Audio 2

Front 1

Two purposes of VGA's

Back 1

1. They mediate

2. They change the frequency content

Front 2

VGA

Back 2

Variable Gain Amplifiers

Front 3

Three classes of VGA's

Back 3

1. Equalizers

2. Compressor/Limiters

3. Gates

Front 4

The three classes of VGA's control what?

Back 4

1. Loudness (Level)

2. Dynamic Range

Front 5

How are the three classes of VGA's added to the signal?

Back 5

Directly with a direct patch

Front 6

Equalization

Back 6

Any intentional modification of an audio system's frequency response

Front 7

Parameters/Controls on an Equalizer

Back 7

1. Gain

2. Frequency Selector

3. Q (Bandwidth) Selector

Front 8

Gain

Back 8

Boost or attenuation control (turn up/turn down)

Front 9

Frequency Selector

Back 9

The control that determines which frequency ranges will be boosted/attenuated

Front 10

Q (Bandwidth) Selector

Back 10

The range or how many frequencies above and below the selected frequency that are subject to the greatest boost or attenuation

Front 11

Compression/Limiting

Back 11

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

Front 12

Gentle Compression

Back 12

2:1; 4:1; 8:1

Front 13

Compression: Basic Parameters/Controls

Back 13

1. Threshold (input)

2. Compression Ratio

3. Gain after compression (make-up; gain)

4. Attack Time

5. Release Time

Front 14

Threshold (input)

Back 14

Point in loudness where dynamics begin to change (where compressor begins to act)

Front 15

Compression Ratio

Back 15

The higher the compression ratio, the more sound is clamped down

Front 16

Gain after Compression

Back 16

Raises average level; sounds more powerful even though the peak level is no different

Front 17

Attack Time

Back 17

The point IN TIME where the compressor begins to act

Front 18

Release Time

Back 18

How quickly a compressor goes back to not compressing

Front 19

Attenuation

Back 19

Removing or lowering the level of a selected group of frequencies (opposite of boost/amplification)

Front 20

Center Frequency

Back 20

In an equalizer, the frequency at which maximum boost or attenuation occurs

Front 21

High Shelf Equalizer

Back 21

A device which affects all frequencies above a given reference point (or cutoff); May be fixed or variable point

Front 22

Frequency

Back 22

the number of vibrations in the air per unit of time; measured in hertz

Front 23

High pass filter

Back 23

an EQ which rolls off low frequencies

Front 24

Low Shelf Equalizer

Back 24

A device which affects all frequencies below a given reference point

Front 25

Low Pass Filter

Back 25

An EQ which rolls off high frequencies

Front 26

Parametric Equalizer

Back 26

An equalization device which the frequency selector, bandwidth, and amplification/attenuation are continuously variable

Front 27

Peak Notch EQ (or filter)

Back 27

An EQ which operates between the shelves whose bandwidth can be fixed or variable from wide to narrow

Front 28

Subractive Equalization

Back 28

Emphasizes lowering unwanted frequencies, rather than adding desired frequencies

Front 29

High Frequencies

Back 29

10,000 Hz to 16,000 Hz

Sweet highs; sizzle

's' sound in the female human voice; stick strike on a cymbal

Front 30

Lower High Frequencies

Back 30

7,000 Hz to 10,000 Hz

Brilliance

's' sounds in the male voice, stick strike on a cymbal

Front 31

High Midrange Frequencies

Back 31

2,500 Hz to 7,000 Hz

Tinny; Ouch frequencies

Nasal overtones in some human voices

Front 32

Midrange Frequencies

Back 32

800 Hz to 3,000 Hz

Telephone frequencies; Cardboard frequencies

Overtones in bass guitar; earpiece of a telephone; Dog bark

Front 33

High Bass Frequencies

Back 33

150 Hz to 800 Hz

Warmth

Chesty overtones in male human voice; High overtones in bass drum; drone of street traffic

Front 34

Low Bass Frequencies

Back 34

40 Hz to 150 Hz

Low lows; felt rather than heard

Thunder; audible frequencies in an earthquake; explosions

Front 35

Acoustics

Back 35

The study of or pertaining to the nature of sound as it behaves in a space

Front 36

Absorption

Back 36

The characteristics of a room's construction, which result in a LACK OF REFLECTION of sound waves

Front 37

Ambient Noise

Back 37

A room "at rest"

Front 38

Bright Room

Back 38

An acoustic space whose construction encourages the absorption of lower frequencies and a reflection of upper frequencies

Front 39

Dark Room

Back 39

An acoustic space whose construction encourages the absorption of higher frequencies and a reflection of lower frequencies

Front 40

Control Room

Back 40

The area of a recording studio housing the recording console and other recording equipment. Isolated from the performers

Front 41

Critical Distance

Back 41

The point in an enclosed space where direct and reverberant fields are at an equal perceived loudness

Front 42

Cocktail Party Effect

Back 42

The capacity of the human listening apparatus to selectively hear or pick out one sound from a competing and equally loud group of sounds

Front 43

Decibel

Back 43

The quietest sound or the smallest increase or decrease in the loudness of a sound

Front 44

Decay Time

Back 44

The time it takes sound to "die out"

Front 45

Direct Sound

Back 45

sound waves that reach the listener before reflecting off any surface

Front 46

Dry/Wet (Dead/Live)

Back 46

Used to describe the relative amount or intensity of reverberation in a space

-Dry/Dead = less reverb

-Wet/Live = more/longer reverb

Front 47

Early Reflections

Back 47

Reflections of the original sound that arrive back at the listener within 10-20 milliseconds

Front 48

Echo

Back 48

Reflected sound discernible as separate, coherent delayed repetition of the initial sound

Front 49

Flanking

Back 49

The ability of sound to bypass a sound barrier at the edges

Front 50

Gobo

Back 50

A portable sound absorbing panel used to acoustically separate one sound from another

Front 51

hertz

Back 51

the unit of measurement of frequency

Front 52

Isolation

Back 52

the acoustic separation of one sound source from another

Front 53

Phase

Back 53

The polarity relationship between two signals or sound sources

Front 54

Pre-Delay

Back 54

The initial reflection of a sound, which remains a coherent repetition before it becomes random and more closely spaced over time

Front 55

Reverberation

Back 55

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

Front 56

Sound Stage

Back 56

The area housing the performers, microphones, etc. Isolated from control room

Front 57

Standing Wave (Flutter Echo)

Back 57

A stationary wave form, created by a continuous reflection of a sound back and away from a sound source

Front 58

Voicing a Room

Back 58

the process of adjusting the equalization of a loudspeaker to take into account the reverb characteristics of an acoustic space

Front 59

Three characteristics that determine a mics usefulness

Back 59

1. Pick-up Pattern

2. Frequency Response

3. Condenser or Dynamic

Front 60

Types of Pick-up Patterns

Back 60

Cardioid

Omni-directional

Bi-directional

Hyper Cardioid

Shotgun

Hemispherical

Front 61

A flat frequency response in a microphone means that it:`

Back 61

Has a consistent response to sound within its frequency limits

Front 62

Mic Accessories

Back 62

PADs

Roll-off switches

Variable pick-up pattern switches

Wind Screens

Shock Mounts

Front 63

Dynamic Mics

Back 63

Shure SM58 Shure 520

Shure SM57 Royer R101

Sennheiser MD421 Shure SM7

Sennheiser E835

ElectroVoice RE27

Sennheiser MD441

AKG D112

Shure Beta52

Front 64

Condenser Mics

Back 64

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

Front 65

Specialty Mics

Back 65

Royer R101

Peluso P47

Crown PZM

Shure VP88

Front 66

Shure

Back 66

SM58

Sm57

Beta52

520

VP88

SM7

Front 67

Sennheiser

Back 67

MD421

E835

MD441

Front 68

ElectroVoice

Back 68

RE27

Front 69

AKG

Back 69

D112

C414

C3000

Front 70

Royer

Back 70

R101

Front 71

Rode

Back 71

NT-1

NT-2

Front 72

Audio Technica

Back 72

4041

Front 73

OKTAVA

Back 73

MK012

Front 74

Neumann

Back 74

KM-84

U-87

Front 75

Sony

Back 75

C48

Front 76

Peluso

Back 76

P47

Front 77

Crown

Back 77

PZM

Front 78

Cardiod

Back 78

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

Front 79

Multi-Pattern

Back 79

Sony C48

AKG C414

Neumann U-87

Peluso P47

Front 80

Other Pick-up Patterns

Back 80

Rode NT-2 (Omni-cardiod_

Royer R101 (Bi-directional)

Crown PZM (Hemispherical)

Shure VP88 (MS Stereo)

Front 81

Alternate Routing

Back 81

Moves sound around for a while WITHIN the mixer before it hits the master stereo fader and the monitor speakers

Front 82

Direct Patch

Back 82

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

Front 83

Send

Back 83

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.

Front 84

bus

Back 84

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

Front 85

Auxiliary Fader

Back 85

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.

Front 86

Four Alternate Routings

Back 86

1. Insert/Patch Point

2. Effects Loop

3. Effects Loop

4. Grouping Tracks

Front 87

Three purposes of Acoustic Simulators

Back 87

1. They emulate and create

2. They enhance the stereo image

3. They introduce novelty

Front 88

How are acoustic simulators applied?

Back 88

A send and return (EFFECTS LOOP)

Front 89

Basic Parameters of Reverberation

Back 89

Decay Time

Angles of Reflection

Room size

EQ

Room type

Front 90

Basic Parameters of Delay/Echo

Back 90

Delay time

Feedback

Room size

Room Type

Front 91

The Feedback parameter on an echo processor controls:

Back 91

the number of repetitions of the sound