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44 Cards in this Set
- Front
- Back
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Distance miking
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Placing a microphone far enough from the sound source to pick up most or all of an ensemble's blended sound, including room reflections
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Close miking
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Placing a microphone close to a sound source to pick up mostly direct sound and reduce ambience and leakage
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Off-miking
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Used to pick up instruments in an ensemble when they solo. A close-mikin technique but used when distant microphones are picking up the ensemble's overall sound and a solo passage needs to stand out
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DI Box
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A device used to connect a high-impedance, line level, unbalanced output signal to a low-impedance microphone level balanced input, usually via XLR connector.
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Coincidence miking
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An intensity/SPL based stereo pairing technique: Uses two of the same microphone crossed one above the other on a vertical axis with their diaphragms
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Near-coincidence miking
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A stereo microphone arrangement in which the mics are separated horizontally but the angle or space between their capsules is not more than several inches
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Spaced miking
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Two or three microphones spaced from several inches to several feet apart depending on the width of the sound source and the acoustics, for stereo recording
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In-the-ear monitoring
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Using small headphones instead of stage monitors to feed the sound blend to on-stage performers
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Linear editing
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Editing and modifying material in a predetermined, ordered sequence.
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Digital editing
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Allows the assembly of disk-based material in or out of sequence, taken from any part of a recording, and placed in any other part of the recording almost instantly
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Nonlinear editing
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Allows the assembly of material in or out of sequence, taken from any part of a recording, and placed in any other part of the recording almost instantly
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Soundfile
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A sound stored in the memory of a hard-disk recorder/editor
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Edit screen
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The window in a session on which tracks are shown and edits are made
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Ambience
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Background sound. A locations natural sound.
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Additive ambience
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Occurs when several actors are recorded at the same time on separate tracks of a multitrack recorder and the multiple room tones become cumulative when the tracks are mixed
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Segue
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Cutting from one effect to another with nothing in between OR playing two recordings one after the other, with no announcement in between
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Crossfade
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Fades out one segment while fading in another
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Destructive editing
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Changes the data on the disk by overwriting it.
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EDL
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A step-by-step list containing all the information on edits that are made
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Nondestructive editing
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Changes only the pointers, not the data on the disk (the original soundfile is not altered)
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Region/clip
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An uncut section of data on a track
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Drive management
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Organization and awareness of all project files and their locations
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Ring off
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Occurs when a dialogue line ends with the ambient ring of a room, and another line begins with that ring decrying under it
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Comping
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Takes the best part (or parts) of each recorded track and combines them into a composite final version
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Cut
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An instantaneous transition from one sound or picture to another
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Listening fatigue
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A pronounced dulling of the auditory senses, inhibiting perceptual judgement
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Rerecording
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The final stage in post-production, when the premixed tracks or stems are combined into stereo and surround sound and sent to the edit master
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Layering
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When many sounds occur at once, layering involves making sure that they remain balanced, in perspective, and intelligible in the ix
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Donut
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In mixing audio for a spot announcement, fading the music after it is established to create a hole for the announcement and then reestablishing the music at its former full level
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Backtiming
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A method of subtracting the time of a program segment from the total time of a program so that the segment and the program end simultaneously
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Deadpotting
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Starting a recording with the fader turned down all the way
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Subtractive EQ
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Attenuating, rather than boosting, frequencies to achieve equalization
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Complimentary EQ
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Equalizing sounds that share similar frequency ranges so that they complement, rather than interfere with, one another
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Format
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The specifications regarding a file type
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Mastering
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The final preparation of audio material for duplication and distribution
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Sweetening
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Enhancing the sound of a recording in postproduction through signal processing an dmixing
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Layover
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q
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Prelay
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,
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Premix
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The stage in postproduction when dialogue music, and sound effects are prepared for final mixing
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Layback
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This is a technical session putting the picture and sound back together ready for transmission. After your final mix when your sound is mixed against picture but not on the same tape, you need to get the sound back on the picture tape. Effectively you are laying the sound back on the master tape, hence the term layback
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Worldizing
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Recording room sound to add the sound of that space to a dry recording or to use it to enhance or smooth ambient backgrounds that are already part of the dialogue track
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Stereo -to-mono compatability
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Ensuring that a recording made in stereo is reproducible in mono without spatial or spectral distortion
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Localization
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Placement of a sound source in the stereo or surround-sound frame
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Surround-to-stereo-to-mono compatibility
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Ensuring that a recording made in surround sound is reproducible in stereo and mono without spatial or spectral distortion
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