[Redcarmoose]

I agree that a single word has multiple meanings. Though I’m not sure that every dictionary will have exactly the same words? It’s normal, then take the esoteric audio world, and it gets worse. To tell you the truth I think it’s fine as long as the lion’s share gets it right? Meaning if 90% is understood then that’s fine. But your right it would be cool if someone started a thread with definitions. I don’t know how many glossary lists there are for our use?

I’m not offended at all, I’m just saying if you have difficulty relating to my list there may be others?

Edit:
A list of terminology is always going to be somewhat amorphous, and a work in progress; always evolving. There is no static list. Also many words are going to be new and maybe only used by the individual, regardless of being placed in a list. Is that bad? I think writing is about communication, so if a new word helps get the point across then it’s good. There will always be wild different words to describe audio at a place that the author feels is suitable? That’s the art part, where maybe what we write about is an art and a science?

Edit X 2:
There very well could be “shady ones” on my list. Even degrees of shade from some only slightly shady to full on words that would maybe not be very useful when they should be! Lol.

Maybe there are better lists for us to work with? Still 90% of it is good.

Edit X 3:
Every review I’ve read has an “off” section of wording where you can tell that the writer has wandered off course. That is OK as it seems that is the only way they know how to get their point across in a good way. Obviously some more than others. Adding the few off words is maybe what “creative writing is about? But maybe those words don’t get put in a glossary? Should they?

Edit X 4:
I have witnessed many new words get used on a regular basis. This is due to the perceived efficiency of the new word. It’s trendy as the human language is.

 

[nottheseapples]

There is a Head-Fi Glossary. I put this one together from a couple sources.

Accurate - The music is (as much as possible) unaltered by the recording or playback equipment.

Aggressive - Forward and bright sonic character.

Airy - Spacious, typically referring to upper midrange and treble.

Ambience - The overall impression, feeling, or mood evoked by an environment or acoustical space, such as the performance hall in which a recording was made.

Analytical - Detailed.....typically thought of as neutral or bright.

Articulate - The overall ability to offer fast transients and efficient imaging of instruments.

Attack - The leading edge of a note and the ability of a system to reproduce the attack transients in music.

Attack (2) - The time taken for a musical note to reach its peak amplitude eg. notes will tend to sound more defined rather than blended with other notes.

Balance - Usually the tuning of the earphone. A well-balanced headphone would not have one particularly dominant frequency, but rather all would be “balanced.”

Bass - The audio frequencies between about 60Hz and 250Hz.The lower end frequency of human hearing. Bass can be measured in quantity (heaviness) and quality (clarity). Other bass descriptors are “muddy” and “boomy.”

Basshead - Emphasized Bass.

Bloated - Excessive mid bass around 250 Hz. Poorly damped low frequencies, low frequency resonances.

Blurred - Poor transient response. Vague stereo imaging, not focused.

Body - Fullness of sound. Substantialness of response.

Boomy - Excessive bass around 125 Hz. Typically edging into midrange and affecting pace.

Boxy - Having resonances as if the music were enclosed in a box. Sometimes an emphasis around 250 to 500 Hz. Often called cardboard box sounding, like boxes used as drums.

Breakup - When different points on the surface of a diaphragm begin to move out of sync, causing distortion. Breakup often occurs in dynamic drivers at high volumes as forces on the diaphragm increase. Breakup is less likely to occur at lower volumes or in planar magnetic or electrostatic headphone drivers.

Bright/Brightness - Boost in the upper frequencies or upper-mid range. Brightness is a feature enjoyed by many but walks a thin line to becoming unpleasant depending on the individual.

Brilliance - The 6kHz to 16kHz range controls the brilliance and clarity of sounds. Too much emphasis in this range can produce sibilance on the vocals.

Clear - Transparent.

Closed - A closed-in sound lacking in openness, delicacy, air, and fine detail usually caused by Roll-off above 10kHz; in contrast to Open.

Congestion - Poor clarity caused by overlapping sounds. Congested sound signatures lack detail and clarity, making it hard to hear separate instruments and may also be called muddy or muffled.

Coloration - The effect of a device on the music signal. The opposite of “neutral.” Various aspects can affect the tone, responsiveness or the frequency response of the music/audio.

Crisp - Clear.

Dark - A tonal balance that tilts downwards with increasing frequency. Opposite of bright. Weak high frequencies.

Decay - The fadeout of a note as it follows the attack.

Definition (or resolution) - The ability of a component to reveal the subtle information that is fundamental to high fidelity sound.

Delicate - High frequencies extending to 15 or 20 kHz without peaks.

Density - I personally started to use this word to describe note weight, and note authority.

Depth - A sense of distance (near to far) of different instruments.

Detail - The most delicate elements of the original sound and those which are the first to disappear with lesser equipment.

Detailed - Easy to hear tiny details in the music; articulate. Adequate high frequency response, sharp transient response.

Dry - Lack of reverberation or delay as produced by a damped environment. May come across as fine grained and lean. Opposite of wet.

Dynamic - The suggestion of energy and wide dynamic range. Related to perceived speed as well as contrasts in volume both large and small. Still in the end this word has many interpretations.

Edgy - Too much high frequency response. Trebly. Harmonics are too strong relative to the fundamentals. Distorted, having unwanted harmonics that add an edge or raspiness.

Euphonic - An appealing form of distortion that generally enhances perceived fidelity, often ascribed to the harmonic elaborations of some valve amps.

Fast - Good reproduction of rapid transients which increase the sense of realism and "snap".

Focus - A strong, precise sense of image projection.

Forward(ness) - Similar to an aggressive sound, a sense of image being projected in front of the speakers and of music being forced upon the listener. The opposite would be “Laid-back".

Full - Strong fundamentals relative to harmonics. Good low frequency response, not necessarily extended, but with adequate level around 100 to 300 Hz. Male voices are full around 125 Hz; female voices and violins are full around 250 Hz; sax is full around 250 to 400 Hz. Opposite of thin.

Grainy - A loss of smoothness resulting is a loss of clarity and transparency.

Grunt - Actually a guitar term intended to denote an authoritative and fast low end frequency response ability in hollow body jazz guitars.

Harsh - Too much upper midrange. Peaks in the frequency response between 2 and 6 kHz.

Highs - The audio frequencies above about 6000 Hz.

High Midrange (High Mids, Upper Mids) - The audio frequencies between about 2kHz and 6kHz.

Imaging - The sense that a voice or instrument is in a particular place in the room. Directly measured with square wave graphs and indicates transient edge response quality in the time domain.

Impedance - Indicates how much power is required for the driver. The higher the impedance, the more power is required to get the maximum quality and volume of sounds out of the driver. Electrical resistance to the flow of current in an AC circuit. The higher the impedance of the headphone, for instance, the less current will flow through it.

Layering - The reproduction of depth and receding distance, which audibly places the rows of performers one behind the other.

Laid-back - Recessed, distant-sounding, having exaggerated depth, usually because of a dished midrange. Compare "Forward".

Layering - The reproduction of depth and receding distance, which audibly places the rows of performers one behind the other.

Less-Tangibles - Everything other than FR, hence reverberations, texture, instrument timbre, soundstage etc…..etc.

Liquid - Textureless sound.

Low-Level Detail - The subtlest elements of musical sound, which include the delicate details of instrumental sounds and the final tail of reverberation decay.

Low Midrange (Low Mids) - The audio frequencies between about 250Hz and 2000Hz.

Lush - Harmonically complex, typicality thought of as thick with many additives. A rich tone and usually with some warmth to the overall presentation.

Metallic - Typicality an overall sheen which can become part of an off timbre response.

Midrange (Mids) - The audio frequencies between about 250 Hz and 6000 Hz.

Musical (or musicality) - A sense of cohesion and subjective "rightness" in the sound.

Nasal - Reproduced sound having the quality of a person speaking with their nose blocked. Closed off; a measured peak in the upper midrange followed by a complimentary dip.

Naturalness - Realism.

Opaque - Unclear, lacking Transparency.

Open - Sound which has height and "air", relates to clean upper midrange and treble.

Pace - Often assoc. with rhythm, a strong sense of timing and beat.

Physicality - Weight and realness, typicality used (by me) to describe bass, but can carry over to all frequencies. Female and male vocals could have physicality, if they sound real.

Piercing - Strident, hard on the ears, screechy. Having sharp, narrow peaks in the response around 3 to 10 kHz.

PRaT - Pace, rhythm and timing.

Presence Range - The presence range between 4kHz and 6kHz is responsible for the clarity and definition of voices and instruments. Increasing this range can make the music seem closer to the listener. Reducing the 5kHz content makes the sound more distant and transparent.

Presence - An emphasized instrument response around 5 kHz for most instruments, or around 2 to 5 kHz for kick drum and bass.

Punchy - Good reproduction of dynamics. Good transient response, with strong impact. Sometimes a bump around 5 kHz or 200 Hz.

Range - The distance between the lowest and highest tones.

Resolution - The clarity to separate and delineate musical information.

Reverb - Short for reverberation. A diminishing series of echoes spaced sufficiently closely in time that they merge into a smooth decay.

Rich - See Full. Also, having euphonic distortion made of even order harmonics.

Roll-off (Rolloff) - The gradual attenuation that occurs at the lower or upper frequency range of a driver, network, or system. The roll-off frequency is usually defined as the frequency where response is reduced by 3 dB.

Round - High frequency rolloff or dip. Not edgy.

Rhythm - The controlled movement of sounds in time.

Shrill - Strident, Steely.

Sibilant - The high unpleasant peaks that are usually unpleasant to the ear if too prevalent.

Sizzly - See Sibilant. Also, too much highs on cymbals.

Smeared - Lacking detail; poor transient response, too much leakage between microphones; poorly focused images.

Smooth - Describing the quality of sound reproduction having no irritating qualities; free from high-frequency peaks, and relaxing to listen to. Not necessarily a positive system attribute if accompanied by a slow, uninvolving character.

Sound Signature - The unique intrinsic sound quality of a headphone, music player, DAC, or audio cable. Some audio products emphasize the higher treble ranges while others strengthen the bass. This overall sound profile of audio devices helps audiophiles fine-tune the listening experience by pairing the right headphone cable, DAC, or music player with their headphones.

Soundstage - An illusionary effect of headphones to produce a listening space front to back, up and down and right to left.

Speed - Pace and timing, can have relationship with overall “tune”.

Steely - Emphasized upper mids around 3 to 6 kHz. Peaky, non flat high frequency response. Metallic.

Strident - See Harsh, Edgy.

Sub-Bass - The audio frequencies between about 20Hz and 80Hz.

Sweet - Typically reference to smooth comfortable high pitch sounds.

Technical Ability - A blanket term for attack transients, imaging, decay, tonality, tonal balance, timbre, temperature, and texture. At times overall frequency response (if even and correct) is considered part of technical ability.

Synergy - The interaction or cooperation of two or more audio components in an audio system, which, when combined produce a combined effect greater than the sum of their separate effects. Example: the synergy between a DAC and a headphone amp.

Texture - The timbre of multiple instruments playing together, though more accurately the instrument “voices” together.

Thick - Typically bass or lower midrange density.

Thin - Fundamentals are weak relative to harmonics; bass light.

Tight - Good low frequency transient response and detail.

Timbre - The tonal character of an instrument which separates it from other instruments of the same tone.

Timing - Tempo in relationships with clarity of pace.

Tinny - Thin harmonically narrow, metallic, in treble region.

Tone - The sound of definite pitch.

Transient - The leading edge of a percussive sound, though the term can be applied to any wave form.

Transparent - Easy to hear into the music, detailed, clear, not muddy. Wide flat frequency response, sharp time response, very low distortion and noise. A hear through quality that is akin to clarity and reveals all aspects of detail.

Treble - The highest part of music and voice. See Highs. (Most often used when referring to the treble control on amplifiers).

Upper Midrange (Upper Mids, High Mids) - The audio frequencies between 2 kHz and 6 kHz.

Vivid - A word often used to describe clarity and intensity.

Veiled- Lack of full clarity due to noise or loss of detail from limited transparency.

Warm - Good bass, adequate low frequencies, adequate fundamentals relative to harmonics. Not thin. Also excessive bass or mid bass. Also, pleasantly spacious, with adequate reverberation at low frequencies. Also see Rich, Round. Warm highs means sweet highs.

Weighty - Good low frequency response below about 50 Hz. A sense of substance and underpinning produced by deep, controlled bass. Suggesting an object of great weight or power, like a diesel locomotive.

Width - The apparent lateral spread of a stereo image. If appropriately recorded, a reproduced image should sound no wider or narrower than how it sounded originally.

Woolly - Loose, ill-defined bass.

we all needed this

 

[FYFL]

I have witnessed many new words get used on a regular basis.

Believe it or not but I assure you the story is true. Years ago (maybe a decade ago) there were guys reinventing audiophile jargon. Same group periodically introduced new descriptive worlds. Not surprisingly, these ppl were part of “exotic” cable brands I won’t mention. Not all of that crap got adopted. Some did. And it was extremely amusing to that sneak oil pushers.

I don’t have solution for it. But pro audio world seems to have it pretty much figured out. At least from mixing/mastering side.

It would be nice to see simple, short universal audiophile vocabulary. And if description or choice of words is different? At least that list can be used as point of reference in case confusion creeps in.

 

[Redcarmoose]

Believe it or not but I assure you the story is true. Years ago (maybe a decade ago) there were guys reinventing audiophile jargon. Same group periodically introduced new descriptive worlds. Not surprisingly, these ppl were part of “exotic” cable brands I won’t mention. Not all of that crap got adopted. Some did. And it was extremely amusing to that sneak oil pushers.

I don’t have solution for it. But pro audio world seems to have it pretty much figured out. At least from mixing/mastering side.

It would be nice to see simple, short universal audiophile vocabulary. And if description or choice of words is different? At least that list can be used as point of reference in case confusion creeps in.

Interesting, I wonder......as it’s hard to imagine which words would be confusing. But a simple solution would be check out the actual Head-Fi Glossary. It is less by maybe 1/3 but may be complete in reference to your concerns.



The recording industry does have their own jargon. Yet the recording industry still has no set standards which would mean a recording made at another studio would sound the same.

 

[FYFL]

Interesting, I wonder......as it’s hard to imagine which words would be confusing. But a simple solution would be check out the actual Head-Fi Glossary. It is less by maybe 1/3 but may be complete in reference to your concerns.



The recording industry does have their own jargon.

I haven’t watch that video yet.
Mixing and mastering engineers use universal language. Message is the same. Wording is somewhat different. Something that is more commonly used in music industry. Since we try to articulate sound signature of hardware, it gets a little messy.
Most challenging for me personally is articulating differences between two products that sound extremely similar. And in those cases, more language creativity kicks in. So I am guilty of this as well. But like I’ve said before. I have no problem going in depth in effort to paint a clearer picture.

 

[Redcarmoose]

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