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Bass:
Describes tones of low frequency (approximately 500Hz and below). Played in an ensemble/orchestra such notes are frequently used to provide a counterpoint or counter-melody, in an harmonic context either to outline or juxtapose the progression of the chords, or with percussion to underline the rhythm. In popular music the bass part usually provides harmonic and rhythmic support, usually playing the root or fifth of the chord and stressing the onbeats.
Compression/Compressor:
A process/processor that “squeezes” the dynamic range of the signal by limiting peaks and bringing up the level of soft passages. A limiter can be used to fatten a sound or give it more apparent sustain. If you’ve ever wondered why music sounds kind of flat on FM radio compared to live, overuse of compression can be one reason.
EQ/Equalizing:
A device/technique used to cut and boost individual frequencies of an audio signal using a number of filters. The name "equalizer" comes from the original application of correcting distorted audio signals to sound closer to the original source. Graphic and Parametric are different types of equalizers used by audio equipment and software plug-ins.
Gate/Gating:
A device/technique that opens or closes a pathway by stopping signals that fall below a user-defined level. Audio gates often are used to salvage noisy tape tracks and silence "dirty" sound systems: The gate stays closed—blocking residual, low-level noise—until the audio signal's level exceeds a user-determined threshold. Then, the gate opens, allowing the sound to be heard. Gates can also be used to create effects such as gated reverb.
Filters:
Filters are tools used in music production which are used to remove certain frequencies to the best of their abiliy. This can mean taking bass (low frequencies) out of a sound, taking treble (low frequencies) out, or any frequencies in between. Typical filters have two main adjustable values: cut-off and resonance. Cut-off determines the frequencies to be "cut out" or removed after or on a certain point. Generally, in a filter, resonance will boost the natural frequency of a sound depending on the cutoff frequency and can make a sound sharper.
Panning:
Panning is the act of biasing the volume of a sound towards one channel (left or right). Each DAW has at least one pan knob, slider, or similar. Panning can work from 0%-100% left or right.
ADSR (AKA Envelopes):
Each envelope contains the following: Attack, Decay, Sustain, Release. An envelope is used to shape the velocity of a sound. The envelope simulates how an instrument should sound (e.g. a piano has a short decay, a string instrument may have a long attack and release). Attack is the length of time it takes for the instrument to reach full volume. Decay determines how big the dying time of a played note is. Sustain is the length of a note - with full sustain a note will continually play whereas with short sustain a note will play for a short time. Release determines how long a note will decay for after a note has been pressed. Sustain affects how long the note will play. At full sustain, the note will play out its full length, whereas at a lower setting the note will slowly fade out even if there is still note left to be played in terms of midi. A null value for the decay and a full value for the sustain will still play a full-length note. The sustain is similar to the feedback on a delay unit. Release determines during how long a time the note will fade out after a playing note has come to an end.
LFO:
The primary oscillator circuits of a synthesizer are used to create the audio signals. An LFO is a secondary oscillator that operates at a significantly lower frequency (hence its name), typically around or below the threshold of human hearing (which is approximately 20Hz). This lower frequency or control signal is used to modulate the audio signal, changing it without introducing another sound-signal source.
An LFO can be routed to control, for example, the frequency of the audio oscillator, its phase, stereo panning, filter frequency, or amplification. When routed to control pitch, an LFO creates vibrato. When an LFO modulates amplitude (volume), it creates tremolo. On most synthesizers and sound modules, LFOs feature several controllable parameters, which often include a variety of different waveforms, a rate control, routing options (as described above), a tempo sync feature, and an option to control how much the LFO will modulate the audio signal.
You guys can add up more here. Did some research on a popular EDM website and compiled it for the producers here.
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