Use LEFT and RIGHT arrow keys to navigate between flashcards;
Use UP and DOWN arrow keys to flip the card;
H to show hint;
A reads text to speech;
85 Cards in this Set
- Front
- Back
|
Synthesis |
Dealing with designing sound through editing through hardware. Generated by an Oscillator. |
|
|
Additive Synthesis |
Process of adding partials to create complex waves |
|
|
Subtractive Synthesis |
Process of removing partials from complex waveforms |
|
|
Patch Window |
Allows you to build sounds using modules in a fixed signal flow |
|
|
Two types of Synthesis Modes |
Single (Main Oscillator) & Double (Main Oscillator + Mod Osc Summed) |
|
|
Two types of waveforms |
Simple waves and Morph waves |
|
|
Unitab |
Creates multiple voices of main oscillator |
|
|
Parameter Menu |
Where you choose the parameter you want to modulate within selected modules or Master section |
|
|
Channel Select |
Where we choose the parameter location |
|
|
Phase (LFO Parameters) |
Choose where in the waveform to start oscillation |
|
|
Pitch (LFO Parameters) |
Modulates incoming pitch values |
|
|
Secs (LFO Parameters) |
Dictates amount of time for waveform cycle to complete |
|
|
Depth (LFO Parameters) |
Controls depth of min-max values, or amplitude of waveform in % values |
|
|
Invert (LFO Parameters) |
Inverts LFO waveform. Allows parameters to be offset from one another. |
|
|
Time Code |
Positional reference used to arrange timelines, events or devices |
|
|
How does DFTC function? |
Drops frames every 2 seconds except on the 10 minutes (0,10,20 etc). |
|
|
How does Polyphonic function? |
Gurantees you start where the phase position you chosen on the waveform |
|
|
What is the rule about MASTER AMPLITUDE ENVELOPE RELEASE TIME? |
Must be greater or equal to the largest release time that you want to hear |
|
|
Breakpoints |
Target points on the envelope that represent a parameter's modulation value. |
|
|
How many breakpoints are available? |
68 |
|
|
What are the envelope modes? |
Release, Sustain and Loop |
|
|
Release Mode (Envelope) |
Plays through envelope from start to finish. Ignores Sustain Marker. |
|
|
Sustain Mode |
Plays envelope until it hits sustian/release market where it sustains until note off message. |
|
|
Loop Mode |
Allows a section of the envelope to be looped once a certain loop point is hit |
|
|
Time Code Modes |
Ways TC is able to produce consistent time values |
|
|
Types of Time Code Modes |
Master and Slave |
|
|
Master Modes are... |
Free Run, Record Run and 24 Hour Run. |
|
|
Slave Modes are... |
EXT TC, EXT TC/Cont, EXT TC/Auto Record, EXT TC/Con-Auto Record |
|
|
Free Run |
Runs continuously, much like a time of day clock. Start time is user defined. TV + Film use this mode. |
|
|
Record Run |
Runs only when unit is recording. When unit stops, TC numeric value stops. SFX Recording + Documentaries. |
|
|
24 Hr Run |
Jams to the time of day set by user. Begins immediately and continuously runs throughout day. TV+Film+Live Sound |
|
|
OMF EDL |
Open Media Framework |
|
|
AAF EDL |
Advanced Authorizing Formatted. |
|
|
What is a Harmonic Partial? |
A partial is defined as a single frequency component of a complex waveform. Integer multiples of the fundamental are referred to as harmonic partials. |
|
|
If fundamental = 100hz... |
100 Hz × 1 = 100Hz (first harmonic partial) 200Hz × 2 = 200Hz (second harmonic partial) 100Hz × 3 = 300Hz (third harmonic partial) |
|
|
The group of all the harmonic partials is called... |
The Harmonic Series |
|
|
The first harmonic partial is also known as... |
The Fundamental |
|
|
Even Order Partials... |
Contains even-integer multiples of the fundamental. Tend to sound more pleasant. (If fundamental is 100hz, even order freqs are 200Hz, 400Hz, 600Hz) |
|
|
Odd Order Partials... |
Contains odd-integer multiples of the fundamental. Sounds unpleasant. (If fundamental is 100Hz, odd order freqs are 300Hz, 500Hz 700Hz) |
|
|
Inharmonic Partials... |
Frequencies that are not whole integer multiples of the fundamental. (If fundamental is 100Hz, Harmonic # is 1.21, Freq = 121Hz) |
|
|
Harmonicity... |
The relative proportion of harmonic to inharmonic partials or COMBINATION of partials. |
|
|
Test Waves... |
Have shapes or patterns which are determined by their partial content. Simplest is the SINE WAVE. |
|
|
Square + Triangle Waves... |
Contain only odd harmonic partials |
|
|
Sawtooth wave... |
Contains all harmonic partials at varying amplitudes. |
|
|
A noise waveform... |
Is a signal of randomly generated frequency content. |
|
|
Pink Noise... |
Has equal amount of energy per octave band of the audio spectrum. |
|
|
White Noise... |
Has equal amount of energy per frequency. |
|
|
Octave '8va' |
A doubling of frequency. Most basic musical interval. An octave higher than 250Hz is 500Hz. |
|
|
Three Areas of Foley |
Actor's clothing, actor's footfalls, handling of objects/props |
|
|
BG's... |
Sounds without a visual hit point. |
|
|
FM Synthesis... |
Is a controlled distortion technique whereby the output of one oscillator distorts the harmonic content of another. |
|
|
Carrier... |
The modulated oscillator where audio output comes from |
|
|
Tuning Ratio... |
Determines the level of Harmonicity. The simpler the ratio, the greater the Harmonicity. |
|
|
A C:M Ratio of 1 (Carrier) to 1(Modulator)... |
The simplest of all. Partials created will all be harmonic. |
|
|
Modulator... |
Outputs "distort" the carrier's waveform to produce a predictable set of partials, harmonic or inharmonic. |
|
|
Sidebands... |
As the modulator distorts the carrier frequency, SIDEBANDS are created on both sides of the carrier. |
|
|
Must deselect this to maintain the exact location of every clip when exporting an AAF |
Enforce Media Composer Compatibility + Quantize Edits |
|
|
Types of Grammatical |
L-Cut J-Cut Musical Grammatical |
|
|
L-Cut |
Sound remains same but a picture occurs occurs. Done to eradicate establishing shot, accelerate narrative development. |
|
|
J-Cut |
Picture remains the same but a sound edit occurs. Done to conclude narrative first with sound and then with picture, as well as to draw attention to an important piece of narrative information. |
|
|
Music Grammatical |
Used to affirm to the audience that the theme is still the same even though picture is changing. |
|
|
Purpose of Loudness Metering |
To standardize audio loudness content for consumer media. |
|
|
Meter used to monitor Loudness? |
Waves WLM |
|
|
Different Loudness Standards |
ITU (Global) ATSC A85 (North America) EBU R128 (Europe) TASA (Movie Trailers) ASWG SCE (Interactive Audio) |
|
|
Which Standard does not use ITU 1770-4? |
TASA |
|
|
ATSC A85 |
Recommends target loudness to be -24LKFS (+/- 2LU tolerance). Unit of measurement is LKFS. Maximum True Peak value shall not exceed -2dBTP. |
|
|
EBU R128 |
Recommends target loudness to be -23LUFS. Measurement is expressed in LUFS. (+/- 0.5LU) tolerance. Maximum True Peak shall not exceed -1dbTP. |
|
|
TASA |
Trailer Audio Standards Association. Addresses audience complaints about excessively loud trailers. Uses LEQ(M) weighting. Recommends 85dB as average loudness. Max True Peak -6dbTP. |
|
|
ASWG SCE has two parts... |
Home Based Interactive Audio and Portable Interactive Audio. |
|
|
Home Based Interactive Audio... |
Loudness average of -24LKFS. (+/-2LU) Tolerance. |
|
|
Portable Interactive Audio... |
Average loudness of -18LKFS. (+/- 2LU) Tolerance. |
|
|
Loudness Weighting |
LEQ (M) and LEQ (A) |
|
|
LEQ (M) |
Measurement of perceived loudness overtime, designed for film trailers. Designed to deal with loud audio in the MID to HIGH freq range in cinema. Expressed as db. |
|
|
LEQ (A) |
Designed for long term loudness measurements of dialogue content = 'dialnorm'. Unit of measurements is LKFS. Example target is -27LKFS. |
|
|
Types of Loudness Method... |
EBU LM1 DIAL |
|
|
EBU (Loudness Method)... |
Uses foreground audio as the anchor element to measure average loudness. Elements that fall below -10LU will be gated out. Target loudness is -23LUFS. |
|
|
LM1... |
Measures all audio without selecting single anchor points. Recommended target is -24LKFS. |
|
|
DIAL... |
Measure dialogue as the anchor point for average loudness, when dialogue is not detected, all audio is gated out. Target loudness is -24/-27LKFS. |
|
|
Lo Ro |
Center is added equally to L/R, surrounds are added to respective front channels. Option of attenuating C/Ls/Rs before summed. |
|
|
Lt Rt |
Center is added equally to L/R (-3db), surrounds are summed to mono then added to both L/R (-3db). L +90° and R -90° phase |
|
|
LFE in the Downmix... |
Is often ignored. |
|
|
Downmix Options |
Left total and Right total (Lt Rt), and Left Only and Right Only (Lo Ro). |
|
|
Stereo to Surround |
During the decoding process, Pro Logic II 'steers' audio info to channels based on PHASE and RMS signals. |
|
|
Decoding Rules for CENTER... |
Common and in-phase audio |
|
|
Decoding rules for SURROUNDS |
Common and out of phase audio |
