Music Production Test

Front 1

Name the Microphones

Back 1

Large Diaphram Condenser
Small Diaphragm Condenser
Dynamic Mic
Ribbon Mic

Front 2

Large Diaphram Condenser

Back 2

*90% of all vocals, commercial
*U47 (boosts 4K, 5K)
-U67,U-87, M-49, C12, Eiz251
• Use on Guitars
• Pianos
• Anything but live music
• Not a snare

Front 3

Small Diaphragm Condenser

Back 3

acoustic guitar strings, picks up transcience*
• Overheads, brass, horns, brightens sound

Front 4

Dynamic Mic

Back 4

shure SM 57 -58, heiil, used for live club, performances
• picks up whats close, BOOSTS 4K, 5K, 9K

Front 5

*Ribbon Mic

Back 5

different sound quality
• warm and natural

Front 6

Proximity Effect

Back 6

: The disproportion increase in bass frequencies as you get closer to the mic

Front 7

Patterns of Mics

Back 7

freq response changes

Omni – Has no proximity effect
Cardiod -90 % mic pattern
Hypercartioid
Figure 8 – Most Proximity Effect

Front 8

**Latency

Back 8

signal delay, audible delay

Front 9

Master Clock-

Back 9

computer determined operating level, not all clocks the same

Front 10

Native System

Back 10

Anything that runs off of computer processor

Front 11

Hardware

Back 11

ProTools HD, external hardware

Front 12

Draw and Name components necessary to get audio into computer

Back 12

• Mic
• Pre amp
• Compressor
• Analog/digital convertor

Front 13

**Midi Cable –

Back 13

MUSIC INSTRUMENT DIGITAL INTERFACE


• 0-127 different parameters for each channel
• 16 Chanels, each chanel represents different instrument
• Musical Instrument Digital Interface
• Invented Early 1980’s
• noticeable latency with length
o Information only

Front 14

Compressor/Limiter

Back 14

Changes Dynamics

Front 15

Pre-AMP

Back 15

Important, different sounds

Front 16

Cables

Back 16

Microphone/XLR/TRS/Balance (grounded) - 3 holed cable, run great lengths without loss of sound

Front 17

Range of Human Hearing

Back 17

20 Hz →1KHZ (middle) → 20 KHZ

• 20-40-60-80hz (bass range, tone)-100hz-200hz -500hz Midrange 1000 Hz- 4khz 5khz (natural EQ highest) Frequency

80 hz- Bass
4-5 KHz most sensistive, 10 high range

Front 18

Where do bass freq build

Back 18

In corners of rooms
How to combat it?
absorb and diffuse sound

Front 19

Soft Knee/Hard Knee compression

Back 19

• Hard Knee Compression can be done at low ration, doesn’t kick until threshold is hit, more natural sounding
• Soft Knee, hits full amount

Front 20

Difference btween limiting and compression

Back 20

• Difference between true limiting and compression
• compression doesn’t put absolute limit, squishes sound, true limiting does

Front 21

DAW

Back 21

Digital Audio Workstation

Front 22

Buffer Settings (size of the bites computer takes in)

Back 22

• Smaller buffer settings reduce latency, but also reduce track and plugin counts (reduce processing power)
• Larger Buffer settings: increase latency, increase track reduction, plugin counts
• When Recording*, you want low buffer setting, more tracks increase
o 128(size of bites of info, small tracks) , 256, 512 (latency), 1024 cant hear

Front 23

How to Change Sound

Back 23

Change location of mic


Frequency Patterns Change per mic
*Change the sound- change mic, placement
• switch pre-amp
• Mic – preamp combination needed to change audio signal
o compression/limiting noticeable in recording headphones

Front 24

*What is mastering

Back 24

Mixing the mixes, relative levels, trims, pacing, space between tracks

Front 25

Mastering EQ adjusts quality of song, brightness

Back 25

Mastering EQ adjusts quality of song, brightness

Front 26

* Bounce

Back 26

Moving tracks around

Front 27

Multi band compression,

Back 27

compress different areas of frequency

Front 28

Grid Mode:

Back 28

Note Value, locked onto grid

Front 29

Slip Mode

Back 29

free to move around

Front 30

Latency, examples

Back 30

delay from long midi cables
• large buffer, creates latency in virtual instruments
*high buffer setting?

Front 31

* Large Diaphram condenser, cardiod pattern, most vocals

Back 31

proximity effect = disprotionate increase in bass frequencies as close to mic?

Front 32

Draw patterns, name them,

Back 32

* Loud Sound source = dynamic mic, ribbon mic

Front 33

MIDI = musical instrument digital interface, invented early 80’s

Back 33

*Midi Tracks, Audio Tracks difference = midi is only data

Front 34

*16 channels on single midi cable
*127 controllers per channel, 0-127

Back 34

*Low Frequency Occilator
• 2 effects: Wa, Delay, chorusing, flanging, filters

Front 35

Order of setup

Back 35

*Mic->pre amp->comp/limiter-analog to digital convertor

Front 36

*Master Clock

Back 36

*Sample; any recorded info that can be used
• legal sampling : anything legal right to use

Front 37

*Synthesis different from sampling: square wave, sin wave, sawtooth wave, taking raw wave forms, using envelopes to shape sounds, filter and modulating

Back 37

*3 thing that can be automated: feedback on dig delay, length of reverb, muting of channel, gain on equalizer, LFO on chorus

Front 38

*Dif Hard and Soft Knee compression: soft knee has threshold, hard knee no compression till hit threshold, hard knee can be limited

Back 38

*Multi Band Compression: mastering that allows compression different areas of frequencies in different amounts

Front 39

*Frequency Areas: 80 hz is low, low end would be boomy if adding decibles, 10-20 Khz range, boost high end, airy, bright and piercing

Back 39

*where is 1k – mid range of human hearing

Front 40

*Latch, Touch, Overide??
• Latch: Doesn’t record until parameter moved
• Touch: Same as latch, but stop moving goes back
• Overite: Records new data

Back 40

*Native computer workstation: only uses computer processing power

Front 41

*If Delay has 6 taps, each tap can be set to different note value or different delay time

Back 41

*Bass frequencies build up in corners, surfaces meet

Front 42

*2 uses for Auxilary Tracks
• to bus something to
• multiple tracks grouped, edited

Back 42

*XLR, TRS
• two types of low z, balanced, grounded, cables

Front 43

Guitar Chord:
• Unbalanced cable, high Z

Back 43

ADSR stands for? Attack* Decay Sustain Release* used in envelopes

Front 44

*Synchronizable LFO's??

Back 44

• Modulation, LFO can happen to beat value, synchronizes with host protools, LFO’s can happen in time with beat

Front 45

Name 3 Types of Software Instruments:

Back 45

• Synthesiszer
• Sampling
• physical modeling instruments

Front 46

*What is Busing?

Back 46

• When send audio info from one track to another, virtual track to another, moving one place to another place in DAW

Front 47

*What is Busing?
•

Back 47

When send audio info from one track to another, virtual track to another, moving one place to another place in DAW

Front 48

*Name of the actor, goes to 11
•

Back 48

Christopher Guest