Recording Tech Final

Front 1

This term describes a class of microphones where both sides of the diaphragm are accessible to sound waves.

Back 1

pressure gradient microphones (velocity)

Front 2

When sound encounters an appropriate boundary it will be redirected at an angle that’s equal to and opposite its angle of incidence. The term appropriate is used because the boundary is frequency dependent. The lower the frequency the more difficult it becomes to stop the wave from traveling through the boundary.

Back 2

reflection of sound

Front 3

Volume increases and decreases after the initial sounding of a note.

Back 3

sustain

Front 4

This type of studio has medium sized recording spaces and control rooms with various isolation and purpose built rooms.

Back 4

modern music studio

Front 5

This type of studio has a small recording space if any, may contain a foley stage and has a large control room and console.

Back 5

audio-for-video (film dialog, & mix-down studio)

Front 6

This type of studio can accommodate a large number of musicians, has a very large recording space and control room with few, if any, alternate rooms.

Back 6

orchestral film scoring studio

Front 7

This type of recording room is designed for sound effect creation for the motion picture industry. Various surfaces, objects, and materials are available for creating the sound effects to picture. (Named for Jack Foley a Universal Studios sound effects specialist).

Back 7

Foley stage

Front 8

This term is used to describe the increase in the bass response that will occur in directional microphones when the source is a distance of 1 foot or less.

Back 8

proximity effect

Front 9

This term describes a class of microphones where only one side of the diaphragm is accessible to sound.

Back 9

pressure microphones

Front 10

This small bone is attached to the eardrum and assists in both amplification and protection via muscles that will tighten when exposed to loud SPL.

Back 10

malleus (hammer)

Front 11

This small bone follows the malleus and assists in amplification.

Back 11

incus (anvil)

Front 12

This small bone follows the incus assists in both amplification and protection via muscles and is attached to the cochlea by way of the oval window.

Back 12

stapes (stirrup)

Front 13

This sets the amount of compression.

Back 13

compressor*

Front 14

This refers to a measurement of a microphones output over the audible frequency range when subject to a constant full frequency spectrum input to the side of the microphone designed to pickup sound.

Back 14

on-axis response

Front 15

This refers to a measurement of a microphones output over the audible frequency range when subject to a constant full frequency spectrum input on the side of the microphone designed to reject sound.

Back 15

off-axis response

Front 16

This passage equalizes pressure in the middle ear by means of an opening to the throat, which allows the eardrum to remain pliable.

Back 16

eustachian tube

Front 17

This music industry professional is considered the projects focus or "star" and may or may not actually write the songs. They answer to the record label.

Back 17

the artist

Front 18

This level represents the average level of a waveform. It is the product of .707 and the peak of the wave. This level closely approximates human hearing.

Back 18

rms level (root mean square)

Front 19

This is where the ridges in the ear cause a slight delay that is compared to the direct sound by the brain giving us vertical position information. This is only true for sounds arriving from the front through 130 degrees to either side of the head.

Back 19

effects of the pinnae

Front 20

This is where sound waves that arrive at different times give cues to the brain that allow us to localize the entire frequency spectrum in the lateral plane.

Back 20

arrival-time differences

Front 21

This is when louder sounds drown out quieter ones in similar frequency ranges.

Back 21

masking

Front 22

This is the way a microphone responds to sounds coming from different directions.

Back 22

directional response

Front 23

This is the unit of measurement for cycles per second.

Back 23

Hertz (Hz)

Front 24

This is the time it takes for a persisting sound’s level to drop by 60 decibels (dB).

Back 24

decay time (RT60)

Front 25

This is the thin, semitransparent, oval-shaped membrane that separates the middle ear from the external ear. It changes sound waves into vibrational energy.

Back 25

tympanic membrane

Front 26

This is the side of the microphone designed to reject sound.

Back 26

off-axis

Front 27

This is the side of the microphone designed to pickup sound.

Back 27

on-axis

Front 28

This is the point at which we began to hear the audible spectrum.

Back 28

threshold of hearing (0 dB spl)

Front 29

This is the phenomenon where two tones close in frequency will be heard as a completely new, non-existing, oscillating tone.

Back 29

beating

Front 30

This is the outer ear and its ridges, which direct sound to the ear canal.

Back 30

pinna (pinnae for plural)

Front 31

This is the narrow, tubelike passage through which sound travels to the tympanic membrane.

Back 31

ear canal

Front 32

This is the maximum level a device can reproduce without distortion.

Back 32

head-room

Front 33

This is the level between 200 Hz and 10 kHz at which pain is caused 50% of the time in the listener.

Back 33

threshold of pain (140 dB spl)

Front 34

This is the level between 200 Hz and 10 kHz at which discomfort is caused 50% of the time in the listener.

Back 34

threshold of feeling (118 dB spl)

Front 35

This is the human interpretation of vibrational energy.

Back 35

sound

Front 36

This is the fluid filled, snail shaped organ that transduces the vibrational energy from a sound wave into the electrical energy of nerve impulses that is sent along the auditory nerve to the brain.

Back 36

cochlea

Front 37

This is the characteristic variations in level that occur as a note sounds (attack, sustain and decay).

Back 37

acoustic envelope

Front 38

This is the brains inability to distinguish between sounds arriving between 0 and 30 milliseconds (mSec).

Back 38

temporal fusion

Front 39

This is the actual pitch being played (also called the 1st harmonic).

Back 39

fundamental

Front 40

This is the ability of sound to bend around an object in a manner that reconstructs the original waveform in both frequency and amplitude.

Back 40

diffraction

Front 41

This is a user controllable dynamics reducing device.

Back 41

compressor*

Front 42

This is a transducer that changes acoustic energy (sound waves) into electrical energy (an audio signal) by means of a moving diaphragm.

Back 42

microphone

Front 43

This is a switchable circuit often employed on directional mics to combat proximity effect resulting in a “roll off” of lower frequencies.

Back 43

high pass filter

Front 44

This is a pressure device whose diaphragm reacts equally to sound pressure waves regardless of angle of incidence.

Back 44

omni directional microphone

Front 45

This is a microphone that responds to only one direction

Back 45

unidirectional microphone

Front 46

This is a measurement of the self-noise created by a microphone in the absence of an input. It tells you how quiet a mic is.

Back 46

equivalent noise rating

Front 47

This is a measurement of how quickly a diaphragm will react to a sound wave.

Back 47

transient response

Front 48

This is a measurement of a microphones output given a standard input (measured in dBV). It tells you how “hot” the mic will be!

Back 48

sensitivity rating

Front 49

This is a graphical representation of a mic's directional response.

Back 49

polar pattern

Front 50

This is a device that changes one form of energy into another corresponding form of energy.

Back 50

the transducer

Front 51

This is a concept whereby once a signal is at working level within a device, it is kept at that level through all stages of the device.

Back 51

unity gain

Front 52

This is a bass trap enclosure whose depth is 1/4 of the offending wavelength.

Back 52

quarter-wavelength

Front 53

This is a bass trap design that uses a rigid medium density board attached to a boundary surface.

Back 53

pressure-zone

Front 54

This is a bass trap design that is tube shaped used to dampen low frequencies.

Back 54

functional

Front 55

This is 48 volts DC supplied, usually from a console, to polarize and power condenser mics.

Back 55

phantom power

Front 56

This individual translates the artist's vision into a commercially viable product. They are responsible for all aspects of the project including the budget, picking and booking the studio, hiring the engineer, sometimes writing the material. They are the artist's inspirational psychiatrist! They answer to the label.

Back 56

the producer

Front 57

This individual is the "face" of the studio. They handle client relations and booking.

Back 57

studio manager

Front 58

This individual is responsible for achieving the sonic vision of the producer and is sometimes referred to as the "knob turner". They are generally independent, they direct the studio's assistant, can read the mind of the producer and answers to the producer. They will also have their own specialized psychiatric skills!

Back 58

the engineer

Front 59

This happens when two tones f1 and f2 are heard that differ by more than 50 Hz producing additional non-existing tones such that sum tone = f1 + f2 and difference tone = f1-f2

Back 59

combination tones

Front 60

This determines the point, above which, compression will begin. Signals above this level will be compressed, signals below will be unaffected.

Back 60

attack (compressor)

Front 61

These waves are sine waves, square waves, triangle waves and saw-tooth waves. These waves in their pure state do not exist in nature.

Back 61

simple

Front 62

These individuals work for the studio, must know the studio inside and out, run the session in the absence of the engineer, answer first to the producer then to the engineer, must be able to read the mind of both the engineer and the producer. They are usually trying to land a gig with a producer.

Back 62

assistant engineers

Front 63

These individuals work for the studio and maintain, repair and install the gear. They usually have training in electronics repair and spend little to no time in contact with the clientele.

Back 63

maintenance engineers

Front 64

These individuals work for the studio (sometimes for free) and will run errands for the studios clients. They are basically gofers and are trying to work their way up to assistant engineer.

Back 64

runners

Front 65

These individuals are independent (do not work for the studio) and are considered "hired guns" to complete or add musical parts to the project. They answer to the producer.

Back 65

studio musicians

Front 66

These are the small bones of the middle ear, which amplify and transmit the sound to the cochlea.

Back 66

ossicles

Front 67

These are sounds that reach the listener without any reflection or interference from obstacles.

Back 67

direct

Front 68

These are sounds that reach the listener after a limited number of reflections.

Back 68

early reflections

Front 69

These are sounds that have been reflected a large number of times taking on aspects of the acoustic environment including frequency modification and density of waveform.

Back 69

reverberation

Front 70

These are sounds that are reflected between parallel surfaces that travel back on their own path interfering constructively and destructively.

Back 70

standing waves (room modes)

Front 71

The time relationship of two or more signals.

Back 71

phase

Front 72

The time it takes to complete one cycle.

Back 72

period

Front 73

The speed of sound, expressed in ft/sec. Notated (c) when referring to sound in air (1130 ft/sec).

Back 73

velocity of sound

Front 74

The rate at which an acoustic generator, vibrating mass or electrical signal to repeats a cycle of positive and negative amplitude. Most commonly expressed as Hertz or cycles/second.

Back 74

frequency (f)

Front 75

The property of a body by which it remains at rest or continues to move.

Back 75

inertia

Front 76

The process used in the motion picture industry to replace the spoken parts of a film. A large percentage of the spoken parts in film have been replaced after the scene was originally shot. This is done to gain control of the audio especially background noise that may be unavoidable at the filming location.

Back 76

ADR (automatic dialog replacement)

Front 77

The process of compression and rarefaction that takes place when air particles encounter sound waves.

Back 77

wave propagation

Front 78

The positive or negative displacement from the centerline or equilibrium state in a waveform graph.

Back 78

amplitude

Front 79

The physical distance from the beginning to the end of a cycle.

Back 79

wavelength

Front 80

The level when the note is first played.

Back 80

attack or transient

Front 81

The final version of the recording to be used in the manufacture of multiple copies.

Back 81

duplication master

Front 82

The final and approved mix of the multitrack tape recording that will then be sent to mastering.

Back 82

mix master

Front 83

The fade or reduction in level as a note ends.

Back 83

decay

Front 84

The degree or amount of the various tones inherent in a musical instrument; made up of the fundamental tone and the partials, harmonics, or overtones.

Back 84

harmonic content

Front 85

The charted output of a device over a range of tested frequencies. The quality of audio gear is judged on its ability to accurately reproduce the input source at its output.

Back 85

frequency response

Front 86

The characteristic sound of an instrument, which is determined by its harmonic content.

Back 86

timbre

Front 87

The amplitude of a forced vibration increases as the period of the vibration approaches that of a “free vibration” of the vibrating system (determined by its mass and elasticity), and reaches a maximum when the two periods exactly coincide.

Back 87

principle of resonance

Front 88

The acoustic pressure that is built up within a defined atmospheric area.

Back 88

SPL

Front 89

The ability of an object or substance to return quickly to its original state after being bent, stretched, or squashed.

Back 89

elasticity

Front 90

Preventing external noises from entering the studio/CR and preventing internal noises from leaking out.

Back 90

acoustic isolation

Front 91

One complete performance of a vibration (from positive through negative amplitude and back to the beginning point in a periodic event).

Back 91

cycle

Front 92

Making the environment intelligible for the performer and the recording. (more important in classical studios)

Back 92

acoustic separation

Front 93

Is a logarithmic value that expresses differences in intensities between two levels, most commonly SPL, voltage, or power (wattage).

Back 93

decibel (dB)

Front 94

Graphs that represent our ears sensitivity to the audible frequency range as a subject of SPL.

Back 94

equal-loudness curves

Front 95

Discrete reflections of a sound between parallel surfaces

Back 95

flutter echo

Front 96

Designing the rooms to give an “uncolored” response to the material that is performed live or reproduced through speakers.

Back 96

frequency balance

Front 97

An area of lower than normal atmospheric pressure.

Back 97

rarefaction (wave propagation)

Front 98

An area of higher than normal atmospheric pressure.

Back 98

compression (wave propagation)

Front 99

All sounds we hear in the natural world are complex to some degree.

Back 99

complex

Front 100

A step in the multitrack recording process where the foundational parts of the music are recorded. This often includes the rhythm section and guide tracks where each element of each instrument are recorded to its own track. This step is often considered the most important phase of multitrack of recording.

Back 100

recording (tracking, or basic tracks)

Front 101

A step in the multitrack recording process where the final delivery format (stereo or surround) is chosen and a "mix master" is created. This step takes individual tracks of the multitrack recording and adjusts them for balance (the individual volume of each track), tone (equalization), spatial positioning (where the track is positioned between the speakers, which is called panning), effects are added (reverb, delay, etc.).

Back 101

mixing

Front 102

A step in the multitrack recording process where the "mix master" of each song is adjusted for tone and level so that all the songs make a cohesive product. This process also includes the sequencing (song order), spacing between songs, and the creation of the "duplication master".

Back 102

mastering

Front 103

A step in the multitrack recording process where mistakes can be corrected, individual parts are completely re-recorded or entirely new tracks are added until all recording is finished.

Back 103

overdubs

Front 104

A series of pitches that exist in addition to the fundamental tone. (The first overtone is the 2nd Harmonic) These pitches are whole number multiples of the fundamental pitch. (Only some of these overtones are of equal temperament.)

Back 104

partials

Front 105

A process of tracking, overdubbing, mixing and mastering.

Back 105

multitrack recording

Front 106

A pressure gradient device where response is dependent upon the angle of incidence.

Back 106

directional microphone

Front 107

A physical disturbance in a medium (such as air) that results in periodic variations of pressure (in air the atmospheric variations are too small to be measured by a barometer).

Back 107

sound-pressure wave

Front 108

These are switchable attenuation devices found on condenser microphones, consoles and adapters that will lower the level by a specified amount (typically 10-20dB). They prevent distortion that can occur after the mic at the input to the mic pre-amplifier of the console.

Back 108

pad

Front 109

A directional hearing phenomenon where the human head will cast an acoustic shadow on sounds arriving to either side decreasing the level of the waveform to the side that is off axis from the source. This is a frequency dependent phenomenon as very low frequencies are unaffected by this “shadow.”

Back 109

inter-aural intensity differences

Front 110

True or False: The pinnae and its ridges change sound into vibrational energy.

Back 110

false

Front 111

True or False: Pressure gradient microphones allow sound to reach both sides of the diaphragm.

Back 111

true

Front 112

True or False: The bandwidth is the difference between the lower and upper cut off frequencies.

Back 112

true*

Front 113

True or False: In a patchbay that has half normal wiring the top and bottom row have no electrical connections.

Back 113

false

Front 114

True or False: The monitor fader controls the final level sent from the console to the recording device.

Back 114

false

Front 115

True or False: A windscreen can provides 20 dB of signal reduction and can be used to prevent overload at the consoles mic preamplifier.

Back 115

true

Front 116

True or False: As a result of linearities in the ear’s response, tones will often interact with each other.

Back 116

true*

Front 117

True or False: The phrase ADR stands for automatic-digital-replacement.

Back 117

false

Front 118

True or False: Elasticity is the property of a body by which it remains at rest or continues to move.

Back 118

false

Front 119

True or False: Electromagnetic noise can be cancelled by using twisted center conductors in a cable.

Back 119

true

Front 120

True or False: Three things characterize an instruments sound: Harmonic Content, Acoustic Envelope, and Instrumental Resonance.

Back 120

true

Front 121

True or False: Sound pressure waves create a physical disturbance in a medium that results in periodic variations of pressure known as wave propagation.

Back 121

true

Front 122

True or False: The acoustic envelope consists of a fundamental tone, partials, overtones and harmonics that allow us to differentiate between various musical instruments.

Back 122

false

Front 123

True or False: Sound reflected from a concave surface will focus towards a single point.

Back 123

true

Front 124

True or False: Many condenser microphones have 2 diaphragms attached back to back allowing multiple polar patterns to be achieved by way of electrically summing or subtracting the two capsules outputs.

Back 124

true

Front 125

True or False: Preventing external noises from entering the studio/control room and preventing internal noises from leaking out is called acoustic separation.

Back 125

false

Front 126

True or False: A condenser microphone operates on the principle of electromagnetic induction.

Back 126

false

Front 127

True or False: Phantom power is required to charge a ribbon microphone.

Back 127

false

Front 128

True or False: The floors in a studio should be floated using neoprene isolation mounts.

Back 128

true

Front 129

True or False: Direct signal is defined as the first few reflections of sound from major boundaries within an acoustic space.

Back 129

false

Front 130

True or False: Wave Propagation is the process of compression and rarefaction that takes place when air particles encounter sound waves.

Back 130

true

Front 131

True or False: When a signal is sent out an “aux”, it must be returned to the channel to complete the signal path.

Back 131

false

Front 132

True or False: Because of the hard reflective surfaces and parallel walls, most bathrooms do not have a diffuse reverb characteristic.

Back 132

true

Front 133

The patch bay configuration in which the top and bottom rows have no electrical connection is:

a) half-normalled
b) parallel
c) full-normalled
d) open

Back 133

d) open

Front 134

Which of the following is not a component of acoustic sound?

a) reverberation
b) volume
c) direct signal
d) early reflections

Back 134

b) volume

Front 135

The charted output of a device over a range of frequencies is it’s

a) Reflection of Sound
b) Diffraction of Sound
c) Frequency Response
d) Phase

Back 135

c) Frequency Response

Front 136

A Mic to Line “Step Up” transformer will

a) will increase the signal by 40 dB
b) will decrease the signal by 40 dB
c) add 20 dB
d) subtract 20 dB

Back 136

c) add 20 dB

Front 137

This microphone operates using electrostatic principle. The diaphragm rests above a plate that is designed to reflect sound. Early reflections are eliminated when this microphone is placed on a boundary.

a) Ribbon Mic
b) Electret Condenser Mic
c) Pressure Zone Mic (PZM)
d) Carbon Mic

Back 137

c) Pressure Zone Mic (PZM)

Front 138

is a measurement of how quickly a diaphragm will react to a sound wave.

a) Output Characteristic
b) Sensitivity
c) Amplitude Response
d) Transient Response

Back 138

d) Transient Response

Front 139

The reference for dBspl is.

a) 20μPa
b) 0.775V
c) 1V
d) 20 log

Back 139

a) 20μPa

Front 140

In this patch bay configuration, the top row is connected to the bottom row regardless of patching.

a) Open
b) Parallel
c) Half-Normalled
d) Full-Normal

Back 140

b) Parallel

Front 141

What is the most common voltage used for phantom power?

a) 37 V AC
b) 64 V DC
c) 48 V DC
d) 92 V AC

Back 141

c) 48 V DC

Front 142

Consumer level gear operates at:

a) –7 dBm
b) +4 dBu
c) +9 uPa
d) – 10 dBV

Back 142

d) – 10 dBV

Front 143

Analog is a system of measurement in which a continuously varying value corresponds proportionally to another value, especially what?

a) Voltage
b) Current
c) Resistance
d) Impedance

Back 143

d) Impedance

Front 144

is the process of making the environment intelligible for the performer and the recording.

a) Acoustic Isolation
b) Acoustic Separation
c) Frequency Balance
d) Symmetrical Design

Back 144

b) Acoustic Separation

Front 145

The type of console that incorporates both the record and monitor section in each channel is called...

a) In-line
b) Split
c) Digital
d) Analog

Back 145

a) In-line

Front 146

In regards to studio design, parallel surfaces should be avoided to eliminate

a) Harmonic Distortion
b) Diffusion
c) Flutter Echo
d) Reverberation

Back 146

c) Flutter Echo

Front 147

What is the zero reference for the equation: dBm = 10log w1/w2

a) 100 watts
b) 2 nwatts
c) .775 volts
d) 1 milliwatt

Back 147

d) 1 milliwatt

Front 148

dBW =

a) 3.14159
b) 10 log w1/w2
c) 20 log w1/w2
d) 15 log w1/w2

Back 148

b) 10 log w1/w2

Front 149

Ceilings in a studio should be isolated using

a) z channels
b) sound locks
c) neoprene isolation mounts
d) diffusers

Back 149

a) z channels

Front 150

s the positive or negative displacement from the equilibrium state on a graphical waveform.

a) Frequency
b) Velocity
c) Wavelength
d) Amplitude

Back 150

d) Amplitude

Front 151

The range of human hearing is:

a) 10-10,000 Hz
b) 20-20,000 Hz
c) 60-20 kHz
d) 20-10,000 kHz

Back 151

b) 20-20,000 Hz

Front 152

A commercial compact disc will be

a) 44.1 Hz
b) 41 kHz
c) 48 kHz
d) 16 bit

Back 152

d) 16 bit

Front 153

The top and bottom rows of this type of patch bay are “break-jacks.”

a) Open
b) Parallel
c) Half Normalled
d) Full Normal

Back 153

d) Full Normal

Front 154

This type of microphone is considered bulletproof and therefore suitable for more rugged applications.

a) Dynamic
b) Carbon
c) Condenser
d) Pressure Zone

Back 154

a) Dynamic

Front 155

Wavelength is equal to

a) velocity / frequency
b) frequency / velocity
c) amplitude / velocity
d) velocity / amplitude

Back 155

a) velocity / frequency

Front 156

This part of the ear equalizes pressure in the middle ear.

a) Cochlea
b) Pinnae
c) Eustachian tube
d) Stapes

Back 156

c) Eustachian tube

Front 157

Is the process that allows you to listen to either the inputs of the various channels or the outputs of the recording medium.

Back 157

monitoring

Front 158

Is the time relationship of two or more sound waves.

Back 158

phase

Front 159

Microphones have the most pliant diaphragm, the best transient response, operate using electromagnetic induction, and should never be used with phantom power.

Back 159

ribbon

Front 160

Allow us to localize sounds in the vertical plane.

Back 160

effects of the pinnae

Front 161

This microphone was used in early telephones. Sound waves would move the diaphragm, which pushed a brass plate against a “cup” filled with crushed granules. The pressure on the granules changed the resistance correspondingly, creating an analogous current flow.

Back 161

carbon

Front 162

Is professional level in decibels.

Back 162

+4 dBu

Front 163

Is consumer level in decibels.

Back 163

-10 dBV

Front 164

Is mic level in decibels.

Back 164

-40 dBV

Front 165

Is instrument level in decibels.

Back 165

-8 dBV

Front 166

Microphones operate using piezoelectricity.

Back 166

crystal

Front 167

Is the standard code for interlocking audio, video, and film transports.

Back 167

SMPTE time code

Front 168

Is a monitoring process where final balances and sonics are adjusted for transfer to a final format.

Back 168

mixdown

Front 169

dB SPL is the level best suited for monitoring because our ears have the flattest frequency response in that range.

Back 169

85

Front 170

Is the process of compression and rarefaction that takes place when air particles encounter sound waves.

Back 170

wave propagation

Front 171

Describes when a physical object begins to oscillate in conjunction with a sound wave.

Back 171

sympathetic vibration

Front 172

Pass filter will attenuate high frequencies past the cutoff point.

Back 172

high

Front 173

Is the part of our ear that changes vibrational energy into electrical impulses.

Back 173

cochlea

Front 174

Is the physical distance from the beginning to the end of one cycle.

Back 174

wavelength

Front 175

Is the ability of sound to bend around an object in a manner that reconstructs the original waveform in both frequency and amplitude.

Back 175

diffraction

Front 176

The Fundamental Tone is also known as the ?

Back 176

first harmonic

Front 177

Is a measurement of the self-noise created by the microphone in the absence of an input. It tells you how quiet the mic will be.

Back 177

equivalent noise rating

Front 178

Is a measurement of output given a standard input (measured in dBV). Tells you how “hot” the mic will be!

Back 178

sensitivity rating

Front 179

Is a measurement of how quickly a diaphragm will react to a sound wave.

Back 179

transient response

Front 180

Is an increase in the bass response of directional microphones when the source distance is 1 foot or less.

Back 180

proximity effect

Front 181

Is a graphical representation of a mics directional response.

Back 181

polar pattern

Front 182

Is the zero reference for dBm.

Back 182

1 mW

Front 183

Is the zero reference for dBu.

Back 183

.775 volts

Front 184

Is the zero reference for dBspl.

Back 184

20 uPa

Front 185

Is the zero reference for dBV.

Back 185

1 volt

Front 186

Describe interaural intensity differences.

Back 186

A directional hearing phenomenon where the human head will cast an acoustic shadow on sounds arriving to either side decreasing the level of the waveform to the side that is off axis from the source. This is a frequency dependent phenomenon as very low frequencies are unaffected by this “shadow.”

Front 187

What is Unity Gain?

Back 187

This is a concept whereby once a signal is at working level within a device, it is kept at that level through all stages of the device.

Front 188

Explain how diaphragm size affects the polar pattern of an omni directional microphone.

Back 188

Pure pressure omni microphones will exhibit a small but significant off axis coloration affecting the frequency response of sounds arriving from the rear and sides.

Front 189

What are the two requirements of a medium that allow sound wave propagation?

Back 189

compression and rarefaction

Front 190

What three things make up the acoustic envelope and give a brief definition of each.

Back 190

Attack - The level when the note is first played.
Sustain - Volume increases and decreases after the initial sounding of a note.
Decay - The fade or reduction in level as a note ends.

Front 191

In regard to the way our ears respond to sound, what is “masking”?

Back 191

This is when louder sounds drown out quieter ones in similar frequency ranges.

Front 192

What will happen if monitor speakers are wired out-of-phase?

Back 192

There will be no sound.

Front 193

The phase switch is used to reverse the phase of a signal by 180 degrees. Give an example of when this switch might be used.

Back 193

When you use a combination amp and you’re recording a snare on the top and the bottom

Front 194

What are some of the advantages and disadvantages to using ribbon and condenser mics?

Back 194

Ribbon advantage: Excellently sonic, best transient response
Ribbon disadvantage: Easy to destroy
Condenser advantage: Flattest frequency response, very sensitive
Condenser disadvantage: None to speak of

Front 195

Our ears a fairly flat from 300 to 3000 Hz. What happens above 3kHz? Why?

Back 195

Our ears become very sensitive because this is a resonance from the outer ear canal

Front 196

Explain why modern meters have no electrical reference.

Back 196

Digital audio is still evolving.

Front 197

Describe the two methods used for creating a directional response in a microphone.

Back 197

phase delay ports and dual diaphragm

Front 198

Why is there a tendency for low frequency build up at room boundaries? Hint: discuss modal frequencies.

Back 198

There is a pressure maximum and a pressure minimum at each boundary, which causes them to load up.