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61 Cards in this Set
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- Back
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What is Dynamic range. (Pre-Amp) |
Provide the highest possible gain without distortion and produce as little noise as possible. (Pre-Amp) |
Gain and noise. |
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What is described by: to provide the highest possible gain without distortion and produce as little noise as possible. (Pre-Amp) |
Dynamic range. (Pre-Amp) |
....range. |
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Good gain structure can be defined as? (Pre-Amp) |
A good combination of input and output gain levels to achieve the best possible signal to noise ratio. |
combination, input, output, signal, noise, |
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What is described by A good combination of input and output gain levels to achieve the best possible signal to noise ratio. (Pre-Amp) |
Good gain structure |
......structure. |
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Why is it so that the design of the mic preamp really defines the sound character of the entire desk. (Pre-Amp) |
Beacause any quality loss at this stage can never be regained. |
quality loss |
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At what stage can any quality loss never be regained. (Pre-Amp) |
Mic Pre-Amp |
.... Pre-Amp |
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Name 2 things Pre and Post can refer to in regards to signal flow? |
Pre fade aux sends Pre fade metering |
.....aux sends Pre fade..... |
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Pre fade aux sends and Pre fade metering can be referred to as? |
Pre and Post |
Befor and after. |
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What can Pre fade aux sends be used for? |
Pre fade aux sends are usually used for headphone/foldback sends or Sidechain inputs |
headphone sidechain |
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Foldback is a more traditional term for? |
headphone sends.
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...... sends |
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headphone sends is traditionally called? |
Foldback |
.....back |
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What is headphone sends or fold-back called in Pro tools? |
Cue Sends. |
Cue ...... |
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What can you also call what is called Cue sends in Pro-Tools. |
headphone sends or fold-back |
Headphone ..... or Fold- |
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What is Solo Isolate |
Usually used on FX returns so that sources in solo can be heard with FX if they are added viathe aux buss. |
FX return Aux buss |
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What function is usually used on FX returns so that sources in solo can be heard with FX if they are added via the aux buss. |
Solo isolate |
...late |
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Describe Phase Reversal. |
switches the polarity of the input signal (very important for multi-mic recording todiscover if two or more microphones are out of phase with each other. If out of phase, make phase reversal so that they don't cancel each other out) |
polarity |
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If you have signal cancellation and you have to switch the polarity of an input signal so that it is in phase with another signal, you can do a.... |
Phase Reversal. |
....Reversal. |
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Dynamic Mics are generally used on |
Close miked drums i.e. kick, snare, toms, hi hats. Electric Guitar amplifiers (Bass or Guitar). |
dynamic microphones can cope with loud SPLs
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Good mics for kick, snare, toms, hi hats. Electric Guitar amplifiers (Bass or Guitar) |
Dynamic Mics |
D |
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Condenser Mics are generally used on |
Drum kit Overheads$ Acoustic guitars, Vocals, Acoustic hand drums, strings or any acousticinstruments. |
condenser microphones are more sensitive to highSPLs (so not suited for close miked drums etc) and have a better high frequency response. |
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Good miss for Drum kit Overheads$ Acoustic guitars, Vocals, Acoustic hand drums, strings or any acoustic instruments. |
Condenser Mics |
C |
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Polar Response |
a microphones sensitivity oroutput. |
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name different polar patterns for mics |
Figure of 8 Cardioid Omni |
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Figure of 8, Cardioid and Omni are.... |
polar patterns for mics |
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Frequency Response |
how the mic responds or puts out a signal depending on the input frequencies |
The frequency response is the output level or sensitivity of a microphone. |
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Transient Response
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how good/fast a mic responds to changes |
a mics ability to respond to rapidly changing sound waves |
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how good/fast a mic responds to changes |
Transient Response |
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Proximity Effect |
The low frequency (bass) response of Cardiod and Hypercardiod microphones becomes morepronounced the closer the mic is to the source. |
Bass frequencies over accentuated when the sound source is to close to the mic. |
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Compressor |
Compressors turn down then turn up volume automatically. How much and how quickly depend on the controls. They do this to control the dynamic range of audio material. |
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(Compressor) Threshold |
Sets the level at which the compressor starts reducing the gain. |
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this sets the level at which the compressor starts reducing the gain. |
(Compressor) Threshold
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(Compressor) Ratio |
Sets how much gain will be reduced once the signal passes over the threshold. |
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this sets how much gain will be reduced once the signal passes over the threshold. |
(Compressor) Ratio |
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(Compressor) Attack |
Sets how quickly the compressor reacts once the signal passes over the threshold. Typically measured in Milliseconds. |
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this sets how quickly the compressor reacts once the signal passes over the threshold. Typically measured in Milliseconds. |
(Compressor) Attack |
a |
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(compressor) Release |
Sets how quickly the compressor returns to it’s normal state once the signal passes below the threshold. Typically measured in Milliseconds. |
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this Sets how quickly the compressor returns to it’s normal state once the signal passes below the threshold. Typically measured in Milliseconds. |
(compressor) Release |
r |
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(compressor) Makeup Gain |
After compression the output will be reduced. This control will literally make upany lost gain. |
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After compression the output will be reduced. This control will literally make up any lost gain. |
(compressor) Makeup Gain |
g |
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(compressor) Hard/Soft Knee |
Much like the Q function on an EQ this function found on some compressorseffectively widens the threshold range. |
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this effectively widens the threshold range on the compressor. |
(compressor) Hard/Soft Knee |
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Determines weather compression or limiting is occurring. |
The ratio of the compressor |
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The ratio of the compressor |
Determines weather compression or limiting is occurring. |
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Compressor ratio setting above 10:1 is said to be. |
limiting
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the ratio for limiting on a compressor is |
above 10:1 |
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Compressor ratio setting below 10:1 is said to be. |
compression |
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the ratio for compression on a compressor is |
below 10:1 |
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Frequency on an EQ |
Selects which frequency the gain will boost or attenuate
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Selects which frequency the gain will boost or attenuate |
Frequency |
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Gain on an EQ |
Boosts or attenuates frequency
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Boosts or attenuates frequency on an EQ |
Gain |
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Q on an EQ |
selects the width of frequencies around the frequency selection
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selects the width of frequencies around the frequency selection on an EQ |
Q |
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Reasons for stereo microphone techniques. |
Accurate localization i.e. good representation of an actual stereo image or an over -emphasized stereo image for width in a mix. |
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Uses for stereo mic techniques in a live situation |
Organ; choirs, soloists, and classical-music ensembles. |
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Uses for stereo mic techniques in a studio situation |
Piano, drum overheads, vibraphone, harmony singers, percussionarrangements. |
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the angle at which you should place the speakers to hear the effect produced |
60 |
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To hear the effect produced you should sit at a distance from the speakers.... |
that is the same as the distance between the speakers |
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The 3:1 rule is... |
The distance between 2 mics should be 3 times the distance from the sound source. |
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Spaced pair Micing technique |
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X-Y pair Micing technique |
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