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327 Cards in this Set
- Front
- Back
A pre Fader Fader split into the Monitor Fader, after being processed by an insert, filter, or EQ. It is achieved by pressing both "IN" buttons in your processor section on any I/O.
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Y-split
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When mixing, your auxiliary send(s) for purposes of parallel compression should be pre or post fader?
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post
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On the Neotek, how many dB can any given Q (in the EQ section) on a mono I/O be amplified or attenuated?
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12
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What is the highest frequency the High Pass Filter can be dialed to on the Neotek?
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375
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On a high/low pass filter, frequencies attenuated less than 3dB are in the ___________.
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passband
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On a high/low pass filter, frequencies attenuated more than 3dB are in the ___________.
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stopband
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On a high/low pass the filter, the frequency at which the signal is attenuated by exactly 3dB is ______________.
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turnover
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The Q factor of a peaking EQ refers to the ______________.
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bandwidth
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What is a high-pass and low-pass filter used in conjunction?
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band-pass
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What is missing from a semi-parametric EQ?
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bandwidth
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What kind of filter uses an op-amp?
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active
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What type of filter is used to remove hum and discreet frequency noises?
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notch
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Which filter refers to a rise/drop at a selected frequency and tapers off to a preset level to the end of the audio spectrum?
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shelving
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What controls the progression of amplification/attenuation from the flat position?
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slew rate
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Who created the Parametric EQ?
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George Massenburg
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A selectable frequency EQ allows the user to choose any frequency the user likes.
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no
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On a graphic EQ, the physical positions of the controls give a "graphic" representation of the overall __________________
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frequency response curve
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On a graphic EQ, the physical positions of the controls give a "graphic" representation of the overall frequency response curve.
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no
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The passive filter was created before the active filter.
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yes
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What is an advantage to using digital audio transfer protocols?
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conversion
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Which of the following is an advantage of Toslink Fiber Optic connections? \n A. Balanced \t\n\tB. Transmission speed \t\n\tC. Incredible distance \t\n\tD. No RFI - Radio Frequency Interference \n\tE. No ground loops \t\n\tF. No EMI - Electro Magnetic Interference
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DEF
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Which transfer protocol uses toslink and RCA?
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S/PDIF
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What is the professional protocol for the transmission of stereo digital audio?
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AES/EBU
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What is the maximum number of channels that ADAT Optical can transmit?
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8
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DVD, Vinyl Record, Compact Disc, Hard Drive: One characteristic of all of these is that they are all_______.
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non linear
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What kind of connector does an ADAT use?
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toslink
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What is the best description for Random Access?
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non-linear
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How many master word clocks should an all-digital studio have?
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1
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A compressor is what type of processor?
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Dynamic
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Does compression happen above or below the threshold ?
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above
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Is ratio a constant or variable ?
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constant
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Should a compressor be patched across the aux send or insert?
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insert
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What happens with a 1:1 ratio?
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nothing
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What two parameters create gain reduction?
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ratio and threshold
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Which parameter on a compressor if set to fast will create pumping or breathing?
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release
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Compression will never meet nor exceed the threshold level.
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yes
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Today, all tracking engineers need compression to record with.
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no
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Run on the Neve = what in sync?
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External Sync
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Sync is used most commonly for _________
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post-production
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When was SMPTE developed?
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1970s
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How fast is cassete tape in inches per sec?
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1.875 ips
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What is another name for SMPTE?
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LTC
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FSK is an audio version of ?
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MIDI clock
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What best describes synchronization?
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Multiple devices working together over time
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The audio version of MIDI (Beat) Clock is called what?
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FSK
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What is the highest FPS Audio production in the USA uses?
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30
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What is 24 FPS used for?
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movies
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B. Film stock coated with magnetic audio tracks is called_____
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mag film
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Communication between master and slave must include what 2 general pieces of information?
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pace and place
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Any device that is enslaved to a master is said to be in _______
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External Sync
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The application of scientific and mathematical principles to achieve an end result.
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engineering
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A room that is acoustically isolated from the studio and surrounding areas, and used for critical listening.
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control room
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Allows the engineer to combine, control, and distribute audio signals.
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console
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A recorder that has three tracks or more to record to and play back from.
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multitrack recorder
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The type of recorder used to combine all the tracks to. Could be mono, stereo, or surround.
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mixdown recorder
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A room usually made up of one or more acoustic spaces that are designed -and tuned- for capturing the best possible sound.
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studio
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The most important person in the studio.
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artist
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An additional musician used for a project, who is not normally part of the main recording group.
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session musician
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The person who sets up microphones, gets proper levels to tape, makes sure everything sounds good, and records, overdubs, and mixes the recording.
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engineer
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The person who does whatever the chief engineer or producer needs them to do.
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assistant engineer
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The process by which one or more sound sources are picked up by a microphone or are recorded directly (a keyboard, for example) to one or more tracks of a multitrack recording system.
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recording
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The person in charge of the studio budget, studio booking, song arrangement, etc.
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producer
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The process during which one would edit, fix, add, or replace tracks.
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overdubbing
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The process in which the engineer would combine tracks, balance levels, do panning, EQ, etc.
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mixing
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Any device that changes one form of energy into another corresponding form of energy.
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transducer
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Electrical level measured in millivolts.
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mic level
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Electrical level measured as 1.23 volts.
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line level
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Electrical level measured from 1-50 volts.
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speaker level
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What do we call the process where all of the individual tracks from a multitrack recording are combined through the console and adjustments are made to the level, tone, and spatial positioning of the sources?
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Mixing
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What is the name of the recorder that is designed to record the stereo mix?
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mixdown recorder
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What is the term for a device that will change one form of energy to another corresponding form of energy?
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transducer
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Name the three electrical levels (answer as: ______ level, ______ level, ______ level)
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mic level, line level, speaker level
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TF? The three MAIN steps to the multitrack recording process are: 1) Recording 2) Overdubbing 3) Mixing.
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T
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The brain's perception and interpretation of the vibration of a physical stimulus which causes sound pressure waves to propagate through the air.
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sound
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Repetitive variations of atmospheric pressure.
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sound pressure waves
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An area that has greater than normal atmospheric pressure.
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compression
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An area that has less than normal atmospheric pressure.
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rarefaction
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The graphic representation of a sound pressure level or voltage level.
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waveform
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The simplest form of a wave, a pure tone, a single frequency that contains no harmonics.
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sine wave
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The distance of the waveform above or below the center line.
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amplitude
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To increase the amplitude level.
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amplify
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To decrease the amplitude level.
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attenuate
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The number of repeated events within a specific time period. The rate at which a device or signal repeats a cycle of positive and negative amplitude.
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frequency
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One completed excursion of a wave.
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cycle
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The average range of human hearing.
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20Hz-20kHz
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The speed at which a sound wave travels through the air (term).
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velocity
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The speed of sound in air at 70 degrees Fahrenheit (number.)
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1130 feet per second
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The physical distance from the beginning to the end of a cycle.
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wavelength
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The time it takes to complete one cycle.
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period
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This waveform characteristic is measured in feet per cycle.
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wavelength
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This waveform characteristic is measured in feet per second.
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velocity
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This waveform characteristic is measured in cycles per second or Hertz.
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frequency
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This waveform characteristic is measured in decibels.
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amplitude
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The time relationship between two or more waveforms.
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phase
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The number of degrees in one cycle.
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360
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One waveform's lead or lag in time with another.
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phase shift
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The absolute positive and negative values in a waveform.
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polarity
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The note being played.
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fundamental
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Frequencies that exist in addition to the fundamental.
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partials
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Partials that are higher than the fundamental frequency.
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overtones
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Harmonics that are lower than the fundamental frequency.
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sub-harmonics
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Whole-number multiples of the fundamental.
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harmonics
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The partials and their relative volume levels.
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timbre
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The changes in volume levels as a note is being played.
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envelope
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Part of the envelope of an instrument: the time taken for the initial buildup of sound.
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attack
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Part of the envelope of an instrument: the initial dropoff in level after the attack.
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decay
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Part of the envelope of an instrument: the volume changes as the note is being held out.
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sustain
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Part of the envelope of an instrument: the final decay of sound when the note has stopped being played.
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release
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The difference in level between the softest and loudest parts of a signal.
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dynamic range
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Anything that changes the waveform.
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distortion
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The best operating level for any device, also known as 0 dB.
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nominal level
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The area between nominal level and distortion.
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headroom
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The psychoacoustic phenomenon that occurs when loud sounds prevent the ear from hearing softer sounds.
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masking
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The unwanted leakage between adjacent channels on a console or tracks on an analog tape machine.
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crosstalk
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Electrical level measured in millivolts.
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mic level
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Electrical level measured in 1.23 volts.
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line level
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Electrical level measured in 1-50 volts.
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speaker level
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The total distance from the center line of a waveform to the maximum positive or negative peaks.
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peak amplitude value
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The distance from the maximum positive value to the maximum negative value of a waveform.
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peak-to-peak value
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The average amplitude level of our signal.
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root-mean-square value
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Indicates how a device responds to specific frequencies.
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frequency response
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A device that passes all frequencies equally is said to have this.
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flat frequency response
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A change in the perception of frequency due to the movement of either the source or the observer.
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the Doppler effect
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A type of waveform that does not necessarily repeat, and is not symmetrical.
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complex waveform
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Sound will _______________ off of boundaries at an angle that is equal and opposite to its original angle of incidence.
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reflect
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The manner by which sound waves can bend around objects, and basically be reconstructed similarly to the original wave.
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diffraction
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The type of hearing loss that refers to a problem with the ear canal in the outer ear of the bones of the middle ear, while the cochlea of the inner ear retains normal functioning.
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conductive hearing loss
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The type of hearing loss that refers to a problem with the cochlea in the inner ear.
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sensorineural hearing loss
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A type of hearing loss resulting from high level noise.
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noise induced hearing loss
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The point at which the average person can hear the sound pressure level for a specific frequency only 50% of the time.
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threshold of hearing
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The sound pressure level that will cause discomfort in a listener 50% of the time.
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threshold of feeling
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The sound pressure level that causes pain in a listener 50% of the time.
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threshold of pain
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The human brain's subjective interpretation and perception of sound.
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psychoacoustics
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The creation of waveform harmonics that do not exist in the original sound wave.
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harmonic distortion
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Tones that result from the listener's brain combining the sum and difference of the fundamental frequencies, as well as all the harmonics of the multiple sources.
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combination tones
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The psychoacoustic phenomenon that occurs when the brain processes two sound sources that are very close in frequency and very close in amplitude, and then causes the listener to perceive repeating variations in perceived level.
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beats
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The range of frequencies humans hear best.
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1kHz-4kHz
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The best volume level for listening.
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85 dB SPL
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The sound that reaches the listener first.
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direct sound
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The first few reflections that reach the listener, within a space.
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early reflections
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The point in time where the brain cannot discern the reflections separately because they are so tightly spaced.
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reverberation
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The amount of time it takes the persisting sound to decrease to 60 dB below the level of the original sound.
|
RT60
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The unit of measurement commonly used to measure volume level, voltage level, and power.
|
decibel
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The section of the console that receives signals from studio microphones or electronic instruments.
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input section
|
|
What does PAD stand for?
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pre-attenuation device
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The section of the console that sends signals to the multitrack recorder.
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output section
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The main component of the output section.
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multitrack buss
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A common signal line.
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buss
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The section of the console that receives signals back from the multitrack recorder and sends them to the control room speakers.
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monitor section
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the main component of the monitor secion.
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stereo buss
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This path on the console contains the input and output sections.
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channel path
|
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This path on the console contains the monitor section.
|
monitor path
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This console input receives a millivolt level signal.
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mic input
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This console input receives a 1.2 volt level signal, and is usually in the channel path.
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line input
|
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This console input receives a 1.2 volt level signal, and is usually in the monitor path.
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tape or monitor input
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This type of console layout has a separate monitor section.
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split-monitor
|
|
This type of console layout has the monitor section incorporated into the I/O module.
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in-line
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This fader's function is to send signal to the multitrack recorder.
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source fader
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This fader's function is to receive signal back from the multitrack recorder.
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return fader
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Besides the multitrack buss, this is another way to send signal to the multitrack recorder.
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direct out
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The multitrack recorder must be in this mode to receive signal.
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input mode
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The multitrack recorder must be in this mode to record signal.
|
record ready
|
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The average range of human hearing.
|
20 Hz - 20 kHz
|
|
The frequencies humans hear best.
|
1 kHz - 4 kHz
|
|
At low volume levels, human typically hear this range of frequencies less well.
|
low frequencies
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The unit of measurement typically used to measure volume level, voltage, or power.
|
decibel
|
|
The best listening level.
|
85 dB SPL
|
|
The decibel uses this type of scale.
|
logarithmic
|
|
Two mics that are as close to being the same as possible, usually having consecutive serial numbers.
|
matched pair
|
|
How well a mic responds to certain frequencies.
|
frequency response
|
|
How quickly a mic will react to a waveform.
|
transient response
|
|
A high level, short duration peak.
|
transient
|
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The highest sound pressure level a mic can handle without distorting.
|
maximum SPL
|
|
An attenuation of low or high frequencies, measured in Hertz.
|
rolloff
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|
The main components of this type of microphone are a diaphragm, a carbon-filled cavity, a brass disk, and a DC power supply.
|
carbon microphone
|
|
The main components of this type of microphone are crystal or rochelle salts, and a diaphragm.
|
ceramic or piezo microphone
|
|
This type of microphone is commonly used as a contact mic for acoustic guitar pickups.
|
ceramic or piezo microphone
|
|
This type of microphone transduces sound pressure waves into electrical signals by using electromagnetic induction.
|
dynamic microphone
|
|
The main components of this type of microphone are a magnet, a coil of wire, and a mylar diaphragm.
|
dynamic moving coil microphone
|
|
The main components of this type of microphone are a magnet, and a corrugated aluminum ribbon.
|
dynamic ribbon microphone
|
|
This type of microphone transduces sound pressure waves into electrical signals by using an electrostatic principle.
|
condenser microphone
|
|
The main components of this type of microphone are a capsule and and impedance conversion amplifier.
|
condenser microphone
|
|
A device that is capable of holding a charge.
|
capacitor
|
|
This device is necessary to boost the signal level coming from the capsule of the microphone, and match the impedance of the microphone to the console input.
|
impedance conversion amplifier
|
|
This type of microphone uses a vacuum tub instead of a FET in its amplifier.
|
tube condenser microphone
|
|
This type of microphone has its own power supply, and does not require phantom power to be sent from the console.
|
tube condenser microphone
|
|
This type of microphone uses a pre-charged capsule, but still requires phantom power and/or a battery for the ICA.
|
electret condenser microphone
|
|
This type of microphone picks up sound pressure waves from all directions.
|
omnidirectional
|
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On a microphone with this type of polar pattern, all sound diffracts around the body of the mic to go in the front of the diaphragm.
|
omnidirectional
|
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This type of microphone responds to differences in pressure from different sides of the microphone.
|
directional
|
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This type of microphone picks up sound from the front and the back of the diaphragm, but sound coming from the sides in cancelled.
|
bidirectional
|
|
This type of microphone has rear phase delay ports, which modify the path length leading to the back of the diaphragm, resulting in cancellation of sound coming from behind the mic.
|
unidirectional
|
|
Where the microphone picks up the most amount of sound.
|
on-axis
|
|
The point at which the microphone rejects the most amount of sound.
|
null point
|
|
Any place on a microphone that is not on-axis, including the null point(s).
|
off-axis
|
|
An increase in low frequency response as a directional microphone is moved closer to the sound source.
|
proximity effect
|
|
3-25 Hz frequencies that are transmitted through a building's structure.
|
rumble
|
|
This stereo microphone technique uses two microphones of the same type, manufacturer, and model number spaced apart in front of or above an instrument.
|
spaced pair
|
|
This stereo microphone technique uses two cardioid microphones of the same type, manufacturer, and model number placed as close together as possible, without touching, anywhere from a 90 to 135 degree angle.
|
X/Y
|
|
This stereo microphone technique uses the same setup as X/Y, but uses two bidirectional microphones, instead of two cardioid microphones.
|
Blumlein
|
|
This stereo microphone technique uses two unidirectional microphones spaced 17 centimeters apart, placed at a 110 degree angle.
|
ORTF
|
|
This stereo microphone technique uses two unidirectional microphones spaced 30 centimeters apart, and angled at 90 degrees.
|
NOS
|
|
This stereo microphone technique uses two unidirectional microphones spaced 20 centimeters apart, at a 90 degree angle.
|
DIN
|
|
This stereo microphone technique uses two omnidirectional microphones placed inside a dummy head and upper body, at the positions of the ears.
|
binaural stereo
|
|
The general term used to describe a near-coincident stereo microphone technique with an acoustic baffle in between the two omnidirectional microphones.
|
baffled stereo
|
|
This stereo microphone technique uses one unidirectional microphone and one bidirectional microphone.
|
mid-side
|
|
A device that converts an unbalanced, high impedance, instrument level or -10 dBV line level signal to a balanced, low impedance, mic level signal.
|
DI box
|
|
A type of DI box that does not require power to operate.
|
passive DI box
|
|
This type of DI box requires either phantom power sent directly from the mic preamp, or another power source such as a battery, to operate.
|
active DI box
|
|
This type of cable has two signal-carrying conductors, plus a third lead or shield.
|
balanced cable
|
|
This type of cable has one signal-carrying conductor, plus a shield wire.
|
unbalanced cable
|
|
In a balanced cable, the cancellation of noise by reversing the polarity of the negative lead at both ends of the cable.
|
common mode rejection
|
|
This type of normal breaks at the output and the input.
|
full normal
|
|
This type of normal breaks at the input only.
|
half normal
|
|
Which two buttons on the Neotek Elite will configure it for mixdown?
|
LINE and REV
|
|
On the Neotek Elite, when the REV button is up, where does the output of the fader (large) fader go?
|
multitrack buss
|
|
On the Neotek Elite, when the REV button is down, where does the output of the monitor fader go?
|
multitrack buss
|
|
On the Neotek Elite, when the REV button is up, where does the output of the monitor fader go?
|
stereo buss
|
|
On the Neotek Elite, when the REV button is down, where does the output of the fader (large) fader go?
|
stereo buss
|
|
A common signal line.
|
buss
|
|
This path on the console contains the input and output sections.
|
channel path
|
|
What type of group faders does the Tascam M-3500 have?
|
dedicated group faders
|
|
Besides the multitrack buss, this is another way to send signal to the multitrack recorder.
|
direct out
|
|
What would happen if you buss a group signal on the I/O fader to itself?
|
feedback loop
|
|
Which two buttons on the Tascam M-3500 will configure it for mixdown?
|
FLIP and L-R
|
|
A fader that receives signal from its same-numbered multitrack buss.
|
group fader
|
|
This type of fader falls between the MTB and the MTR in signal flow.
|
group fader
|
|
This console "input" is not an actual physical input, but is a way to access signal into a fader by internal console routing.
|
group signal on the I/O
|
|
This type of console layout has the monitor section incorporated into the I/O module.
|
in-line
|
|
On the Tascam M-3500, how do you access any input to any fader?
|
input flipping
|
|
The multitrack recorder must be in this mode to receive signal.
|
input mode
|
|
The section of the console that receives signals from studio microphones or electronic instruments.
|
input section
|
|
On the Neotek Elite, how do you access any input to any fader?
|
input selector switches
|
|
This console input receives a 1.2 volt level signal, and is usually in the channel path.
|
line input
|
|
On the Neotek Elite, which console inputs are the MTR outputs connected to?
|
line inputs
|
|
This console input receives a millivolt level signal.
|
mic input
|
|
What inputs does the Neotek Elite offer?
|
mic, line, group signal on the I/O
|
|
What inputs does the Tascam M-3500 offer?
|
mic, line, tape
|
|
What are the four possible console inputs?
|
mic, line, tape or monitor, group signal on the I/O
|
|
This path on the console contains the monitor section.
|
monitor path
|
|
The section of the console that receives signals back from the multitrack recorder and sends them to the control room speakers.
|
monitor section
|
|
The main component of the output section.
|
multitrack buss
|
|
On the Tascam M-3500, how do you direct the outputs of the faders to the MTB or SB?
|
output assignment switches
|
|
On the Neotek Elite, how do you direct the output of the faders to the MTB or SB?
|
output reversing
|
|
The section of the console that sends signals to the multitrack recorder.
|
output section
|
|
The multitrack recorder must be in this mode to record signal.
|
record ready
|
|
This fader's function is to receive signal back from the multitrack recorder.
|
return fader
|
|
This fader's function is to send signal to the multitrack recorder.
|
source fader
|
|
What are the three fader functions?
|
source, return, group
|
|
This type of console layout has a separate monitor section.
|
split-monitor
|
|
the main component of the monitor secion.
|
stereo buss
|
|
On the Tascam M-3500, which console inputs are the outputs of the MTR connected to?
|
tape inputs
|
|
This console input receives a 1.2 volt level signal, and is usually in the monitor path.
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tape or monitor input
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|
What is the process of converting something into binary code?
|
digitizing
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|
Does MIDI transfer actual sound?
|
NO
|
|
What is the term used for the measurement of how hard the key was struck?
|
velocity
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|
What is the term used for additional pressure applied to a key?
|
aftertouch
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|
What is the fundamental unit of binary code?
|
bit
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|
How many levels of velocity exist in MIDI?
|
128
|
|
What part of the keyboard generates MIDI instructions?
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controller
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|
What part of the keyboard responds to MIDI instructions?
|
sound computer
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|
When you press a key, which MIDI message is transmitted?
|
note on
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|
When you release a key, which MIDI message is transmitted?
|
note off
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|
Which MIDI instruction is sent along with the note on message?
|
velocity
|
|
How many MIDI channels are there?
|
16
|
|
What is the highest level of velocity?
|
127
|
|
In order to communicate, MIDI devices must be correctly connected and on the _______ channel.
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same
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|
Which MIDI port receives information?
|
IN
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|
Which MIDI port sends information generated by that device?
|
OUT
|
|
Which MIDI port passes on received information to another device?
|
THRU
|
|
How many pins are found on a standard MIDI connector?
|
5
|
|
Are MIDI cables bi-directional?
|
NO
|
|
The ability of a device to use multiple MIDI channels simultaneously.
|
Multi-timbral
|
|
The maximum number of voices a sound computer can play simultaneously.
|
Polyphony
|
|
How many continuous control numbers are there?
|
128
|
|
Continuous Controller Number for Volume
|
CC#7
|
|
Continuous Controller Number for Modulation
|
CC#1
|
|
Continuous Controller Number for Pan
|
CC#10
|
|
Continuous Controller Number for Sustain (Damper)
|
CC#64
|
|
Continuous Controller Value for Sustain ON
|
127
|
|
Continuous Controller Value for Sustain OFF
|
0
|
|
Continuous Controller Value for Pan - Hard Right
|
127
|
|
Continuous Controller Value for Pan - Hard Left
|
0
|
|
Continuous Controller Value for Pan - Center
|
64
|
|
Continuous Controller Value for Full Volume
|
127
|
|
A device that can record and playback MIDI information.
|
Sequencer
|
|
A sequencer that stores MIDI information chronologically.
|
Linear Sequencer
|
|
A sequencer that stores information in sections that are then placed into an arrangement.
|
Pattern Sequencer
|
|
The mode used for creating (recording) patterns in a pattern sequencer.
|
Pattern Mode
|
|
The mode used for placing patterns into an arrangement in a pattern sequencer.
|
Song Mode
|
|
Recording MIDI notes or events into a sequencer Live, while the sequencer is in motion.
|
Real-Time Recording
|
|
Entering MIDI notes or events into a sequencer one at a time.
|
Step-Write Recording
|
|
A sequencer's timing resolution is measured in this.
|
PPQ
|
|
The rounding of event to a regular timing interval.
|
Quantizing
|
|
2 categories of active memory?
|
RAM and ROM
|
|
3 categories of stored memory?
|
Magnetic, Optical and Flash
|
|
8 of these make 1 byte
|
bit
|
|
Abbreviated with an uppercase "B"
|
Byte
|
|
Amount of data that fits on a CD
|
650 MB- 800 MB
|
|
Amount of data that fits on a single-sided single layer DVD
|
4.7 GB
|
|
How many bytes are in a kilobyte?
|
1,024
|
|
How much data fits on a 3.5" floppy disk?
|
1.44 MB
|
|
In Logic, key that you can hold when moving a region to leave a copy in it's original position
|
Option
|
|
Key command in Logic to select all regions
|
Command A
|
|
Key you can hold while clicking in Logic, to select multiple regions
|
Shift
|
|
Logic editor that shows notes on a grid
|
Piano Roll
|
|
Logic function that allows you to create fades
|
Hyperdraw
|
|
Logic tool for dividing regions
|
Scissors
|
|
Logic tool for merging regions
|
Glue
|
|
Number of bits in a byte
|
8
|
|
Unit of data measurement next largest of byte? (Abbreviate)
|
KB
|
|
Unit of data measurement next largest of megabyte? (Abbreviate)
|
GB
|
|
Which type of active memory is more stable?
|
ROM
|
|
Which type of active memory is not changeable?
|
ROM
|
|
Which type of active memory loses its data when electricity is removed?
|
RAM
|
|
Would a hard drive be active or stored memory?
|
Stored
|
|
Measures amplitude by maximum positive or negative signal levels from the centerline.
|
peak amplitude value
|
|
Which microphone polar pattern does not pick up any signal from the back?
|
cardioid
|
|
What device helps decrease rumble?
|
shockmount
|
|
Devices that can ply more than one note at a time are referred to as?
|
polyphonic
|
|
The preferred way of getting signal to the MTR is the ____ because it is a shorter, cleaner signal.
|
direct out
|
|
Devices that can only play one note at a time are described as?
|
Monophonic
|
|
Very low frequencies that can be picked up in your recording and cause unwanted noise floor
|
rumble
|
|
Which type of microphone can have a PAD?
|
condenser
|
|
Means the capsule in the microphone is parallel with the body of the mic.
|
side address
|
|
Will a PAD increase the noise floor?
|
Yes
|
|
Does a ribbon microphone have a magnet in it?
|
Yes
|