Confusing mixing terms

Boomy: a build-up of low frequencies—often in low-pitched

drums—that causes an overpowering emphasis on the
sustain of the sound
Boxy: a lack of low and high frequencies; a sound that has
too much midrange
Crunchy: slightly distorted as a result of over-compression,
over-limiting, clipping, or intentional overdrive
Hiss: high-frequency noise, typically without any
recognizable pitch
Muddy: a build-up of low-mid frequencies that reduces the
ability to clearly hear individual elements of a mix
Pumping: short-duration volume surges caused by over-
compression, over-limiting, or incorrect configuration of a
compressor/limiter’s settings
Subbiness/Subby: excessive level in the “subwoofer
territory” (sub-low frequencies, typically below 60 Hz)
Attenuate: turn down or lower the level
Automation: changes to parameters such as gain and pan
that a system can record and play in synchronization with
the timeline of a project
Brickwall Limiter: a digital limiter that prevents its output
from exceeding a defined level regardless of input level (as
opposed to a ‘soft’ limiter)
Collisions: (Also referred to as Masking) minimized audibility
of a signal caused by the presence of similar frequencies in
another simultaneously-occurring sound (e.g. a bass guitar
with an abundance of 50 to 70 Hz may mask a kick with a
fundamental of 60 Hz)
Comb Filtering: frequency cancellations occurring in
intervals (e.g. 500 Hz, 1.5 kHz, 2.5 kHz, etc), typically due a
delay between multiple identical signals that are being
mixed together
Depth: differentiation between close and distant sounds
Flip the Phase (a.k.a Reverse Polarity): to invert the positive
and negative excursions of a signal 180 degrees. Positive
excursions become negative and negative excursions
become positive
Harmonics: multiples of a fundamental frequency (e.g. 2
kHz is the 2nd harmonic of 1 kHz)
Harmonic Distortion: coloration or modification of a signal
caused by the introduction of a series of harmonics
Harshness: an excessive amount of high frequencies
High Pass: a filter that reduces low frequencies but allows
high frequencies to pass through unaffected
Imaging: the ability to accurately position or distinguish
signals in the left-to-right stereo field
Low Pass: a filter that reduces high frequencies at a set
decibel per octave value, but allows low frequencies to pass
through unaffected
 
Metering: a tool used to help measure and evaluate the
level of a signal in a variety of different ways
Null Test: the process of combining two presumably
identical signals at identical volume and pan positions, with
the polarity of one signal flipped. They will null (completely
cancel out) and yield no output signal if they are identical
Parallel Processing: applying processing to a copy of an
original signal and mixing the copy and the original together
Phasing: timing differences when combining identical (or
nearly identical) signals. This can be a result of static delay
between the signals, and can also come from extreme
boosts when using non-linear phase EQs.
Resonant Peaks: occasional volume boosts at specific
frequencies, resulting from the sum of multiple signals
creating an increase in energy that is most noticeable in a
limited frequency range. Among other things, resonant
peaks can be caused by filter ring, mic placement, room
modes, and instruments that have uneven character.
Shelf: an EQ that applies a consistent boost or cut to all
frequencies above or below a defined frequency
Sibilance: spikes in loudness at high-frequencies in vocal
tracks, often caused by sharp consonant sounds such S’s
and T’s
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Sidechaining: using one signal to trigger a processor on a
different signal (typically feeding the sidechain of a
compressor with an altered or secondary signal). Keying is a
loose synonym
Smash: aggressively compress/limit a signal
Smearing:
1) decreased ability to distinguish the positioning of signals
in the left-to-right stereo field
2) phasing issues brought on by non-linear EQs (analog
style) during extreme boosts
Tonal balance: the distribution of energy across the audio
spectrum
Warmth: a tonal quality characterized by mild levels of even
harmonic distortion
Width: the perceived difference in left-to-right spacing between
signals (how “far apart” signals sound)
Hopefully, these definitions and examples bring some clarity to the
muddy waters of audio-mixing terminology.
Incorporate the terms into your vocabulary and enjoy the
improved communication with other professionals!