indicated as
TIME TIME
Hertz (Hz).
TRIANGLE WAVE SAMPLE & HOLD WAVE
Silky and Smooth, Few Harmonics, Wind Stutter, Glitchy, Variable, Unpredictable,
instruments, Wood, Mellow. mix of waves and harmonics.
NOISE
Noise basically contains ALL frequencies. White Noise has a
constant energy level across the frequency range. This
AMPLITUDE
AMPLITUDE
sounds high pitched and wind like. Pink noise has equal
energy for every octave and sounds deeper and more bass
orientated
TIME TIME
SAW TOOTH WAVE PULSE WAVE

Highly harmonic, church organ and Hollow, Odd Harmonics, Nasal, chorus
flutes, brass instruments. like when modulated.
Title WAVEFORMS
Info Common Waveform Characteristics

Key ON Key OFF
AMPLITUDE
AMPLITUDE
AMPLITUDE
TIME TIME
NO ENVELOPE: ON / OFF NATURAL ENVELOPE

Signal fully on or fully off. Piano has a natural short attack with
ATTACK DECAY SUSTAIN RELEASE a natural release (after the hammer
(time) (time) (level) (time) hits the strings)
TIME
AMPLITUDE
AMPLITUDE
ADSR ENVELOPE
ATTACK: Time from pressing a key or triggering the envelope

for the signal to reach its maximum level. Long attack times
will give a slow, evolving ramp up sound while a short time TIME TIME
will give an immediate full on sound. Often a small attack
time will negate any filter / oscillator / sample start ‘clicks’ AR ENVELOPE ASR ENVELOPE
Attack and Release time only. Attack, Sustain, Release (No Decay)
DECAY: The time based evolution of the sound after reaching
its maximum level to reach the sustain level when the key
press is maintained.
AMPLITUDE
SUSTAIN: Sets the level that the sound will remain while the
key is retained after the decay time is exceeded.
RELEASE: The time from releasing the keyboard key for the
sound to fall from the sustain level to reach zero level. Gives
a fade out effect. TIME TIME (Days)
CUSTOM ENVELOPE ENVELOPE

Some synths such as NI Massive In the old days, before email, SMS
allow custom envelopes to be messaging and social media
ENVELOPES Title created streams. Hand written letters were
Envelope functions and parameters Info posted in a paper envelope
Error SAMPLING RATE
Sample rate, measured in samples per second, indicates the
number of times the analogue signal is sampled and hence
AMPLITUDE
Hi Sampling Rate
converted to a digital replication. The higher the sampling rate the
less error in the A to D conversion
Low Sampling Rate
44.1KHz This means the audio is sampled 44,100 times per second.
44.1KHz, 16 bit is a standard format used for Audio CD production.
This is the most common sampling rate used.
Other sample rates include 48K which is a standard used in audio

TIME
for video production.
Sample rates of 88.2K, 96K, 192K are also used. While higher
sample rates are technically carry less error other complications
such as standardised equipment, data storage etc.
Bit Depth Sample Rate Bit Rate 3 Min Song Nyquist theory states that sampling rate should be twice that of the
signal to be reproduced. As human hearing is limited to around
20KHz then a sample rate of 44.1KHz would suggest this is an
acceptable sampling rate for audio production.
16 41,100 1.35 Mbit/Sec 30.3MB
So if Sample rate is the number of samples per second of the audio
converted, bit depth refers to the resolution of each sample. 16 Bit
16 48,000 1.46 Mbit/Sec 33MB offers 65,536 maximum values while 24 bit offer 16,777,216 values.
Dither is a process in digital production used as the very last step in

16 bit production. This introduces noise into the final processing to
24 96,000 4.39 Mbit/Sec 99MB compensate for errors through a A to D process.
Title SAMPLE FORMATS

Info Sample and Bit Rates

MIDI is a musical communications protocol, in full named Musical Instrument Continue Controller / Control Change (CC): Used for communicating variable
Digital Interface. The format became popular as standards started to emerge data where the controller number, relevant to a function is accompanied with
in the early 80’s. Today MIDI is still a commonly used format although the its value. Practical examples include volume level, pan position. Also NPRN
connectivity has developed to encompass USB and Jack connectors used in control values may be found on some devices. There is little difference
compact devices and in some cases has led to a variety of compatibility between CC and NRPN and is used by some manufacturers to extend
issues. Each MIDI Port has 16 channels which can be selected normally on functionality beyond the CC MIDI standards. NRPN may not be compatible
the device of communication o all channels (omni). with some devices.
MIDI Note: The MIDI Note OFF and Note ON messages indicate the sending Program Change (PC): This sends a signal to trigger a program change.
of note data. This would normally be accompanied by MIDI Note value. In Typically this can change patches on a connected device..
practical terms this would be used to recognise keyboard notes being played
with the start and end duration.
Male 5 Pin MIDI DIN TRS MIDI A & B & TS C

looking into plug
The 5 Pin DIN connector is the most More and more devices used mini
common and traditional. 3 Pins are Jack for MIDI which can be connected
used for the MIDI protocol. directly to compatible devices or via a
Pin 1 Pin 3 MIDI DIN dongle. There are three
main types of MIDI TRS, Type A,B and
Pin 4 Pin 5 TS Type C.
Pin 2
Pin Function Pin TRS Type A (MIDI 2.0) TRS Type B TR Type C
1 No Connection Tip Sink (5) Source (4) Source (4)
2 Shield. Ring Source (4) Sink (5) -
3 No Connection Sleeve Shield (2) Shield (2) Sink (5)

Current source. 5 volts positive ‘hot’
4 Korg, Make Noise, Akai, IK Arturia std (inc Beatstep
from device. Multimedia, Critter & Guitari Pro), Novation, 1010Music,
Current sink. Control ‘grnd’ switch Organelle M, Elektron Novation Launchpad & Expert Sleepers, MFB,
5
from MIDI. Model Samples (config), TE Circuit, Elektron Model Arturia Beatstep V1,
OP-Z & Pocket Mod, Samples (config), Faderfox
Empress Effects Zoia. EC4, Polyend Poly2,
MIDI DIN Pins in ()
MIDI CONNECTIVITY Title

Basic Overview of MIDI Info
TRS ¼ inch (6.35mm) Jack TS ¼ inch (6.35mm) Jack Stereo Mini ⅛ inch (3.5mm) Jack Mono Mini (3.5mm) Jack
Tip - Ring - Sleeve connector (3 wire) typically Tip - Sleeve connector (2 wire) typically used Mini Stereo connector used for general audio Mini jack typically used for Mono audio signals
used for Mono, Balanced or Stereo audio for Mono, Unbalanced audio signals eg guitar signals eg portable music players, iPod etc and some modular / eurorack CV / Gate
signals leads also for modular CV/Gate signals. TRS - Tip, Signals. TS - Tip, Sleeve.
Ring, Sleeve.
RCA Phono Jack BNC Connector ADAT Connector XLR

Mono, screened coaxial cable used typically Coaxial cable connections usually 50 or ADAT is a digital audio optical interface that XLR is a 3 wire balanced audio connector.
for individual signals such as the L/R speaker 75ohm impedance matched. Typically used for connects up to 8 Channels of audio signals Common and accepted standard for
connections on CD, Turntable set ups and world clock signals in a studio and Together as well as TOSlink S/PDIF. microphone connections and also used with
digital audio S/PDIF connections occasionally S/PDIF. monitors
5 Pin DIN Firewire Thunderbolt USB

The original 5 Pin MIDI connector used for Developed by Apple Standard EE1394 for Available in a variety of connector formats
connecting electronic audio devices together connecting devices such as audio interfaces USB is an industry standard for connecting
under the Musical Instrument Digital Interface under firewire 400 & 800 Protocols to Apple devices such as audio interfaces and PC’s
protocols Mac products and can also carry MIDI protocols. Illustration
is Type-B
Title CONNECTORS
Info Summary of audio connectors.

CHARTS
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A collection of music and audio production charts, references,

88 KEYBOARD 4 DELAY TIMES 140-160 20

49 KEYBOARD 5 DELAY TIMES 160-180 21

HARMONICS 6 DELAY TIMES 180-200 22

GENERAL FREQUENCIES 7 NOTE DURATION 23

VOCAL FREQUENCIES 8 MANCHESTER, UK 24

EQ FREQUENCIES 9 SYNTH TERMS 25

STUDIO TEMPLATE 10 FILTERS 26

REVERB 13 SAMPLE FORMATS 29

COMPRESSION 14 MIDI CONNECTIVITY 30

DELAY TIMES 60-80 16

DELAY TIMES 80-100 17

DELAY TIMES 100-120 18

Page 3 Charts www.synthdawg.com

the Note pitch set by the lowest

88 Key Keyboard Notes & Frequencies

is the nearest C to the middle of a

the Stuttgart Pitch

Page 5 Charts www.synthdawg.com

20Hz 50 100 200 500 1K 2K 3K 5K 7K 10K 20K

Fundamental Freq’s Harmonic Freq’s

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MALE VOCALS De-ess around 3-7KHz

FEMALE VOCALS De-ess around 5-10KHz

LOW CUT. BOOST CUT CUT BOOST BOOST

Octave 1 Octave 2 Octave 3 Octave 4 Octave 5 Octave 6 Octave 7 Octave 8 Octave 9

20Hz 50 100 200 500 1K 2K 3K 5K 7K 10K 20K

VOCAL FREQUENCIES Title

WARMTH CRUNCH PRESENCE AIR

POWER HONK SIBILANCE

20Hz 50 100 200 500 1K 2K 3K 5K 7K 10K 20K

SUB BASS BASS MIDS HIGH

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ALBUM NAME DATE

STUDIO TEMPLATE Title

Mark horizontal or vertical cells

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Initial Original Signal

Room Size: The size of the room to emulate is

Option Option Mix

Damping: Represents a softer environment and more

Page 13 Charts www.synthdawg.com

Audio over Time Input (dB)

A Soft or Hard Knee can govern how aggressive the

Slap-back Delay Technique:

Page 15 Charts www.synthdawg.com

Delay times shown in milliseconds

Delay times shown in milliseconds Title DELAY TIMES 80-100

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Delay times shown in milliseconds

Delay times shown in milliseconds Title DELAY TIMES 120-140

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Delay times shown in milliseconds

Delay times shown in milliseconds Title DELAY TIMES 160-180

Page 21 Charts www.synthdawg.com

Delay times shown in milliseconds

Title NOTE DURATION

Page 23 Charts www.synthdawg.com