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30 Cards in this Set
- Front
- Back
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Maintaining signal levels: How? why?
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Maintaining signal levels is crucial when recording. This is done throughout the entire process, starting with the distance you choose to the sound source determined by it's loudness/SPL. Pads are often utilized so that the sound you want is not compromised by it's intensity. Of course, clipping/loudness distortion is irremovable. Also, certain levels into certain gear will prevent increases in a noise floor.
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Microphone choice: What do different microphones do differently? Why do you choose what you do?
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Pickup pattern, frequency response, ability to handle transients & SPL.
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Mic pre: What is a mic pre? Why do you choose the one that you do?
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Mic pres increase a mic level signal to line level by providing stable gain while preventing induced noise that would otherwise distort the signal. Can increase by up to 70dB, and each has their own coloring to the tone which one has the artistic liberty to act upon.
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Signal path: Typical one looks like what?
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1: Sound source --> microphone --> pre-amp --> mixing console--> output
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Balanced signal-Professional and semipro / consumer levels
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Balanced signal: Out of phase signals, differential signal, induced noise can be cancelled out. +4 output output in a professional, -10 output in a semi-pro/consumer
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*In a complete recording chain, using digital recorders, and having the gain structure set properly, which is the noisiest stage? (Which determines the limiting signal-to-noise ratio?)
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Pre-amp
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*Electromagnetic principle?
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Dynamic microphones use electromagnetic induction. hey contain a diaphragm that is fixed to a moving coil. The coil is positioned in a static magnetic field generated by a permanent magnet. As the sound waves hit the microphone, they set up vibrations in the diaphragm, which are transferred to the coil. The movement of the coil in the magnetic field induces a signal voltage that is proportional to the incident sound. Ribbon microphones also Loudspeakers can function on a similar principle with electromagnetic linear motors: Larger diaphragms to create pressure waves instead of responding to them. Positive current moves coil away from magnet, Negative current moves coil in toward magnet.
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*Electrostatic principle?
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Capacitor/Condenser microphones operate on this principle: The mic diaphragm acts as one plate of a capacitor, and the vibrations produce changes in the distance between the plates. In loudspeakers: The reverse of a condenser mic element, again on a larger scale. Using an audio signal to modulate the magnetic charge between a fixed and flexible conductive plate.
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*Control room monitors, Types?
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Near field: Take room out of equation, one monitors from within critical distance so that ambience doesn’t falsify sound.
Far-field: Speakers facing room, and thus most collaborate with the room to provide a whole truth with the audio and not a blended/compromised mix. |
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*Headphone mixes
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Can accommodate musician's preference while playing with pre/post fader settings
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*The ideal speaker placement for monitoring?
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Ideal speaker placement for monitoring is attained by creating an equilateral triangle between the (for this case) two monitors and oneself.
The distance to your listening position, the particular speaker you own and, to a great measure, your own personal preference, will determine distance between the speakers. I generally prefer to start with an equilateral triangle, the apex of which is located at the listening position, with the two speakers forming the base line. Note: Some manufacturers recommend a specific measure for speaker separation. Use this measurement, if available and your room permits, but remember that any recommendation is only a starting point. You'll find that increasing the distance between the speakers will widen the soundstage. My personal preference is toward simple recordings with good, even spread across the stage and a strongly focused center image. |
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*Basic classifications of stereo microphone placement
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Time based or intensity based: Placement of mics for stereo determine this. Coincident or near-coincident as well.
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*How do the hybrid stereo placements work?
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They combine both the volume difference provided as sound arrives, as well as the timing difference. ORTF and NOS for example.
ORTF combines both the volume difference provided as sound arrives on- and off-axis at two cardioid microphones spread to a 110° angle, as well as the timing difference as sound arrives at the two microphones spaced 17cm/7in apart. NOS uses two cardiod microphones axis of 90 degrees and a distance between them of 30cm/12in |
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*Classic placements for the "Time" stereo
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Split pair, CR Fine
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*Classic placements for the "Intensity" stereo
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XY, M/S, Allen Blumlein
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*M/S: What is it and how do you set it up? Mono compatable?
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does not create stereo on it’s own
Reverse polarity of right side to left? |
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0 dBu =
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.775 volts r.m.s.
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0 dBV =
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1 volts r.m.s.
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0 VU =
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1.23 volts r.m.s. = +4 dBu (professional equipment), -10 dBV (consumer equipment)
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***You have placed microphones in lab classes, be prepared to explain your experiences with the required instruments and positions that you experimented with.
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ok
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What mic patterns do time based stereo techniques use?
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omni or cardiod
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What creates imagery with intensity stereo techniques?
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Localization (since there is no difference in timing)
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What type of stereo technique are coincident & near coincident?
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Intensity based
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Split/Spaced/A-B pair technique:
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Time based:
-Either two omnis or two cardioids -Angled as desired -3-10ft |
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CR Fine technique:
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Time based:
-Three omnis -Distance between should be 1/4th the total distance covered |
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XY technique:
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Intensity based:
-Two cardioids -90-135 degrees -Spacing: coincident |
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MS technique:
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Intensity based:
-1 cardioid (or sometimes omni) and 1 bidirectional -Cardioid forward pointed, bidirectional side-pointed -Spacing: coincident -In session: Duplicate bidirectional track. Pan original hard left. Pan duplicate hard right, and invert polarity. |
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Blumlein technique:
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Intensity based:
-Two bidirectionals -90 degrees -Spacing: coincident (it's an XY in figure 8) |
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ORTF technique:
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ORTF uses two cardioid microphones spread to a 110° angle, as well as the timing difference as sound arrives at the two microphones spaced 17cm/7in apart.
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NOS technique:
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NOS uses two cardiod microphones axis of 90 degrees and a distance between them of 30cm/12in
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