Music Production English - 音楽制作英語
DAW & Production Basics
| Term | Japanese | Explanation |
|---|---|---|
| DAW | デジタルオーディオワークステーション | Digital Audio Workstation (Logic, Ableton, Pro Tools) |
| track | トラック | Individual channel for audio/MIDI |
| bus | バス | Route multiple tracks to a single channel for group processing |
| send | センド | Route a copy of a signal to an effects bus |
| return | リターン | The bus that receives a send signal |
| bounce | バウンス | Export/render audio from the DAW |
| stem | ステム | Individual exported track or group (drums stem, vocal stem) |
| session | セッション | The working file in a DAW |
| tempo | テンポ | Speed of the music in BPM (beats per minute) |
| time signature | 拍子 | 4/4, 3/4, 6/8, etc. |
| quantize | クオンタイズ | Snap notes to a grid for perfect timing |
| automation | オートメーション | Programmed parameter changes over time |
| gain staging | ゲインステージング | Managing signal levels throughout the chain |
| latency | レイテンシー | Delay between input and output |
| buffer size | バッファサイズ | Affects latency vs. CPU load tradeoff |
| plugin | プラグイン | Software effect or instrument (VST, AU, AAX) |
| sample rate | サンプルレート | 44.1kHz, 48kHz, 96kHz, etc. |
| bit depth | ビット深度 | 16-bit, 24-bit, 32-bit float |
| MIDI | ミディ | Musical Instrument Digital Interface |
| audio interface | オーディオインターフェース | Hardware for connecting mics/instruments to computer |
Recording
| Term | Japanese | Context |
|---|---|---|
| take | テイク | "Let's do another take." (もう一回録ろう) |
| punch in/out | パンチイン/アウト | Re-record a specific section |
| overdub | オーバーダブ | Record additional layers on top |
| comping | コンピング | Selecting the best parts from multiple takes |
| click track | クリック/メトロノーム | Metronome track for timing reference |
| scratch track | スクラッチトラック | Rough reference recording |
| bleed | 被り/かぶり | Sound from other sources leaking into a mic |
| proximity effect | 近接効果 | Bass boost when close to a directional mic |
| pop filter | ポップフィルター | Screen to reduce plosive sounds (p, b) |
| DI (Direct Input) | ダイレクトインプット | Recording instrument directly without a mic |
| phantom power | ファンタム電源 | 48V power for condenser mics |
| gain | ゲイン | Input level of a preamp |
| headroom | ヘッドルーム | Space between peak level and clipping |
| clipping | クリッピング | Distortion from signal exceeding 0dB |
| noise floor | ノイズフロア | The base level of unwanted noise |
Microphone Types
| Type | Japanese | Best For |
|---|---|---|
| condenser | コンデンサー | vocals, acoustic instruments, overheads |
| dynamic | ダイナミック | loud sources, live performance, guitar amps |
| ribbon | リボン | warm tone, room ambience, brass |
| shotgun | ガンマイク | dialogue, field recording |
Mixing
EQ (Equalization)
| Term | Japanese | Explanation |
|---|---|---|
| low-cut / high-pass filter | ローカット | Remove frequencies below a point |
| high-cut / low-pass filter | ハイカット | Remove frequencies above a point |
| shelf | シェルフ | Boost/cut all frequencies above or below a point |
| bell curve / parametric | ベルカーブ | Boost/cut a specific frequency range |
| bandwidth / Q | Q値 | How narrow or wide the EQ band is |
| notch | ノッチ | Very narrow cut to remove a problem frequency |
| muddy | もっさり/こもった | Too much low-mid energy (200-500Hz) |
| harsh | きつい/痛い | Too much high-mid energy (2-5kHz) |
| airy | 空気感のある | Boosted high frequencies (10kHz+) |
| boomy | ブーミー | Excessive low frequencies |
| tinny | 薄っぺらい | Lacking low frequencies |
| boxy | 箱鳴り感 | Resonance around 300-600Hz |
Compression
| Term | Japanese | Explanation |
|---|---|---|
| threshold | スレッショルド | Level where compression starts |
| ratio | レシオ | Amount of compression (2:1, 4:1, etc.) |
| attack | アタック | How fast the compressor reacts |
| release | リリース | How fast the compressor stops |
| knee | ニー | Soft or hard transition into compression |
| makeup gain | メイクアップゲイン | Gain added after compression |
| sidechain | サイドチェイン | Use another signal to trigger compression |
| limiter | リミッター | Extreme compression to prevent clipping |
| parallel compression | パラレルコンプ | Blend compressed and dry signals |
| multiband compression | マルチバンドコンプ | Compress different frequency ranges independently |
| de-esser | ディエッサー | Reduce sibilance (s sounds) in vocals |
Effects
| Effect | Japanese | Description |
|---|---|---|
| reverb | リバーブ | Simulates room acoustics |
| delay | ディレイ | Echo effect |
| chorus | コーラス | Thickens sound by slight detuning copies |
| flanger | フランジャー | Swept comb filter effect |
| phaser | フェイザー | Phase-shifted copies of signal |
| distortion | ディストーション | Adds harmonic overtones |
| saturation | サチュレーション | Subtle, warm distortion |
| tremolo | トレモロ | Volume modulation |
| vibrato | ビブラート | Pitch modulation |
Mixing Terms
| Term | Explanation |
|---|---|
| panning | Placing sounds left/right in stereo field |
| stereo width | How wide the stereo image is |
| mono compatibility | How the mix sounds summed to mono |
| frequency masking | Two sounds competing in the same frequency range |
| separation | Each instrument having its own space |
| glue | Making elements sound cohesive |
| in the pocket | Tight, groove-locked timing |
| punchy | Strong transients, impactful |
| warm | Pleasant low-mid and harmonic content |
| bright | Emphasized high frequencies |
| dark | Reduced high frequencies |
| dry | No effects applied |
| wet | Fully effected signal |
Mastering
| Term | Explanation |
|---|---|
| LUFS | Loudness Units Full Scale — standard loudness measurement |
| peak level | Maximum signal level |
| RMS level | Average signal level |
| true peak | Inter-sample peak measurement |
| loudness normalization | Streaming platforms adjust volume (-14 LUFS Spotify) |
| dithering | Adding noise when reducing bit depth |
| limiting | Preventing the signal from exceeding a set level |
| stereo enhancement | Widening the stereo image |
| mid/side processing | Processing center and sides independently |
| reference track | A professional track used for comparison |
| A/B comparison | Switching between two versions to compare |
Genres & Styles
| Genre | Description | Key Characteristics |
|---|---|---|
| EDM | Electronic Dance Music | Four-on-the-floor kick, synths, drops |
| lo-fi | Low fidelity | Vinyl crackle, tape saturation, chill |
| trap | Hip-hop subgenre | 808s, hi-hat rolls, heavy bass |
| shoegaze | Guitar-driven dreamy | Layered reverb, distorted guitars |
| ambient | Atmospheric | Pads, textures, minimal rhythm |
| indie | Independent | DIY aesthetic, various sounds |
| R&B | Rhythm and Blues | Soul vocals, groove, neo-soul |
| jazz fusion | Jazz + other genres | Complex harmony, improvisation |
Studio Communication
Directing a Session
- "Can you give me a bit more energy on the chorus?"
- "Let's punch in at bar 32."
- "Take it from the bridge."
- "Can you lay down a scratch track?"
- "The vocals need more presence."
- "It sounds a bit muddy in the low mids."
- "Let's try it with a different feel / groove."
- "Can you play it legato / staccato?"
- "Let's double-track the guitars."
- "The snare needs more crack / snap."
- "The mix sounds too cluttered — let's thin things out."
- "Can we get more low end / top end on this?"
- "This part needs to breathe more."
- "Let's add some ear candy in the second verse." (細かい装飾音)