Brooks GT 845 Automatic Gain Control (Automatic Volume Control)

A compressor with a very long release time used to keep the volume of the audio very constant.

First Generation
A descriptive term meaning original (as opposed to a copy).

Brooks XB 33 Ambient Micing
Placing a microphone in the reverberant field (where the reverberation is louder than the direct sound) so as to do a separate recording of the ambience or to allow the recording engineer to change the mix of direct to reverberant sound in recording.

Bi-Amplification
1) A way of optimizing the efficiency of a speaker system by separately amplifying the High Frequency (HF) and Low Frequency (LF) portions of the sound signal and sending them down two pairs of cables to the speaker. Multipin Speakon connectors have been developed to do this.
2)The process of having of having low-frequency speakers and high-frequency speakers driven by separate amplifiers.

Brooks KM 22 Bass
1) The lower range of audio frequencies up to approximately 250 Hz.
2) Short for Bass Guitar.
3) Lower end of the musical scale. In acoustics, the range (below about 200 Hz) in which there are difficulties, principally in the reproduction of sound, due to the large wavelengths involved.
4) The lower frequencies.
5) On the soundboard this should refer to the bass guitar channel, not the bass drum.
6) The lowest frequencies of sound. Bi-Amplification uses an electronic crossover or line-level amplifiers for the high and low frequency loudspeaker drivers.

Face
The front or body of the guitar.

Comb Filter
1) The frequency response achieved by mixing a direct signal with a delayed signal of equal strength especially at short delays.
2) Loosely used to also describe effects that can be achieved with comb filtering as part of the processing.

Feedback
1) The delayed signal sent back to the input of a delay line, used in repeat-echo effects.
2) The pickup of the signal out of a channel by its input or the howling sound that this produces.
3) In an amplifier, the phase reversed output signal sent back to its input, reducing gain but also distortion and noise.
4) This occurs when the sound coming out of the speakers goes back into the microphones, then back out the speakers, then back into the mics…and so on. This can build very quickly to a point where everyone in the room is holding their ears and screaming at you. It can also cause damage to the PA.