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| tracks that can be independently accessed |
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| recording, overdubbing, and mixing |
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| most important aspect to any recording |
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| keep things simple, stay true to the music |
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| compressions and rarefactions of molecules |
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| range of hearing in humans |
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| loudness, intensity of energy, height of wave |
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| how often cycle repeats in a given time interval |
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| wavelength = velocity/ frequency |
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| adds other frequency, generating harmonics that are not part of original signal |
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| allow rerouting of normal signal flow and insertion of additional devices |
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| erase, record, and playback |
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| perception of what we hear is changing |
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| room with no reflections of any kind, used to test and measure loudspeakers |
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| increase in signal amplitude produced by amplifier |
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1.PreAmp
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2.EQ
3.Summing Amp
4.Distribution Amp
5.Isolation
6.Impedance Amp
7.VCA (Voltage Controlled Amp
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| isolate one circuit from another |
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| reactive form of resistance |
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| primary functions of a console |
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| routing and processing of input and output signals |
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| provide space for plug-ins |
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| warm, accurate, better sound quality
-infinitely and continuously variable |
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| more work, time consuming, expensive |
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| mobility, cheapter, less work, faster to use |
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| loss of information, less accurate |
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| switching rapidly and repeatedly between the fast forward and rewind switches |
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| 2 fundamental kinds of microphones |
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| types of dynamic microphones |
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| response time of microphone |
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| microphone selection based on what? |
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| frequency response, accuracy, durability, and rejection of unwanted sound |
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equally sensitive in all directions
O |
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sensitive front and back
8 |
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| close to listener, maximizing direct energy |
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| full range, a lot of power, broad frequency response |
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| 2 fundamental loudspeaker designs |
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| bass reflex and sealed-air compression |
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| frequency dividing network |
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| sample rate must be twice the highest frequency that we wish to sample |
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| minimally reduce data, nothing is lost |
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| store more data, sounds worse |
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Musical Instrument Digital Interface
-used by synths and sequencers to communicate |
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Society of Motion Picture and Television Engineers
-time-based code used by machine to stay in sync |
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| purposes of signal processing |
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1.overcome limitations of equipment
2.recreate ambiance lost to close-miking techniques 3.change timbre
4.create new sounds and ambiances
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| time compressor takes to react to signal exceeding threshold |
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| how quickly compressor reverts to unity gain |
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| polarize the back plate and diaphragm in condenser mic, and to power mic’s internal preamp |
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| change in the frequency response of a directional microphone as the sound source is brought close to the microphone |
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| overall goal for monitoring system |
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| transparent, no added sound at all |
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| loudspeaker frequency response considerations |
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| SACD uses what form of digital encoding? |
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| DSD (direct stream digital) |
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| shaped noise added to low level signals prior to digital encoding to decrease errors and distortion |
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| successive approximation method or data conversion |
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| master timing reference pulse that is distributed to devices to prevent ticks, pops, and other distortions |
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| parametric EQ filter controls? |
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| frequency band, gain, and bandwidth |
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| amount of time takes amplitude to drop 60 dB once driving force has been removed |
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| operates at high frequencies to reduce effect of voice sibilance |
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