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Audio Midterm Review
| Term | Definition |
|---|---|
| Transducer | Any mechanical or electrical device that changes one form of energy into another corresponding form of energy |
| Transducer guitar example | Physical Energy → Vibrations on body of Guitar → Sound Pressure Waves |
| Transducer microphone example | Sound Pressure Waves → Mic → Electrical Voltages |
| Attenuation Pad (PAD) | Passive attenuation device, an attenuator circuit that is designed to reduce the strength of the incoming audio signal before it reaches the next stage of the audio chain |
| What is the PAD used for? | To prevent overloading, audio distortion, or equipment damage |
| Where is a PAD commonly found? | Condenser mics (built-in), but also some ribbon mics |
| Polar Pickup Patterns | A microphone’s directional sensitivity (output level), showing at which angles of incidence certain type of microphone will pick sound from best with respect to the front (on-axis) of the microphone |
| Something that differs between all mics | Different polar patterns at different frequencies |
| Omni polar pattern | Pick up sound all around |
| Cardioid polar pattern | Upside down heart shape pick up |
| Supercardioid polar pattern | Similar to cardioid but pick up more sound from behind |
| Hypercardioid polar pattern | Same as cardioid but less sensitive to sounds coming from the sides |
| Figure 8- polar pattern | Great pick up in front/back, doesn’t pick up sides too well |
| What do condenser microphones require? | Phantom power (48V) |
| How do condensor microphones operate? | Electrostatic principle, rather than the electromagnetic principle used by a dynamic or ribbon mic. Sound wave travels through electric charge rather than physically moving a coil or ribbon, meaning they can pick up sounds faster |
| Who prefers condenser microphones? | Vocalists |
| Cost implications of a condenser microphone? | Good ones are somewhat expensive. Low-cost models can suffer from poor or inconsistent frequency response |
| What kind of power do condensor mics require? | Require internal or external power |
| What happens with large diaphragm condeser mics | They can be bulky |
| Frequency response of condenser mics | Extended low and high-frequency response |
| DI Box | Stands for Direct Injection, Converts unbalance, impedance signal output into a balanced, low impedance mic-level signal. Cancels out noise and interference to produce clear audio |
| What are mic diaphragms? | Thin membrane that vibrates from sound waves converting acoustic energy into electrical signals |
| How are mic diaphragms classified? | Classified by size: large (at least 1 inch), small (½ inch or smaller) |
| Large mic draphragm | High sensitivity, warmer sound, used for vocals, acoustic instruments |
| Small mic diaphragm | More neutral/accurate and sharp sounds, more consistency frequency response |
| Patch bay | When a mic cable is plugged into the wall panel, the input in the wall panel corresponds to an output in the patch bay, found in the control room. Cables from that particular output are then plugged into a mic preamp, then into the matrix console. |
| Pre production | ideas about the music that will be recorded are brainstormed, such as arrangement and composition. Also involves setting up and planning meetings, studio time, and budget with the studio of choice and engineers and mixers |
| Production | Musicians and the studio engage in production, which is the actual recording and mixing of the music/instruments |
| Phantom Power | Power supply needed for condenser microphones to work properly. Typically as a switch/button on a mixer, preamp, or similar device that supplies a current (48V), through the mic cable. Use carefully, as it can destroy aluminum ribbon in ribbon mics |
| Phasing | Difference in timing between identical signals, often causing frequency cancellations that result in a thin, boosted, or cone-filtered sound |
| When does phasing happen? | When two microphones capture the same sound at slightly different times |
| Why do we trying to avoid phasing in the recording world? | It causes some frequencies to cancel out (silence) |
| How can we avoid phasing? | Flip the phase 180° , move tracks in the DAW to align waveforms |
| Proximity Effect | A common effect that causes an increase in bass response whenever a directional mic is brought within 1 foot of the sound source. |
| What does the proximity effect actually do? | Causes bass boost, radio voice (which is often most noticeable on vocals) proportionately increases as the distance decreases |
| How to avoid proximity effect? | Move the mic back from source a bit or change the polar pattern to omni-directional. |
| What are some uses for proximity effect? | One can also use proximity effect to their advantage to increase the low end of the sound or make the sound seem fuller |
| Peak | The maximum value that the current or voltage reaches in an alternating current |
| RMS | The RMS power rating specifies how much power the amplifier can deliver continuously to a set of equally rated speakers |
| Electrostatic | Condensor |
| Electromagnetic | Dynamic & Ribbon |
| Sound must travel to_____which acts as_____ | Microphone, transducer |
| What does sound quality depend on? | Highly dependent on variables such as microphone placement, distance, instrument and overall acoustic environment. |
| Most common mic used in 2026 | Dynamic Microphone, where an analogous signal is induced into the coil and across the output leads, which then produces an analog audio output signal |
| Recording studio process | Sound>mic; analogous signal induced into coil and across output leads analog audio output signal>live studio's audio signal travel to Ctrl rm; signal travels cable in the rec studio plugged into a Wall Panel>patch bay>pre-amp>SSL console>computer/DAW |
| What happens if you plug in your mic to the wrong panel? | The sound cannot effectively reach the Control Room, Digital Audio Workstation/Processor (DAW), and cannot be worked with on the computer; it's vital the cable is plugged into the wall panel |
| Patchbay | The signal can be diverted into the Patchbay. It acts much like a traffic controller or hub that routes one device’s signal into the next. Located on the left-hand side of the console in the Control Room. It is recognizable by its several wires. |
| Pre-Amp | Microphone Pre-Amplifier. Most Microphone output signals are at too low levels, so a Pre-Amp amplifies the signal to boost its signal to an acceptable level (often by 30- 70 decibels) |
| What type of Pre-Amp does TCNJ use? | TCNJ utilizes a Millennia Mic Pre-Amp. |
| SSL Console | Takes the signal and converts it to the iMAC computer, which houses the application Logic on it. |
| What does Logic do? | Acts as a Digital Audio Processor (DAW) so that artists can edit, isolate, or otherwise work with the sound in an audio file |
| Speakers | An artist can play their track on a speaker, which like a microphone, is a transducer. However, the process is reversed from how the Microphone converts sound. This time, it transforms the Electrical Voltage (Δv) into Sound pressure waves |
| Bass Drum Miking options | 3 options: front head off, front head on with a port, front head on |
| Front head off | Good for emphasizing low end, blanket at bottom of drum, touching the head. Weigh down with a brick. Use a dynamic mic. Don't use ribbon. Position mic so it’s in the center of the drum, pointing towards the beater. Adjust position to low end/overtones |
| Port/Head On | Still use packing. Packing makes sound tight, reduces the shaking of drum head. Can also mic with front head closed. Stand 4-6 inches from drum, halfway up drum and off center. Further for more low end, closer for more overtones |
Created by:
lavenderdreamy