Basic Recording 1

Front 1

A transducer is

Back 1

A device that converts one form of energy into another. The transducers we use in recording are

Front 2

For a substance to act as as a sound medium it needs

Back 2

Mass Elasticity and Inerita

Front 3

What are the three types of EQ's

Back 3

Graphic, Semi-parametric, and Parametric

Front 4

Graphic EQ's

Back 4

Control the amplitude. The Frequency band is fixed.

Front 5

Definition of frequency response

Back 5

Analysis of what frequencies are generated by our source is frequency response.

Front 6

Definition of RTA

Back 6

Real time analyzer.

Front 7

Knee Frequency

Back 7

The selected frequency in shelving EQ's.

Front 8

Center Frequency

Back 8

The selected frequency on a peaking equalizer. The frequency that is being most affected by the amount of gain or attenuation you apply to it.

Front 9

Jimmy's 4 Button of Love

Back 9

Machine
Program
Bank
Number

Front 10

Peaking EQ

Back 10

The frequency selected will be the frequency most affected. Whatever the gain value, the selected frequency will be the only frequency achieving that value.

Front 11

Shelving EQ

Back 11

Refers to a rise or drop in freq at a selected frequency. .

Front 12

Fully Normalled

Back 12

A cable inserted into either the top or bottom jack breaks the internal connection and signal now flows through the patch cable.

Front 13

Half Normalled

Back 13

Plugging a patch cable into the top jack does no break the normal, but instead splits it.

Front 14

Non Normal

Back 14

This configuration consist of only input and output points for devices not normally connected to the console. No signal is going from the top to bottom jacks.

Front 15

Mic Line

Back 15

The outputs of the microphone before the preamp.

Front 16

Channel Mic

Back 16

Input to the mic preamp

Front 17

MTR return

Back 17

Output of each track from the MTR

Front 18

Channel Line Input

Back 18

Input to the line position of the mic/line switch

Front 19

Channel Insert Send

Back 19

Pre or post EQ signal from the I/O

Front 20

Channel Insert Returns

Back 20

Signal enters the I/O either pre or post EQ

Front 21

Group Outputs

Back 21

Output of each individual buss in the routing matrix

Front 22

MTR Sends

Back 22

Input to each track of the MTR

Front 23

Monitor Input

Back 23

Input to the monitor fader/monitor path

Front 24

The 3 types of Time Based Processors

Back 24

Delay, Reverb, and Harmonizers.

Front 25

Patch point commonly used for Time Based Processors

Back 25

Aux send and return

Front 26

The HAAS effect

Back 26

When 2 different sounds arrive at a source

Front 27

3 True Analog Reverb

Back 27

Chamber, Plate, and Spring

Front 28

Modulation

Back 28

Modulation is the changing of signal through a variety of ways.

Front 29

LFO

Back 29

Low Frequency Oscillator.

Front 30

Slapback

Back 30

Single repeat of a signal with a delay time of above 35 ms. Used for thickening vocal or instrumental sounds.

Front 31

The HAAS effect

Back 31

When 2 different sounds arrive at a source

Front 32

3 True Analog Reverb

Back 32

Chamber, Plate, and Spring

Front 33

Modulation

Back 33

Modulation is the changing of signal through a variety of ways.

Front 34

LFO

Back 34

Low Frequency Oscillator.

Front 35

Slapback

Back 35

Single repeat of a signal with a delay time of above 35 ms. Used for thickening vocal or instrumental sounds.

Front 36

Phase Shifter

Back 36

When the original sound is combined with the delay sound shifting the time of delayed on the two signals in and out of phase causing a swooshy sound.

Front 37

Flange

Back 37

Similar to the phase shifter except that it varies the signals more in pitch adding more color to the sond and feeding the output back through the processor to add thickness.

Front 38

Gate Controls
Attack

Back 38

How quickly the gate responds, how many milliseconds it takes for the gate to stop attenuating the signal.

Front 39

Gate Controls
Release

Back 39

At some point in the decay of the signal the gate closes again,. The release is how fast in m/s the gate closes.

Front 40

Gate Controls
Range

Back 40

How much the signal is attenuated below the threshold.

Front 41

Compressor Controls
Attack

Back 41

How quickly does the processor responds.

Front 42

Compressor Controls
Release

Back 42

How quickly the compressor lets go of the signal once it have decayed past the threshold.

Front 43

Compressor Controls
Output

Back 43

Compensation for attenuated signals.

Front 44

What patch points are used for dynamic processors

Back 44

Insert send and return

Front 45

A compressor turns into a limiter

Back 45

When the ratio on a compressor is more than 8:1

Front 46

Expander

Back 46

An expander expands the dynamic range by making the softer sounds virtually disappear.

Front 47

Saturation of Analog Tape

Back 47

IT's the art of recording a signal too strong in the headroom of the dynamic range and is generally the reason why people like analog recording.

Front 48

Dynamic Range in an analog system

Back 48

Max Level
Headroom
Nominal Level
Signal to Noise ratio
Noise Floor

Front 49

The area between the nominal operating level and the noise floor.

Back 49

Signal-to-Noise ratio
--------
Clipping +26
-------
Headroom
-------
Nominal Operating Level +4db
------
*Signal to Noise Ratio*
--------
Noise floor -50db
-------

Front 50

Where is the nominal operating level in the dynamic range?

Back 50

Clipping +26db
-----
Headroom
------
Nominal Level +4db
------
Signal to noise ration
-----
Noise Floor -50db

Front 51

At what decibel are you clipping in the dynamic range of an audio recording?

Back 51

+26db

Front 52

PZM

Back 52

Pressure Zone MIcrophone

Front 53

Speaker Level

Back 53

+30db

Front 54

FET

Back 54

Field Effect Transistor

Front 55

Analog Record Setting
Sel/Rep

Back 55

Record and Erase at same time

Front 56

Analog Record Setting
Repro

Back 56

AKA Reproduction
Playback

Front 57

Notch Filter

Back 57

Used to locate problem effects

Front 58

Gain Reduction on a expander uses what know

Back 58

Ratio

Front 59

Proximity Effect

Back 59

A microphone tenancy to have more low frequency response when close to the source.

Front 60

When two signals with similar frequency are played @ the same time a conflict will occur where one signal is less audible than another. What is it called?

Back 60

Frequency Masking

Front 61

In record mode there are 2 path's, with 3 sections each. Name them.

Back 61

Path: Channel
Source: El Guapo
Destination: MTR

Path: Monitor
Source: MTR
Destination: Speakers

Front 62

Two signals that are 180 degrees out of phase will

Back 62

Cancel each other out

Front 63

A microphones tendancy to have more low frequency response when closer to the source

Back 63

Proximity Effect

Front 64

Off axis coloration

Back 64

When a sound hits a mic at any other place than 0 degrees

Front 65

Put the following in order:
Speakers, Mbox, Pre amp, MIxer,, Group out, and Microphone.

Back 65

MIcrophone
Pre amp
Mixer
Group Out
Mbox
Speakers

Front 66

The slope is -12db per octave. Your slope starts at 800hz and you want to find out how much your signal will be attenuated at 100hz.

Back 66

You first find out how many octaves are between 100hz and 800hz.
1 2 3
100hz -200hz-400hz -800hz

Then you multiply the number of octaves by the slope, which is 12.
12
x3
-----
36 + 3 db
-39db

Front 67

Lets mid range frequencies through

Back 67

Band Pass Filter

Front 68

The best place to place a mic is the

Back 68

Compression Peak

Front 69

The lowest point of the wave form

Back 69

Refraction Trough

Front 70

Which button on an analog transport erases

Back 70

Input

Front 71

A specific way of analyzing what frequencies are attenuated when there is a phase conflict

Back 71

Comb Filtering

Front 72

Output of the routing matrix

Back 72

Group Buss

Front 73

Small Fader feeds the

Back 73

routing matrix

Front 74

Frequency

Back 74

How fast a source repeats within postive and negative amplitude