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68 Cards in this Set
- Front
- Back
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3 types of live recording
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1. Direct to 2 track
2. Record live to multi-track (mic in studio) - expensive & more set up 3. Field recording (live recording that is not music) |
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Direct to 2 track approaches
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Stereo Pair
Multi Mic (mix on the fly) |
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Stereo Pair pros and cons
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+Cheap
+easy set up +very realistic -dependent on location |
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Multi Mix pros and cons
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+compensate for acoustics
+allows process on the fly -easy to botch the mix |
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Field recording includes
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eng-electronic news gathering
sound fx on set film sound |
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Recording media formats
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Tape (DAT)
Solid state recorders (voice...) CD Hard disk flash/removable media |
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Six priorities of recorders
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1) power - batteries or AC
2) durability 3) resistance/immunity to vibration 4) silent operation 5) capacity 6) sync |
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2 types of maintenance
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preventative
corrective |
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Preventative maintenance
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cleaning, aligning
cheaper, few failures 1) cigarette smoke massively bad for equipment 2) sodas 3) dust, cover gear you dont always use |
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Corrective
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Repair gear that has failed
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Cleaning & aligning an ATR daily schedule
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- head alignment
- height - altitude of head in relation to tape - azimuth tapes relation to head in parallel plane -zenith tilt around or away from tape - rack pressure too much - sounds gunk, off tape too little - dropouts |
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dBx
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single band compansion system
claim up to 40 dB NR realistic is 20 dB on all band type I = pro type II = consumer |
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Dolby
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based on frequency and use multiple signal paths to achieve a more natural result than dBx
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Dolby A
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Original PRO system 1965
4 bands of NR for total of 10 dB NR |
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Crossover
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splits 1/8 signal into different frequency components
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Summing
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combines signals and reduces crosstalk
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Dstribution
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distribute a signal to many locations
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isolation amps
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active DI
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Noise reduction sources
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-Acoustical noise
-Electrical, Electro-magnetic noise -Tape noise |
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Acoustic leakage
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gates, EQ's
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Electrical leakage
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lighting, computers, power lines away from audio
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NR solutions
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proper shielding, wiring balanced cables, tape noise (from tape)
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single ended NR systems
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EQ
Gates DINR (digital) |
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double ended NR systems
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common in analog
not exclusive require processing before and after recording Dolby & DBx |
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Shape Proportions
H W L 1 1.14 |
Shape Proportions
H W L 1 1.39 |
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Shape Proportions
H W L 1 1.28 |
Shape Proportions
H W L 1 1.54 |
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Shape Proportions
H W L 1 2.33 |
Shape Proportions
H W L 1 1.6 |
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Bass traps
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designed to tame C.F. build-up / resonances
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Diffuser
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reflects sound
breaks up reflections |
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3 main goals of acoustic design
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Acoustic isolation
Frequency Balance Acoustic Separation & reverberation |
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Acoustic isolation
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keep outside sounds out and keeping inside sounds in, prevent leakage from within studio
achieved by floating room, design of walls, floors, and windows & doors |
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Frequency balance
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Should not over emphasise any given frequencies
flat- good dimensions correct dimension/proportions bass traps + HF absorbers |
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Acoustic separation & reverberation
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Acoustical space should have an appropriate RT60 time for its intended function. Room can be made less reverberant after the fact not the other way around
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O2R layer 1
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ch 1 - 24
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O2R layer 2
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ch 25-48
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O2R layer master
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ch 49 -56, master aux seeds busses
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O2R layer remote
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used when O2R is employed as MIDI controller
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AD-xx
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analog to digital (24)
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FXa-b
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internal fx (a = fx#, b= 1=L 2=R)
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Bus-x
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internal bus (1-8)
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Aux-x
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Auxes (1-8)
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Sx-y
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Slot #1 (4,3,2,1)
Input or o/p (1-16) |
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Rotary encoder
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Device turns 360 degrees
used for entering or modifying data on a console |
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Digital console
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sound converted to digital signal then processed as binary numbers
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Digital console layers
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unlike analog console don't usually have a 1:1 ratio, chan/fader
faders will do different things depending on selected layers |
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Project studio
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smaller
purpose built single owner usually in a room that was not conceived as a studio place |
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commercial studio
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general purpose
adaptable several employees better acoustics |
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de matrixing
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converting M/S to L/R stereo
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a good drum sound is a result of
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-good drummer
-good drum set -good room |
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drum micing with one mic
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usually a condensor (block one ear find a good spot)
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drum micing with two mics
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1) stereo pair
2) one mic over or around kit and accent mic in kick |
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drum micing with three mics
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1) stereo pair + kick mic
2) kick drum + snare + overhead |
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drum micing with 4 mics
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1) stereo overhead
2) kick 3) snare |
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spaced pairs
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two identical mics, often omnis
placed at a distance > 2 feet or so from each other rely on intensity and phase information used for ambience with multi-mic setup |
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spaced pair pros and cons
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+dramatic stereo image
- not very realistic - sums poorly to mono |
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AB pair
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spaced pair
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coincident pair
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equal distance to each other
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blumlein
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2 figure 8's at 90 degree angles
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XY
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2 cardioids 90-135 degree angles
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MS
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1 cardioid pointed at sound source, 1 figure 8 perpendicular to it
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ORTF
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2 cardioid or hyper conds 110 degrees, 17 cm (1/2 foot)
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NOS
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2 cardioids 90 degrees, 30 cm (1 foot)
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Binaural
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use a dummy head with mics for ears
only reproduces well in headphones |
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passive monitors
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requires a power amp
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monitor enclosure
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can be parted for bass reflex or sealed air suspension
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active powered monitors
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amp is built in to the speaker cabinet
very common in near-field monitors line level |
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far field monitors
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large
loud wall mounted |
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near field monitors
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smaller
quieter commonly above console minimises effects of room closest to typical listening conditions |
