Fader

A fader is a sliding control used on audio mixing consoles and digital audio workstations (DAWs) to adjust the volume level of a track or audio signal. Faders allow precise control over the sound’s loudness, enabling audio engineers, producers, and musicians to blend multiple tracks into a cohesive mix by setting each element’s relative volume.

There are several types of faders, including:

• Volume Fader: The most common type, used to adjust the level of an audio signal up or down. It typically moves vertically or horizontally and can be fine-tuned to set exact volume levels.
• Crossfader: Often found on DJ mixers, a crossfader allows smooth transitions between two audio sources (such as two tracks), sliding from one to the other, which is essential for seamless transitions and mixing.
• Auxiliary (Aux) Fader: Used to control the volume of auxiliary channels or send signals, allowing specific sounds or effects to be added or adjusted independently from the main mix.

In mixing and live sound, faders play a crucial role in managing dynamics and achieving a balanced sound. Engineers use faders to bring instruments, vocals, and effects in and out of prominence, making sure that important elements are clear and that the overall sound is polished and engaging.

Faders are also commonly automated in digital setups, where movements can be pre-programmed to create complex volume changes over time, such as gradual fades, crescendos, or quick cuts. This ability to automate faders provides additional creative flexibility, allowing engineers to shape a mix dynamically in ways that enhance the musical impact.

In short, faders are essential tools for anyone involved in sound control, giving precise volume management and allowing for creative expression in both live and studio environments.

Fade-In

A fade-in is a gradual increase in audio volume at the beginning of a track or sound, commonly used to create a smooth and subtle start. Instead of the audio beginning at full volume, it starts quietly and then steadily gets louder until it reaches the desired level. This effect can add a sense of anticipation or allow the music to enter gently without an abrupt start.

Fade-ins are often used in music production, sound design, and film scoring to set the mood or ease listeners into a song or scene. For example, a slow fade-in might give a track a dreamy, atmospheric feel, while a quicker fade-in can create a sense of immediacy or energy.

In a digital audio workstation (DAW), fade-ins can be easily created by adjusting volume automation or using the fade tool. They’re also commonly applied to individual instruments or sounds within a track, particularly when layering multiple sounds that need a balanced introduction.

Fade-ins are not limited to music and are also widely used in film, television, and radio, where they can introduce dialogue, background music, or sound effects in a way that feels natural and cohesive.

Fade-Out

A fade-out is a gradual decrease in audio volume at the end of a track or sound, where the audio level is lowered slowly until it becomes silent. This technique allows music or sound to end smoothly rather than stopping abruptly, creating a sense of closure or finality.

In music production, fade-outs are commonly used to give a track a polished and professional ending, allowing listeners to transition out of the song in a natural way. This technique has been especially popular in genres like rock, pop, and electronic music, where an indefinite or “open” ending can add emotional impact. A fade-out may also suggest continuity, as if the music could continue playing beyond the listener’s reach.

To create a fade-out in a digital audio workstation (DAW), producers can use the fade tool or adjust volume automation, programming the sound to gradually decrease over a chosen timeframe. Fade-outs can also be applied to individual elements within a mix to allow certain sounds or effects to end gradually while others remain active.

Beyond music, fade-outs are widely used in sound design, film, and television to conclude scenes or dialogue smoothly, enhancing the audience’s experience by transitioning gently to silence or another audio segment.

Fair Use (USA)

Fair use is a music copyright term in use within the USA. See Fair Dealing (UK) for a comparison with the closest U.K. legislation.

Fair Use is where, under certain circumstances, a copyrighted work can be used without seeking permission from the copyright owner. Uses include using for an educational purpose, to present a parody, comment upon or criticise the copyrighted work. Fair use includes quoting a copyrighted work or using an excerpt.

In US law, four key factors are relevant in determining fair use:

1. The nature of the copyrighted work
2. The purpose and character of the use
3. The amount of and how substantial what has been used from the copyrighted work
4. The effect of using the copyrighted work has upon the potential market for the copyrighted work

Fair use is a broad and flexible way to use the work, no matter where the original work was created.

Fair Use vs Fair Dealing

Fair Use, as defined in US legislation, can roughly be described as general in nature. By comparison, Fair Dealing, as defined in UK legislation is very specific when defining UK copyright exceptions.

Fair Dealing

The UK (Copyright, Designs and Patents Act 1988) terminology for exceptions to copyright law.

Exceptions outline specific purposes for which a reproduction of a work is permitted, without requiring the copyright owner’s permission.

According to UK legislation, an individual has not infringed copyright if the use is based on fair dealing where it is for:

1. Non-commercial research or private study
2. Reporting current events
3. Criticism or review
4. Illustration for instruction, quotation, parody, caricature or pastiche

Falsetto

Falsetto is a vocal technique that allows singers, particularly male vocalists, to reach notes higher than their natural vocal range by using a lighter, airy tone. In falsetto, the vocal cords do not fully close, creating a softer, breathier sound than the singer’s regular voice, or “chest voice.” This effect gives falsetto a distinct, often ethereal quality, commonly used for emotional or expressive moments in a song.

Falsetto is especially popular in genres like pop, R&B, soul, and rock, where singers use it to hit high notes with ease. Artists like Freddie Mercury, Michael Jackson, and Justin Timberlake are known for their effective use of falsetto to convey emotion, add texture, or create vocal contrast.

In choral music, falsetto is often used by tenors to blend with higher vocal parts, like altos and sopranos, without switching voice types. It’s also used in classical music, particularly in opera, where male countertenors employ a well-trained falsetto to sing parts traditionally written for female voices.

Learning to control falsetto requires practice, as it relies on precise breath control and vocal placement to maintain pitch and consistency. Mastering falsetto allows singers to expand their vocal range and add dynamics to their performance, making it a valuable tool in any vocalist’s skill set.

Featured Artist

The featured artist on a recording is the artist signed to the record label. Performers on the recording who are not the artist, such as session musicians, work under different contracts and paid in different ways from the artist.

Feedback

Feedback is a high-pitched, often loud, squealing sound produced when a microphone picks up sound from a nearby speaker and re-amplifies it in a continuous loop. This happens when the microphone captures audio from the speaker it’s connected to, causing the sound to be repeatedly amplified and creating a piercing noise.

In live sound environments, feedback is a common issue, especially when microphones are positioned too close to speakers or when sound levels are too high. Feedback loops can also occur with electric guitars and other amplified instruments when they are in close proximity to speakers or monitors. While typically unwanted, feedback is sometimes used intentionally as a creative effect, particularly in rock and experimental music. Artists like Jimi Hendrix and bands like The Who have famously incorporated controlled feedback into their music, adding intensity and energy to their performances.

To prevent feedback, sound engineers use techniques like reducing microphone gain, adjusting speaker placement, using directional microphones, and applying EQ to cut problem frequencies. Specialized equipment, like feedback suppressors, can also help by detecting and eliminating frequencies that are prone to feedback.

Understanding feedback and how to manage it is crucial for anyone working in live sound, recording, or performance settings. With the right techniques, feedback can be minimized to maintain audio clarity or harnessed as a tool for artistic expression.

Festival Circuit

The festival circuit refers to the network or cycle of music festivals held throughout the year in various locations, often involving a rotating lineup of artists and bands who perform at multiple events across different regions or even countries. For musicians, participating in the festival circuit provides valuable exposure, as these events typically draw large audiences and media coverage, making them an important avenue for reaching new fans and building a fanbase.

Each year, the festival circuit includes major music festivals that are well-known internationally, such as Coachella, Glastonbury Festival, Lollapalooza, and Bonnaroo, along with many smaller or genre-specific festivals like SXSW, Burning Man, and Jazz Fest. Some artists may tour the circuit in a particular region, performing at a series of festivals within a certain timeframe, often during the summer or peak festival season.

For emerging artists, being booked on the festival circuit can be a significant career milestone, offering opportunities to perform alongside established acts and network with industry professionals. Many festivals also feature industry panels, workshops, and networking events, making them valuable not just for live performances but also for professional development.

Navigating the festival circuit effectively often requires strategic planning, as each festival has its own unique audience, vibe, and genre focus. Artists, managers, and booking agents work together to align festival appearances with an artist’s brand and music style, ensuring that the exposure gained at each festival aligns with long-term career goals.

Filter

A filter is an audio processing tool used to shape sound by allowing certain frequencies to pass through while reducing or removing others. Filters are commonly applied in mixing, sound design, and live sound to control and refine the tonal balance of a track or sound.

There are several types of filters, each serving a unique purpose:

• Low-pass filter (LPF) – Allows low frequencies to pass while reducing or cutting higher frequencies. LPFs are often used to create a warm, bass-heavy sound by removing harsh high-end tones.
• High-pass filter (HPF) – Allows high frequencies to pass while reducing or cutting lower frequencies. HPFs are frequently applied to vocals or instruments to clear up muddiness and make room for bass elements in a mix.
• Band-pass filter (BPF) – Allows a specific range of frequencies to pass while cutting frequencies outside this range. BPFs are useful for isolating certain tonal characteristics of a sound.
• Notch filter – Cuts a narrow band of frequencies, often used to remove unwanted hums or specific resonances without affecting the rest of the sound.
• Anti-Aliasing filter – This is a low-pass filter used in digital audio equipment.

Filters are essential tools in both analog and digital audio workstations (DAWs) and can be applied as standalone effects or integrated into synthesizers, EQs, and audio plugins. By selectively enhancing or reducing frequency content, filters help producers and engineers achieve clarity, focus, and creative effects within a track, from the classic “telephone” vocal effect to the sweeping resonance of electronic dance music. Understanding filters allows for greater control over sound, whether to correct issues, enhance specific elements, or add dynamic movement to a mix.

See our Filters reference article by following the link below.
Songstuff Filters Article

Fingerprint

A fingerprint is a way of imprinting digital files with a pattern embedded within their data. The fingerprint code can be read by special software. The fingerprint is used to identify a variety of track details including the track title and artist name.

Shazam uses special algorithms to identify music on a cellphone using the fingerprint.

Fingerstyle

Fingerstyle is a guitar-playing technique in which the player uses their fingers, rather than a pick, to pluck or strum the strings. This technique allows for greater control and versatility, as individual fingers can play different strings simultaneously, creating intricate patterns, melodies, and harmonies within a single performance. Fingerstyle is widely used in various genres, including folk, classical, blues, jazz, and even pop.

In fingerstyle guitar, each finger often has a designated role: typically, the thumb plays the bass notes on the lower strings, while the index, middle, and ring fingers handle the higher strings for melody and harmony. This approach allows guitarists to play both rhythm and lead parts at once, creating a rich, layered sound that mimics the effect of multiple instruments.

Fingerstyle can range from simple, steady bass patterns to complex techniques like fingerpicking, where players alternate fingers to create flowing, arpeggiated patterns. It also includes techniques such as travis picking (a syncopated style in folk and country music) and slap bass (a percussive style where the player strikes the strings with the thumb and fingers).

Fingerstyle is popular among solo guitarists because it enables a fuller, more dynamic sound without additional instruments. Legendary guitarists like Chet Atkins, Tommy Emmanuel, and Andrés Segovia have all helped popularize fingerstyle, showcasing its expressive potential and technical depth. This technique requires practice and precision, but mastering it can open up a world of creative possibilities on the guitar, enabling artists to create detailed, expressive music across genres.

Firm Album

An album that the Label is contractually obligated to:

• Allow the artist to record under his recording agreement
• Pay for the cost of recording, normally subject to a Pay or Play clause

First Use (USA)

Under the U.S. Copyright Law, the songwriter and their music publisher have control over the first version of a new composition to be recorded and released, in other words, a license for it’s “first use”.

After a recording of the composition has been authorised for release to the general public, in any format, on condition that the mechanical royalties are paid to the writer and publisher, any other recording artist has the right to record and release that composition.

Artists who write their own songs often have a clause in their publishing contract stating that first recording and release permissions cannot be given to another artist without their approval.

First Use (UK)

In some UK licenses, there is a clause concerning first use, but it has nothing to do with compulsory mechanicals.

Within the U.K., “First Use” refers solely to the right of the owner of a copyrighted work to decide which artist should be the first to record a new song. In a Publishing Agreement, it is not uncommon for the songwriter to have the right to approve the “first use” of a song.

Fixer

A fixer is a type of agent who puts together groups of musicians for recording sessions and live performances.

FLAC

Ogg Free Lossless Audio Codec. It is a format of music file used for digital downloads and digital music players. FLAC files can be played back at the original quality, while the files are roughly half the size of the original file.

Ogg FLAC is a Xiph.org open standard.

Flanger

A flanger is an audio effect that creates a sweeping, whooshing, or jet-like sound by blending an audio signal with a slightly delayed version of itself. This delayed signal is modulated, causing the delay time to change periodically, which results in a unique, swirling sound with peaks and notches that move up and down the frequency spectrum. The flanger effect can add a sense of movement, depth, and texture to an audio track.

Originally achieved by manipulating tape reels in the early days of recording, flanging is now commonly created through digital effects in pedals, audio processors, and digital audio workstations (DAWs). The effect works by delaying the original signal by a very short time—typically just a few milliseconds—then continuously varying that delay to produce the characteristic swooshing pattern as the two signals phase in and out of sync.

Flangers are widely used in various music genres, especially in rock, pop, and electronic music. Iconic uses of the flanger can be heard in tracks like “Bold as Love” by Jimi Hendrix and “Life in the Fast Lane” by the Eagles, where the effect adds a psychedelic or futuristic quality to the sound.

In a DAW, a flanger effect is easily applied to tracks and can be adjusted by controlling parameters like depth (intensity of the effect), rate (speed of the sweep), and feedback (how much of the signal is fed back into itself for a stronger effect). By experimenting with these settings, producers can tailor the flanger to suit the mood and energy of a song.

Flat

Flat is a musical term that describes a note that is one semitone (or half step) lower than its natural pitch. The symbol for a flat note is ♭, placed after the note name (e.g., B♭ for B flat). In Western music notation, flats are used to indicate when a note should be played or sung at a slightly lower pitch, creating variations that add depth and complexity to melodies and harmonies.

In terms of key signatures, flats are used to define specific tonalities, like B♭ major or D♭ major, where certain notes are consistently played a semitone lower. These flat notes give music unique emotional qualities, often lending a darker, mellower, or bluesy feel to the sound. For example, the key of F major has one flat note (B♭), while D♭ major has five flat notes (B♭, E♭, A♭, D♭, and G♭).

The term “flat” is also used to describe when a musician or singer plays or sings slightly below the intended pitch, typically due to tuning or pitch control issues. Being “flat” in this context is generally unintentional and can be corrected by adjusting technique or tuning.

In music theory and composition, flats, along with sharps (which raise a note by a semitone), are essential tools for creating expressive music, helping composers and performers explore a wide range of harmonic and melodic possibilities.

Flat Fee

In a recording agreement, a flat fee is a specified amount of money, paid to a Record Label by a Licensee, instead of the royalty rate associated with the license.

FOH (Front Of House)

FOH, or Front of House, refers to the area in a live performance venue where the main sound engineer and audio equipment are located to control the overall sound that the audience hears. Positioned in the audience area, often toward the center or back of the venue, the FOH engineer operates the mixing console, balancing all elements of the performance—vocals, instruments, effects, and more—to ensure a high-quality listening experience for the crowd.

The FOH setup includes the mixing desk, speakers, outboard effects, and other essential equipment for live sound management. The engineer at FOH is responsible for monitoring and adjusting levels, EQ, and effects in real-time, reacting to changes in the performance to maintain consistent, clear, and powerful sound. They often coordinate closely with other technical staff, like monitor engineers, who handle the sound heard by the performers on stage.

In addition to sound, “Front of House” can also refer more generally to areas accessible to the public, such as ticketing, concessions, and seating in a venue. However, in music and live sound, FOH almost exclusively describes the sound control area and team responsible for the audience’s audio experience.

A well-managed FOH is essential for any live event, as it shapes the quality and impact of the performance, ensuring the artist’s sound reaches the audience as intended.

Foldback

This is an audio feed sent to the performer using speakers or headphones to allow them to monitor the sounds they are producing.

Footswitch

A footswitch is a pedal or switch operated by the foot, commonly used by musicians to control various functions on musical equipment hands-free. Footswitches are particularly popular with guitarists, keyboardists, and live performers, as they allow musicians to activate effects, change settings, or switch between sounds mid-performance without interrupting their playing.

Footswitches come in various forms, including single-button switches for simple tasks (like turning an effect on or off) and multi-button foot controllers that can manage multiple functions or settings at once. Common uses for footswitches include switching between clean and distorted tones on a guitar amplifier, activating reverb or delay effects, controlling loop pedals, or toggling between presets on a digital processor.

In digital audio workstations (DAWs) and MIDI setups, footswitches can also be used to control software functions or trigger sounds, adding versatility to studio and live setups. Some advanced footswitches even offer programmable options, allowing musicians to customize the controls based on their specific performance needs.

Footswitches are essential tools for performers who need flexibility and efficiency on stage, allowing them to shape their sound dynamically and keep both hands free for playing.

Formant

A formant is a concentration of acoustic energy around a specific frequency in the human voice or an instrument’s sound. Formants are responsible for shaping the characteristic tone or timbre of a sound, giving voices and instruments their unique qualities. In vocal production, formants are especially important because they help define vowel sounds, allowing us to distinguish between different vowels regardless of pitch.

Formants are created by the natural resonances of the vocal tract (or an instrument’s body) as air passes through it. By altering the shape and size of the mouth, throat, or vocal tract, singers can shift formants, producing different vowel sounds without changing the pitch. For example, the difference between an “ah” and an “ee” sound lies in the arrangement of formants, not the fundamental pitch.

Formants play a key role in vocal synthesis and pitch correction software like Auto-Tune, which manipulate the pitch while preserving the original formants to maintain a natural sound. In sound design, understanding formants can also be useful in creating realistic artificial voices or modifying instrument tones.

In audio analysis, formants are often visualized on a spectrogram, where they appear as bands of frequency. The first few formants (usually labeled F1, F2, and F3) are the most significant in defining vowel sounds. The study of formants is important in fields like linguistics, phonetics, and music production, especially for vocalists and audio engineers working with vocal recordings.

Mastering formants allows producers and singers to enhance vocal clarity and create specific tonal effects, adding expressive depth to music.

Format

In music, format refers to the specific medium or file type through which audio is distributed and played. Formats can range from physical formats like vinyl records, CDs, and cassette tapes to digital formats like MP3, WAV, and FLAC files. Each format has its own characteristics that affect sound quality, portability, and storage requirements.

Physical formats, such as vinyl and CDs, are often appreciated for their tangible qualities and nostalgic value. Vinyl records, for example, offer a warm, analog sound that many audiophiles find appealing, while CDs provide high-quality, uncompressed audio in a durable form.

Digital formats have gained popularity due to their convenience and versatility. MP3 is one of the most common digital formats, known for its small file size, which makes it ideal for online sharing and storage, though it sacrifices some audio quality due to compression. WAV and FLAC formats, on the other hand, are preferred by audiophiles and professionals because they are lossless, preserving the original sound quality. WAV files are often used in production and mastering, while FLAC offers similar quality but with smaller file sizes, making it suitable for high-fidelity listening.

Formats also affect the listening experience. Streaming platforms like Spotify and Apple Music typically use compressed formats to optimize playback over the internet, while vinyl and CD formats are often reserved for physical collections and serious listening.

Choosing the right format depends on factors like sound quality preferences, storage capabilities, and intended use, making format selection an essential part of music production, distribution, and consumption.

Forwards

In the music industry, forwards refer to songs or tracks that have been reviewed, approved, and sent forward to potential clients for further consideration in music licensing or sync placements. This process typically takes place in music licensing companies or sync agencies, where a team of screeners or curators listens to submissions from artists, songwriters, and producers, selecting those that meet specific criteria or fit the needs of a particular project.

A forward means that a song has passed an initial selection phase and is being recommended to music supervisors, advertising agencies, filmmakers, or other clients looking to license music for use in movies, TV shows, commercials, video games, or other media. Receiving a forward does not guarantee a placement, but it indicates that the track is a strong fit and has made it to the next level of consideration.

For artists and composers, achieving a forward is a significant milestone in the sync licensing world, as it reflects both the quality and market suitability of their work. Forwards are often seen as an encouraging sign of progress in securing lucrative sync deals and expanding visibility within the industry.

Free Goods

Under the terms of a Recording Agreement, no Artist Royalties and no Mechanical Royalties (or a percentage of Mechanical Royalties) are payable by the Label for any free goods.

Three groups of records are considered to be free goods:

1. True Free Goods:

Promotional copies of Records. They are distributed to radio stations, music critics and other music journalists etc. True free goods not for sale or re-sale. Such records are stamped “For Promotional Use Only”, or a similar. That way they cannot become “returns”.

2. Real Free Goods:

Records distributed as Discounted Records. This may be a bulk purchase discount offered by a Distributor to their customers, or a similar incentive. Artists commonly try to limit numbers of discounted records as the discount usually accounts for the artist’s royalty. Record labels are happy to encourage higher numbers as it incentivises the distributor and their customers, while barely impacting Record Label income. Artists try to impose limitation through clauses within the Recording Agreement, which Record Labels then try to find ways to get around the limitations.

3. Fake Free Goods:

Records designated as non-royalty producing within the terms of a record deal where labels account to artists using a Royalty Base Price that is linked to the SRLP. In such a system, fluctuations in wholesale price do not impact the calculation of artist royalties. Alternatively, artist royalties can use a royalty base price linked to the wholesale price, giving the artist a percentage of net sales.

Freewheel Sync

A.K.A. Flywheel Sync. Using tape sync there were frequent timecode dropouts. Freewheel synchronization will interpret corrupted values.

Frequency

Frequency is the ratio of the wavelength of a waveform to time. In particular, it is the measure of how many times a waveform will repeat in 1 second.

Frequency = Wavelength * Time

Frequency is the rate at which a sound wave vibrates, measured in Hertz (Hz), and it determines the pitch of the sound. The higher the frequency, the higher the pitch, while lower frequencies correspond to lower pitches. For example, the note A4 (the A above middle C) has a frequency of 440 Hz, meaning the sound wave vibrates 440 times per second.

In audio production, frequency plays a crucial role in shaping the overall sound of a track. Human hearing generally ranges from 20 Hz (deep bass) to 20,000 Hz (high treble), with different frequencies contributing to various aspects of the audio. Low frequencies (20-250 Hz) create bass sounds that add depth and power; mid frequencies (250-4,000 Hz) carry the body of most instruments and vocals, providing clarity and warmth; and high frequencies (4,000-20,000 Hz) contribute brightness and detail.

Understanding frequency is essential for mixing and mastering, as it helps producers and engineers balance the sonic elements within a track. Using equalization (EQ), they can boost or reduce specific frequencies to enhance or diminish parts of the sound. For example, boosting lower frequencies can add fullness to bass and kick drums, while cutting certain mid frequencies can create space for vocals.

Frequency is a core concept in music theory and audio engineering, shaping not only the pitch of individual notes but also the texture and color of sound, affecting everything from the clarity of a mix to the emotional impact of a song.

Frequency Modulation (FM)

Frequency Modulation (FM) is a synthesis technique where the frequency of one audio signal (the carrier) is modulated by another signal (the modulator), resulting in complex, harmonic-rich sounds. Basically, the amplitude of the modulating signal dictates the amount of deviation from the carrier frequency, and the frequency of the modulating signal dictates the rate at which the deviation occurs.

By varying the modulating frequency and depth, FM synthesis can produce a wide range of tones, from bell-like textures to metallic or evolving sounds. FM synthesis was popularized in music technology by Yamaha’s DX7 synthesizer in the 1980s, leading to its frequent use in pop, electronic, and experimental music.

In FM synthesis, the carrier frequency is the primary sound you hear, while the modulator frequency determines the speed and depth of frequency changes. When the modulator’s frequency is within the audio range (20 Hz and above), it creates additional harmonic content, producing new frequencies called sidebands. These sidebands give FM synthesis its unique, often complex sound quality.

FM synthesis is particularly popular in digital synthesizers and digital audio workstations (DAWs) due to its ability to generate intricate and expressive sounds that differ from traditional subtractive synthesis. It’s commonly used to create sounds that are difficult to achieve with other methods, such as realistic electric pianos, percussive sounds, and evolving pads.

Learning to control FM synthesis requires understanding the relationships between carrier and modulator frequencies, as well as parameters like modulation depth. While it can be complex, FM synthesis is a powerful tool for sound designers and musicians looking to explore a broader palette of synthetic tones.

Frequency Response

Frequency response is a measure of how accurately an audio device reproduces sound across the full range of frequencies, typically from 20 Hz to 20,000 Hz, which covers the range of human hearing. This term is commonly used to describe the performance of speakers, headphones, microphones, and other audio equipment, indicating how well each device can reproduce bass, midrange, and treble frequencies without distortion or loss.

The frequency response of a device is often represented by a graph showing the output level across different frequencies, with a “flat” frequency response indicating that the device reproduces all frequencies equally. This is ideal in professional audio, as a flat response means the equipment faithfully reproduces the original sound without emphasizing or diminishing any specific frequencies. However, some devices are designed with “colored” frequency responses to enhance certain parts of the sound—like boosting bass frequencies for a richer low end, or highlighting treble for added brightness.

Frequency response is an important consideration when selecting audio equipment. For example, studio monitors are designed with a flat frequency response to ensure accurate sound during recording and mixing, allowing producers and engineers to hear a true representation of the audio. Headphones, on the other hand, might have a slight boost in bass or treble to enhance listening pleasure.

A good understanding of frequency response helps musicians, producers, and audio engineers choose equipment that suits their needs and maintain control over how their music sounds across different playback systems.

Fret

Metallic strip typically made of nickel-silver. Mounted on the fretboard, a fret marks the position on the guitar neck where a guitar string will create a specific pitch when pressure is applied behind the fret to shorten the guitar string length.

Fret Board

The face of the guitar neck, directly under the strings. The guitar frets are mounted on this board.

Frontline (Frontline Artist)

In the music industry, frontline refers to artists who are actively releasing and promoting new music. Frontline artists are usually at the forefront of a record label’s efforts, meaning they receive significant marketing and promotional support to maximize the reach and impact of their new releases. These artists are often prioritized over catalog or legacy artists, whose music is part of the label’s back catalog but not receiving major promotional pushes.

Frontline artists are typically expected to drive engagement, streaming numbers, and sales for the label, making them essential to a label’s current strategy and success. Because of this, labels and management teams may invest heavily in frontline artists by arranging tours, media appearances, and social media campaigns to generate buzz and build a fanbase.

For independent artists, being “frontline” often means putting intensive focus on new releases through coordinated efforts, such as digital marketing, playlist placements, press coverage, and regular content updates. Frontline status can be short-lived, as artists are often frontline only when actively releasing and promoting new music; however, being successful in this phase can lead to long-term popularity and career growth.

In summary, frontline status indicates an artist’s active, high-priority phase within the music industry, where the goal is to maximize visibility, engagement, and commercial success with new music.

FSK Sync

An old form of clock sync. Commonly used with the early Atari sequencers and drum machines.