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99 Cards in this Set
- Front
- Back
Two purposes of VGA's |
1. They mediate 2. They change the frequency content |
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VGA |
Variable Gain Amplifiers |
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Three classes of VGA's |
1. Equalizers 2. Compressor/Limiters 3. Gates |
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The three classes of VGA's control what? |
1. Loudness (Level) 2. Dynamic Range |
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How are the three classes of VGA's added to the signal? |
Directly with a direct patch |
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Equalization |
Any intentional modification of an audio system's frequency response |
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Parameters/Controls on an Equalizer |
1. Gain 2. Frequency Selector 3. Q (Bandwidth) Selector |
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Gain |
Boost or attenuation control (turn up/turn down) |
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Frequency Selector |
The control that determines which frequency ranges will be boosted/attenuated |
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Q (Bandwidth) Selector |
The range or how many frequencies above and below the selected frequency that are subject to the greatest boost or attenuation |
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Compression/Limiting |
Dynamically controlling the volume (level) of loud portions of a sound, so that the quiet portions can be made louder which increases the average loudness, and, psychologically, its perceived power |
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Gentle Compression |
2:1; 4:1; 8:1 |
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Compression: Basic Parameters/Controls |
1. Threshold (input) 2. Compression Ratio 3. Gain after compression (make-up; gain) 4. Attack Time 5. Release Time |
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Threshold (input) |
Point in loudness where dynamics begin to change (where compressor begins to act) |
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Compression Ratio |
The higher the compression ratio, the more sound is clamped down
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Gain after Compression |
Raises average level; sounds more powerful even though the peak level is no different |
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Attack Time |
The point IN TIME where the compressor begins to act |
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Release Time |
How quickly a compressor goes back to not compressing |
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Attenuation |
Removing or lowering the level of a selected group of frequencies (opposite of boost/amplification) |
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Center Frequency |
In an equalizer, the frequency at which maximum boost or attenuation occurs |
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High Shelf Equalizer |
A device which affects all frequencies above a given reference point (or cutoff); May be fixed or variable point |
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Frequency |
the number of vibrations in the air per unit of time; measured in hertz |
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High pass filter |
an EQ which rolls off low frequencies |
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Low Shelf Equalizer |
A device which affects all frequencies below a given reference point |
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Low Pass Filter |
An EQ which rolls off high frequencies |
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Parametric Equalizer |
An equalization device which the frequency selector, bandwidth, and amplification/attenuation are continuously variable |
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Peak Notch EQ (or filter) |
An EQ which operates between the shelves whose bandwidth can be fixed or variable from wide to narrow |
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Subractive Equalization |
Emphasizes lowering unwanted frequencies, rather than adding desired frequencies |
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High Frequencies |
10,000 Hz to 16,000 Hz Sweet highs; sizzle 's' sound in the female human voice; stick strike on a cymbal |
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Lower High Frequencies |
7,000 Hz to 10,000 Hz Brilliance 's' sounds in the male voice, stick strike on a cymbal |
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High Midrange Frequencies |
2,500 Hz to 7,000 Hz Tinny; Ouch frequencies Nasal overtones in some human voices |
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Midrange Frequencies |
800 Hz to 3,000 Hz Telephone frequencies; Cardboard frequencies Overtones in bass guitar; earpiece of a telephone; Dog bark |
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High Bass Frequencies |
150 Hz to 800 Hz Warmth Chesty overtones in male human voice; High overtones in bass drum; drone of street traffic |
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Low Bass Frequencies |
40 Hz to 150 Hz Low lows; felt rather than heard Thunder; audible frequencies in an earthquake; explosions |
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Acoustics |
The study of or pertaining to the nature of sound as it behaves in a space |
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Absorption |
The characteristics of a room's construction, which result in a LACK OF REFLECTION of sound waves |
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Ambient Noise |
A room "at rest" |
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Bright Room |
An acoustic space whose construction encourages the absorption of lower frequencies and a reflection of upper frequencies |
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Dark Room |
An acoustic space whose construction encourages the absorption of higher frequencies and a reflection of lower frequencies |
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Control Room |
The area of a recording studio housing the recording console and other recording equipment. Isolated from the performers |
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Critical Distance |
The point in an enclosed space where direct and reverberant fields are at an equal perceived loudness |
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Cocktail Party Effect |
The capacity of the human listening apparatus to selectively hear or pick out one sound from a competing and equally loud group of sounds |
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Decibel |
The quietest sound or the smallest increase or decrease in the loudness of a sound |
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Decay Time |
The time it takes sound to "die out" |
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Direct Sound |
sound waves that reach the listener before reflecting off any surface |
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Dry/Wet (Dead/Live) |
Used to describe the relative amount or intensity of reverberation in a space -Dry/Dead = less reverb -Wet/Live = more/longer reverb |
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Early Reflections |
Reflections of the original sound that arrive back at the listener within 10-20 milliseconds |
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Echo |
Reflected sound discernible as separate, coherent delayed repetition of the initial sound |
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Flanking |
The ability of sound to bypass a sound barrier at the edges |
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Gobo |
A portable sound absorbing panel used to acoustically separate one sound from another |
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hertz |
the unit of measurement of frequency |
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Isolation |
the acoustic separation of one sound source from another |
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Phase |
The polarity relationship between two signals or sound sources |
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Pre-Delay |
The initial reflection of a sound, which remains a coherent repetition before it becomes random and more closely spaced over time |
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Reverberation |
Multiple reflections of sound becoming more closely and randomly spaced over time 1. room size 2. Angles of Reflection 3. Amount and frequency of sounds absorbed and reflected by materials of which room is constructed
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Sound Stage |
The area housing the performers, microphones, etc. Isolated from control room |
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Standing Wave (Flutter Echo) |
A stationary wave form, created by a continuous reflection of a sound back and away from a sound source |
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Voicing a Room |
the process of adjusting the equalization of a loudspeaker to take into account the reverb characteristics of an acoustic space |
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Three characteristics that determine a mics usefulness |
1. Pick-up Pattern 2. Frequency Response 3. Condenser or Dynamic |
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Types of Pick-up Patterns |
Cardioid Omni-directional Bi-directional Hyper Cardioid Shotgun Hemispherical
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A flat frequency response in a microphone means that it: |
Has a consistent response to sound within its frequency limits |
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Mic Accessories |
PADs Roll-off switches Variable pick-up pattern switches Wind Screens Shock Mounts |
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Dynamic Mics |
Shure SM58 Shure 520 Shure SM57 Royer R101 Sennheiser MD421 Shure SM7 Sennheiser E835 ElectroVoice RE27 Sennheiser MD441 AKG D112 Shure Beta52 |
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Condenser Mics |
Rode NT-1 Neumann U-87 Rode NT-2 Peluso P47 Audio Technica 4041 Crown PZM OKTAVA MK012 Shure VP88 Neumann KM-84 AKG C3000 SONY C48 AKG C414
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Specialty Mics |
Peluso P47 Crown PZM Shure VP88 |
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Shure |
SM58 Sm57 Beta52 520 VP88 SM7 |
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Sennheiser |
MD421 E835 MD441 |
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ElectroVoice |
RE27 |
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AKG |
D112 C414 C3000 |
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Royer |
R101 |
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Rode |
NT-1 NT-2 |
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Audio Technica |
4041 |
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OKTAVA |
MK012 |
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Neumann |
KM-84 U-87 |
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Sony |
C48 |
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Peluso |
P47 |
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Crown |
PZM |
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Cardiod |
Shure SM58 Shure 520 Shure SM57 Rode NT-1 Sennheiser MD421 Audio Technica 4041 Sennheiser E835 OKTAVA MK012 ElectroVoice RE27 Neumann KM-84 Shure SM7 AKG C3000 AKG D112 Shure Beta52 |
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Multi-Pattern |
Sony C48 AKG C414 Neumann U-87 Peluso P47 |
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Other Pick-up Patterns |
Rode NT-2 (Omni-cardiod) Royer R101 (Bi-directional) Crown PZM (Hemispherical) Shure VP88 (MS Stereo) |
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Alternate Routing |
Moves sound around for a while WITHIN the mixer before it hits the master stereo fader and the monitor speakers |
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Direct Patch |
An alternate route within itself; Stops the sound, routes it out of the fader, through a signal processor, and back to fader; A virtual pathway |
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Send |
The beginning of an extra pathway out of a fader (the faucet). Controls the level or strength of the audio going through this extra pathway. |
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bus |
A hose that can be connected to the output of a send , to the input of a fader or aux fader or to the output of a recorded track/ aux fader. When accessing a send point it FORCES you to connect it to a bus |
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Auxiliary Fader |
All purpose pathway and destination for sound at the same time. You can't record on it, but you can connect it to a bus, send sound through it, use patch points to change volume, etc. Output is always Master Stereo Fader. |
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Four Alternate Routings |
1. Insert/Patch Point 2. Effects Loop 3. Aux Fader 4. Grouping Tracks
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Three purposes of Acoustic Simulators |
1. They emulate and create 2. They enhance the stereo image 3. They introduce novelty |
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How are acoustic simulators applied? |
A send and return (EFFECTS LOOP) |
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Basic Parameters of Reverberation |
Decay Time Angles of Reflection Room size EQ Room type |
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Basic Parameters of Delay/Echo |
Delay time Feedback Room size Room Type |
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The Feedback parameter on an echo processor controls: |
the number of repetitions of the sound |
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Automation |
Creating repeatable and unsupervised changes |
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Most commonly made automations |
Track Volume Panning Effects Send Level Processor Parameters |
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Two virtual tools that control Automation |
Automation enable window Automation 'mode' selector |
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Automation Enable Window |
Determines which control on the mixer will be automated |
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Automation 'Mode' Selector |
Controls whether the automation commands will be written, updated, or read back by the session (determines what's happening to the sound) |
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Real-time automation requires what two things? |
Automation enable and mode controls |
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Two types of Automation |
Real time (gives you finesse) Drawn in (Gives you precision) |
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Drawn in automation requires what? |
ONLY mode control be set to Auto read |