Audio DSP Glossary
Essential audio terminology explained in plain language, with optional technical deep-dives for professionals.
A
Attack Time
How fast a compressor or limiter reacts to loud signals. Shorter attack catches transients quickly (drums, plucks), longer attack lets transients through for punch.
▶ Gear Head Details
Attack time controls the exponential coefficient for the envelope follower. Formula: coeff = exp(-1 / (time * sampleRate)). At 10ms attack (48kHz): coeff = exp(-1 / (0.01 * 48000)) ≈ 0.9998. Higher coefficient = slower attack.
In TabDSP: Attack applies when gain reduction is increasing (signal going over threshold). Fast attack (1-5ms) catches transients, slow attack (50-100ms) lets transients through.
B
Brickwall Limiter
A limiter that guarantees output never exceeds the ceiling, no matter what. Like hitting a brick wall—the signal cannot go higher.
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Achieved via lookahead buffer: the limiter scans ahead for upcoming peaks and applies gain reduction BEFORE they reach the output. Instant attack (0 samples) is possible because peaks are predicted. Zero overshoot guaranteed.
See: True Peak Limiter
Bypass
Routes signal around a module without processing. Audio passes through unaffected, and module uses no CPU.
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TabDSP uses crossfade bypass with a complementary wet/dry gain pair: the dry path fades to 1.0 while the wet (processed) path fades to 0.0 over 30ms. This prevents clicks and pops. Bypassed modules show orange routing arcs in the UI.
See: Signal Flow
C
Ceiling
Maximum output level in a limiter (measured in dBTP). Audio is prevented from exceeding this level. Common values: -1.0 dBTP for streaming, -0.2 dBTP for mastering.
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Ceiling is enforced via instant attack in the lookahead limiter. When a peak above ceiling is detected in the lookahead buffer, gain reduction is applied immediately: gain = ceiling / peak. True peak detection (4x oversampling) prevents inter-sample peaks from exceeding ceiling.
See: True Peak Limiter
Compressor
Reduces dynamic range by automatically turning down loud signals. Makes quiet parts louder relative to loud parts, creating consistent, punchy sound.
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TabDSP compressor uses RMS envelope follower with soft knee. Gain reduction formula: gr = (inputDb - threshold) * (1 - 1/ratio) above threshold. Knee creates smooth transition region. Attack/release use exponential smoothing.
Constant-Q
Spectrum analysis where each frequency band has the same relative bandwidth (e.g., 1/6 octave). Matches how we hear pitch—bass needs wider Hz range than treble for same perceived bandwidth.
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TabDSP uses native AnalyserNode FFT (8192-point) with constant-Q power summation: 512 log-spaced bins, Q=12. Linear FFT bins are remapped into logarithmic frequency bands by weighting overlapping bins and summing their power. Blackman window with coherent gain compensation (+7.535 dB) ensures accurate absolute levels.
Advantage: Constant relative bandwidth matches musical perception, while leveraging the browser's native C++ FFT engine for zero JavaScript CPU overhead.
Crossover
Splits audio into separate frequency bands (e.g., low, mid, high). Used in multiband compression to process different frequencies independently.
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TabDSP uses Linkwitz-Riley 24dB/oct (LR4) crossovers. LR4 = two cascaded 2nd-order Butterworth filters (Q = 0.707). LP and HP both at -6dB at crossover frequency, sum to unity (0dB) with phase coherence. This ensures transparent band splitting.
See: Multiband Compressor
D
dB (Decibel)
Logarithmic unit for measuring audio levels. 0 dB = no change, +6 dB = twice as loud, -6 dB = half as loud. Logarithmic because ears perceive loudness logarithmically.
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Formula: dB = 20 * log10(amplitude). Conversions: +6dB = 2x amplitude, +12dB = 4x, +20dB = 10x. Reverse: amplitude = 10^(dB/20). In digital audio, dBFS (Full Scale) means 0 dBFS is the maximum possible level before clipping.
dBFS (Decibels Full Scale)
Decibels relative to maximum digital level. 0 dBFS = loudest possible without clipping. All values are negative (-6 dBFS, -12 dBFS, etc.). Going above 0 dBFS causes distortion.
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In 24-bit audio, 0 dBFS = sample value of ±8,388,607 (2^23 - 1). Any value above this wraps around, creating harsh distortion. dBFS measures sample peaks only—doesn't account for inter-sample peaks during DAC reconstruction (see dBTP).
dBTP (Decibels True Peak)
Decibels relative to maximum true peak, including inter-sample peaks. More accurate than dBFS because it accounts for peaks created during digital-to-analog conversion. Standard for broadcast and streaming.
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Measured via 4x oversampling: audio is interpolated to 4x sample rate using polyphase FIR filters, then peaks are detected in the upsampled signal. ITU-R BS.1770-4 specifies the filter coefficients. True peak can be 0.5-3 dB higher than sample peak due to inter-sample reconstruction.
See: True Peak Limiter
E
Envelope Follower
Smoothly tracks amplitude changes in audio. Used in compressors to measure level without jumping around on every sample. Attack controls how fast it goes up, release controls how fast it goes down.
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Exponential smoothing implementation: If target > current, use attack coefficient. If target < current, use release coefficient. Formula: current += (target - current) * (1 - coeff). Coefficient = exp(-1 / (time * sampleRate)).
F
FIR Filter (Finite Impulse Response)
Type of digital filter that can have linear phase (no phase shift). Used for precise EQ work but adds latency. TabDSP's Linear Phase EQ uses a 511-tap FIR filter with FFT overlap-add convolution.
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FIR filters convolve input with pre-computed coefficients. TabDSP uses FFT-based overlap-add convolution (1024-point radix-2 Cooley-Tukey FFT) instead of sample-by-sample multiplication, achieving ~4x fewer operations. Linear phase achieved via symmetric coefficients. Latency = taps/2 samples. TabDSP: 511 taps / 2 = 255.5 samples ≈ 5.3ms at 48kHz, plus 5.3ms lookahead = ~11ms total.
See: Linear Phase EQ
Frequency Response
The variation in output level across the frequency spectrum. A flat frequency response means all frequencies are reproduced at equal volume.
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Measured in dB relative to a reference. EQ bands directly shape the frequency response curve. TabDSP displays the resulting curve as a white line overlaid on the spectrum analyzer.
G
Gain Reduction (GR)
How much a compressor or limiter is turning down the signal, measured in dB. Higher GR = more compression. Displayed as negative values (-6 dB GR means signal was turned down by 6 dB).
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Calculated as: grDb = (inputDb - threshold) * (1 - 1/ratio) for signal above threshold. Example: input = -10 dB, threshold = -18 dB, ratio = 4:1. Over = 8 dB. GR = 8 * (1 - 0.25) = 6 dB. Output = -10 - 6 = -16 dB (before makeup).
Gain Staging
Managing signal levels at each stage in the processing chain to maintain headroom and signal quality. Proper gain staging prevents clipping and noise.
▶ Gear Head Details
Aim for -18 to -12 dBFS RMS at the input stage. Monitor the IN and OUT meters to verify levels stay healthy throughout the chain. The INPUT module knob adjusts the initial level before processing.
H
Headroom
The difference between your current signal level and 0 dBFS (digital maximum). More headroom means more room for transient peaks before clipping occurs.
▶ Gear Head Details
With a limiter ceiling of -1.0 dBTP, the limiter provides 1 dB of headroom below true peak clipping. The input gain, compressor threshold, and limiter ceiling all affect available headroom at different points in the chain.
I
Inter-sample Peak
A peak in the audio signal that occurs between digital samples when reconstructed by a DAC or lossy codec. These can be 0.5 to 3 dB above the highest recorded sample value, causing distortion on consumer devices.
▶ Gear Head Details
True peak detection via 4x polyphase oversampling catches these invisible peaks. TabDSP's limiter uses ITU-R BS.1770-4 compliant interpolation (ITU 48-tap or Kaiser 128-tap filters) to measure and limit inter-sample peaks. The True Peak hold bar (orange) on the output meter shows the highest detected inter-sample peak.
K
Knee
Smoothness of the transition from no compression to full compression. Hard knee (0 dB) = abrupt, obvious. Soft knee (20+ dB) = gentle, transparent. Measured in dB.
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Knee creates transition region: [threshold - knee/2, threshold + knee/2]. Within this region, compression ratio gradually increases from 1:1 to target ratio using quadratic curve: gr = (over²) / (2 * knee) * (1 - 1/ratio). This prevents harsh "kink" at threshold.
L
Linkwitz-Riley (LR4)
Type of crossover filter (24 dB/octave) that ensures phase-coherent summing. When low-pass and high-pass outputs are recombined, they sum to unity with no phase cancellation. Used in TabDSP's multiband compressor.
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LR4 = two cascaded 2nd-order Butterworth filters (Q = 0.707 each). At crossover frequency, LP and HP both measure -6 dB. When summed: (-6dB)² + (-6dB)² = 0 dB (unity). This is mathematically guaranteed by the Butterworth Q value.
See: Multiband Compressor
Lookahead
Delay in a limiter that lets it "see into the future." Audio goes into a buffer, limiter scans ahead for upcoming peaks, then applies gain reduction BEFORE peaks reach the output. Enables instant attack with zero overshoot.
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Ring buffer implementation: write pointer advances with incoming audio, read pointer lags by lookahead samples. Peak detection scans between write and read pointers. When peak > ceiling, instant gain reduction applied. Latency = lookahead time + processing delay.
See: True Peak Limiter
LUFS (Loudness Units Full Scale)
Perceptual loudness measurement standard used by streaming platforms and broadcast. Accounts for how loud audio sounds to human ears, not just peak levels. Target: -14 LUFS for Spotify, -16 LUFS for Apple Music, -23 LUFS for broadcast.
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ITU-R BS.1770-4 algorithm: (1) K-weighting filter (shelves emphasizing mid frequencies), (2) Mean square calculation per channel, (3) Gating (ignore blocks below -70 LUFS absolute, -10 LUFS relative), (4) Logarithmic conversion. Three modes: Momentary (400ms), Short-term (3s), Integrated (whole program).
Formula: LUFS = -0.691 + 10 * log10(sum of weighted power)
LUFS Stack
TabDSP's expanded loudness analysis panel comprising three sub-components: Meter (Momentary, Short-term, and Integrated LUFS bars with numeric readouts), Target Validator (compare measurements against compliance presets with delta display), and Histogram (scrolling canvas visualization of loudness over time, showing Momentary in green and Short-term in blue). Professional tier feature.
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The LUFS Stack uses an ITU-R BS.1770-4 compliant worklet running as a parallel tap from the output analysis point (analysis-only, not in the audio signal path). Target Validator supports three modes: I (LUFS-I target), LRA (Loudness Range), and TP (True Peak). The histogram offers two display modes: SCROLL (10-second rolling window) and FIT (full analysis history). Click Analyze to start collecting data; click Reset to clear all accumulated measurements.
LRA (Loudness Range)
Measures the dynamic range of program material in LU (Loudness Units). Computed from the distribution of Short-term loudness values, specifically the range between the 10th and 95th percentile. Low LRA values (~3-5 LU) indicate heavily compressed material; high values (~15-20+ LU) indicate very dynamic content with wide loudness variation.
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Defined in EBU R 128. LRA uses the same gated loudness measurement as Integrated LUFS but examines the statistical distribution of Short-term (3-second) loudness blocks. After absolute gating (-70 LUFS) and relative gating (-20 LU below ungated mean), the 10th and 95th percentile loudness values are computed. LRA = 95th percentile - 10th percentile. Available in TabDSP's LUFS Stack Target Validator when LRA mode is selected.
M
Makeup Gain
Output boost to compensate for volume lost to compression. If compression pulls down peaks by 6 dB, add 6 dB makeup to restore overall loudness. Result: Peaks and quiet sections are closer together in volume.
▶ Gear Head Details
Applied after gain reduction: output = input * grLinear * makeupLinear. Makeup is linear gain (not dB), converted via: makeupLin = 10^(makeupDb/20). Auto-makeup (not implemented in TabDSP) would set makeup = average GR.
Mid/Side (M/S)
Stereo processing mode that separates center (Mid) from sides (Side). Process them independently for precise stereo control. Example: EQ the vocal (center) without affecting the reverb (sides).
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Matrix encoding: Mid = (L + R) / 2, Side = (L - R) / 2. Process Mid and Side independently. Decode: L = Mid + Side, R = Mid - Side. Division by 2 prevents level increase. Mid contains mono/center content, Side contains stereo difference.
See: M/S Processing
R
Ratio
Compression amount. At 4:1, every 4 dB over threshold becomes 1 dB at output (3 dB of gain reduction). Higher ratio = more compression. Ratios: 2:1 (gentle), 4:1 (moderate), 10:1 (heavy), 20:1+ (limiting).
▶ Gear Head Details
Gain reduction formula: grDb = overDb * (1 - 1/ratio). Example: 4:1 ratio, 8 dB over threshold. GR = 8 * (1 - 0.25) = 6 dB. Infinity:1 = brickwall limiting (any amount over threshold becomes 0 dB over).
Release Time
How fast a compressor or limiter stops compressing after the signal drops below threshold. Faster release = responsive but can pump, slower release = smooth but less responsive.
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Release applies when gain reduction is decreasing (signal below threshold). Uses exponential decay: grCurrent += (0 - grCurrent) * (1 - releaseCoeff). Coefficient = exp(-1 / (releaseTime * sampleRate)). Slower release = higher coefficient = more smoothing.
RMS (Root Mean Square)
Average level over a time window (e.g., 10ms). Better represents perceived loudness than peak level. Used in Analog mode compression for smoother, more musical behavior.
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Formula: RMS = sqrt(sum of squared samples / window size). TabDSP uses 10ms window (480 samples at 48kHz). Running sum for efficiency: sum -= oldest²; sum += newest². Periodic recalculation every 10s prevents floating-point drift.
S
Sidechain
Separate signal used for compressor detection. In TabDSP: sidechain HP filter removes low frequencies from the detection signal (NOT the audio), preventing bass from triggering compression and making the mix pump.
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True sidechain: audio is duplicated, one copy filtered for detection, other copy compressed based on filtered detection. Filter does NOT affect output audio. TabDSP: 2nd-order Butterworth HP at 20-500 Hz on detection path only. This prevents low-frequency energy from dominating compression decisions.
T
Threshold
Level where compression or limiting starts, measured in dB. Audio louder than this gets compressed, quieter audio passes through untouched. Lower threshold = more compression.
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Comparison in dB domain: if (inputDb > threshold) { compress }. Gain reduction only applied when signal exceeds threshold. Knee creates smooth transition region around threshold rather than hard cutoff.
Transient
A brief, sharp spike in audio level. Common examples include drum hits, consonant sounds in speech, and pick attacks on guitar. Compressor attack time determines how transients are handled.
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Fast attack settings (1-5ms) will catch and reduce transients, resulting in a smoother but potentially less punchy sound. Slow attack (50-100ms) lets transients pass through, preserving punch and presence at the cost of less peak control.
True Peak
Maximum level including inter-sample peaks—peaks that occur between samples during digital-to-analog conversion. More accurate than sample peak because it accounts for what actually comes out of the speakers.
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Detected via 4x polyphase FIR oversampling. Audio interpolated to 4x sample rate, creating "virtual samples" at 0.25, 0.5, 0.75 positions between real samples. True peak = max across all real and virtual samples. ITU-R BS.1770-4 specifies filter coefficients. Can be 0.5-3 dB higher than sample peak.
See: True Peak Limiter