Reading...
Play button
Play button
Use LEFT and RIGHT arrow keys to navigate between flashcards;
Use UP and DOWN arrow keys to flip the card;
H to show hint;
A reads text to speech;
75 Cards in this Set
- Front
- Back
|
Analogue differs from digital recording in that analog recording is:
|
continuous
|
|
|
In digital audio, sampling refers to the:
|
time component
|
|
|
In digital audio recording, quantization refers to the:
|
amplitude component
|
|
|
In A/D conversion, the original signal is sampled at fixed intervals. The rate in which this happens is:
|
sampling frequency.
|
|
|
To digitally encode the highest frequency in a signal successfully, it has to be sampled at a rate as least
|
twice as much as it's frequency
|
|
|
The more quantizing levels there are:
|
The longer the word or bit depth.
|
|
|
The Data Rate of an Audio CD is
|
16/44.1k
|
|
|
Sampling takes periodic samples (voltage) of the original analog signals:
|
at fixed intervals and converts them to digital data
|
|
|
True or false: The relationship between sampling frequency is called the audio data rate
|
True
|
|
|
Bit depth:
|
defines the digital word length used to represent a given sample and determines dynamic range
|
|
|
16-bit recording systems will theoretically provide a dynamic range of
|
96dB
|
|
|
True or false: A digital audio system recording and playing back at a sampling frequency of 48kHz will be able to reproduce higher frequencies than the same system running at a sampling rate of 44.1khz
|
True
|
|
|
A microphone converts acoustical energy into:
|
electric energy
|
|
|
True or false: High impedence microphones are preferred to low impedence microphones in audio
|
false
|
|
|
Moving coil microphones and ribbon microphones are classified as
|
dynamic microphones
|
|
|
microphones operating on the variable capacitance principle are
|
Transducer energy using electrostatic variations
|
|
|
True or false: Capacitator microphones are all tube microphones
|
False
|
|
|
another term used for nondirectional: omni directional
|
omni directional
|
|
|
Random Energy Efficiency refers to:
|
the ratio of on-axis sensitivity to diffuse sound field efficiency
|
|
|
A microphones polar pattern is an indication of it's
|
“reach”
|
|
|
An MS or Mid-Side mic array requires a figure 8 capsule and
|
any other capsule
|
|
|
To enhance proximity effect
|
place the microphone close to the sound source
|
|
|
A pure pressure mic has what type of polar pattern
|
omnidirectional.
|
|
|
A microphones directional sensitivity is displayed with:
|
a polar response diagram.
|
|
|
If a console is 8X2, it has:
|
8 inputs and 2 outputs
|
|
|
a pan pot or panoramic potentiometer is:
|
a volume control that shifts loudness between two master channels
|
|
|
Percentage of modulation on a VU meter is:
|
the average loudness of a sound source fed to the console
|
|
|
If a signal is below 20 percent of modulation it is said to be
|
in the mud
|
|
|
Headroom prefers to the amount of level between
|
normal operating level and overload
|
|
|
The difference between a VU meter and a peak program meter is that the ppm was designed to
|
indicate transient peaks
|
|
|
For a number of input signals to be fed into an output line, there must be a
|
buss
|
|
|
The connecting point of most, if not all of a studios inputs and outputs in the
|
patch bay
|
|
|
a balanced phone plug has a:
|
tip, ring and sleeve
|
|
|
ACN stands for
|
active combining network
|
|
|
an “ACN” is more commonly referred to as a:
|
bus
|
|
|
When describing the wiring in a patchbay, the word normal refers to:
|
normally connected
|
|
|
the monitor section of a console:
|
enables signal to be heard
|
|
|
Consoles have at least three basic control sections:
|
inputs, outputs, monitor
|
|
|
Having educated ears means:
|
the ability to listen with careful discrimination
|
|
|
Critical listening:
|
the evaluation of the characteristics of a sound itself
|
|
|
Analytical listening:
|
he evaluation of the content and function of a sound
|
|
|
If evaluating whether an instrument is loud enough or too loud in a mix, you are
|
listening analytically
|
|
|
The two most commonly encountered synchronization signals are:
|
time code and word clock
|
|
|
Time code is an electronic signal that has pulses encoded into it. What kind of values do these pulses represent
|
time/seconds
|
|
|
the most commonly encountered time clock:
|
SMPTE
|
|
|
regarding digital audio streams between devices, variations from sample to sample is reffered to as
|
jitter
|
|
|
name one type of audio artifact that comes from jitter:
|
skips, clicks and pops, frequency problems
|
|
|
SMPTE time code specifies time in what units
|
hours: minutes: seconds: frames
|
|
|
True or false:
Acoustics is used toe descibe both the physical behavior of sound and human perception |
false
|
|
|
True or False: Indirect sound reaches the listener before it interacts with any other surface
|
false
|
|
|
When an early reflection of a direct sound is delayed by 35 milliseconds or more, the listener perceives
|
echo
|
|
|
If two identical sounds are played through left and right speakers, but the right speaker is delayed by 5 or 10 milliseconds, the listener will think the sound is coming more from the left. This is called
|
the precedence effect.
|
|
|
Unwanted sound
|
Noise
|
|
|
RT60
|
a measurement of reverb time
|
|
|
Rock and Roll is recorded in
|
dead studios
|
|
|
Rooms with reverb times of one second or more tend to be
|
live
|
|
|
Flutter echo
|
short single echoes that come in rapid succession in a small room
|
|
|
When reflections become smaller and smaller and the time between them decreases until they are distinguishable
|
Reverberation
|
|
|
The measurement of how many cycles a waveform completes in one second is described as it's
|
frequency
|
|
|
Human beings perceive frequency as pitch
|
Wavelength, velocity and phase all relate to one primary dimension which is time
|
|
|
To localize where a sound is coming from, humans use both time of arrival differences and amplitude differences. Which is more effective in helping us localize sound?
|
time of arrival differences
|
|
|
A sound emitted in a room goes through a "life cycle" of three phases. They are
|
direct sound, early reflections, and reverberance
|
|
|
A compressor/limiter is an example of
|
an amplitude processor
|
|
|
A reverb device is an example of
|
a time processor
|
|
|
Equalization that alters sound by boosting or cutting is called
|
peak/dip
|
|
|
True or false: Filters can both amplify and attenuate frequencies
|
False
|
|
|
True or false: A graphic equalizer is a type of fixed frequency processor
|
True
|
|
|
A parametric equalizer adds the following capability to that of a fixed frequency equalizer
|
variable bandwidths
|
|
|
A high-pass filter attenuates
|
low frequencies
|
|
|
With a compressor, the two primary controls to lean about are
|
threshold and ratio
|
|
|
Basically, the threshold control in a compressor acts as a
|
volume control switch
|
|
|
A limiter is a compressor whose
|
output level stays at or below a preset point regardless of its input level
|
|
|
Which of the following is not an effect of compression sound
|
increasing dynamic range
|
|
|
multiples are special jacks that are
|
wired to each other
|
|
|
The ratio control on a compressor controls what
|
the amount of compression
|
