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Recording Class
Music recording college course
| Question | Answer |
|---|---|
| Name the 7 wave forms | Amplitude, frequency, velocity, wavelength, phase, harmonic content, envelope. |
| What is a phase? | measured in degrees. A time delay between two or more waveforms. |
| Sine wave | has no overtone. It is composed of a single frequency that produces a pure sound at a specific pitch. |
| Overtones | partials that are higher than the fundamental frequency. |
| Even Harmonics | frequencies that are even multiples of the fundamental. Create a sound that is pleasing to the ear. |
| Odd Harmonics | frequencies that are odd multiples of the fundamental. Create a dissonant, harsh tone. |
| Simple waveforms | (square waves, triangle waves, and sawtooth waves.) These contain a consistent harmonic structure and are symmetrical about the zero line. |
| Square waves | odd harmonics volume relate to frequency |
| Triangle waves | small amount of odd harmonics |
| Sawtooth waves | odd and even harmonics |
| Complex waves | don’t necessarily repeat and often are not symmetrical about the zero line. |
| Timbre | the harmonics and their relative intensities (which determine an instrument’s characteristic sound) |
| Range of human hearing | 20Hz-20KHz |
| Decibel | how we measure volume. 1/10 of a Bell. |
| Acoustic Trama | This happens when the ear is exposed to a sudden, loud noise in excess of 140dB. Such a shock could lead to permanent hearing loss. |
| Temporary threshold shift | The ear can experience temporary hearing loss when exposed to long-term, loud noise. |
| Permanent threshold shift | Extended exposure to loud noises in a specific or broad hearing range can lead to permanent hearing loss in that range. In short, the ear becomes less sensitive to sounds in the damaged frequency range leading to a reduction in perceived volume. |
| Beats | two tones that differ only slightly in frequency and have approximately the same amplitude. |
| Combination Tones | result when two loud tones differ by more than 50Hz. |
| Masking | the phenomenon by which loud signals prevent the ear from hearing softer sounds. |
| Direct Sounds | a wave that travels from the source to the listener will follow the shortest path and arrive at the listener’s ear first. |
| Early reflections | waves that bounce off of surrounding surfaces in a room must travel further than direct sound to reach the listener and therefore arrive after the direct sound and from a multitude of directions. |
| Reverberation | a highly reflective surface absorbs less of the wave energy at each reflection and allows the sound to persist longer after the initial sound stops. |
| Envelope 4 different parts | Attack, Decay, Sustain, Release |
| Attack | refers to the time taken for a sound to build up to its full volume when a note is initially sounded. |
| Decay | refers to how quickly the sound levels off to a sustain level after the initial attack peak. |
| Sustain | refers to the duration of the ongoing sound that’s generated following the initial attack decay. |
| Release | relates to how quickly the sound will decay once the note is released. |
| Monitors | a device that acts as a subjective professional standard or reference by which program material can be critically evaluated. |
| Tuning a speaker system to a room can be carried out in 2 ways: | Altering settings on the speaker itself. Equalizing the monitor output lines. |
| EQ setting controls can be used to: | Finely match audio balance levels within a stereo and surround system. Allow for basic high- and low-end tuning. Compensate for bass buildup. Offer various speaker “emulation” modes. |
| Far-field monitoring | Large speakers that are usually mounted on wall. |
| Near-field monitoring | small to medium sized monitors. |
| Near-field have 2 components: | Driver, Tweeter |
| Near-field have 2 flavors: | Powered, unpowered |
| Small speakers | computer speakers, good to monitor your final mix through. |
| Headphones | they remove you from the room’s acoustic environment. Can make or break recording. |
| Crossover | splits between 2 different frequencies. |
| Studio monitors 3 components: | Driver Horn Surround speaker for mid-range |
| Actively powered popular because... | Compact design High-quality sound Expandability Lack of a need for an external power amplifier |
| Passive speaker designed advantages | The crossover signals are low in level Power losses can be eliminated Each frequency range has its own power amp |
| In-phase | both moving in same direction, wired + is into + and – into – |
| Out-of-phase | both moving in opposite direction, wired + into – and – into + |
| The Sub | is an additional low-end driver that’s added to a system for the purpose of assisting with low-end bass reproduction. |
| Bass management | use filters to extract low-frequency information from the main channels and then routes the bass to the bass speaker, while the highs are sent to the system tweeters. |
| LFE | No musical stuff through this. Used for earthquake rumbles. |
| Mono | 1.0 |
| Stereo | 2.0 |
| Stereo + Sub | 2+1 |
| Quad | 4.0 |
| Surround minus an LFE | 5.0 |
| Surround with an LFE | 5.1 |
| Theatre plus and LFE | 7.1 |
| Height channels | 9.1 |
| Spectral Analyzer | used to give visual cues as to an audio program’s overall frequency balance at any point in time. |
| 5 Characteristics of monitors | Low distortion with high output Wide frequency response No change in quality with less than 30 degrees access Sensitive to power from amplifier Accurate decay of attack |
Created by:
turtlefan1818
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