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Audio Technology > Audio Technology > Flashcards

Audio Technology Flashcards

1
Q

Digital recording

A

Representation of frequency and amplitude through binary system number

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2
Q

Sampling

A

Periodical samples (voltages) of analog signal at fixed intervals and conversion to digital data

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3
Q

Sampling frequency/Sample rate

A

The rate at which fixed intervals sample the original signal. 48kHZ - samples 48,000

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4
Q

Most common sampling rates

A

32, 44.1, 48, 88.2, 96, 176.4, 192

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5
Q

Quantization

A

As samples of the waveform are taken, these voltages are converted into discrete quantities and assigned values

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6
Q

Bit depth

A

Digital word length used to represent a given sample and is equivalent to dynamic range

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7
Q

Bit rate

A

Relationship between sampling frequency and bit depth (bit depth * sampling frequency)

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8
Q

Samplers

A

Devices that are capable of recording musically transposing, processing and reproducing segments of digitized audio directly from RAM

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9
Q

Digital Audio Tape Systems

A

DASH, DAT, ADAT, DTRS

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10
Q

The Recordable Compact Disc (CD-R)

A

Write-once-read-many. Can be recorded on, erased and used again

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11
Q

Digital Versatile Disc (DVD)

A

Same diameter and thickness as the compact disc but can hold a greater amount of data.

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12
Q

Blu-ray Disc and HD DVD

A

High density optical disc formats designed to meet demands of HD media

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13
Q

Flash Memory Recorder

A

Portable digital recorder that has no moving parts and therefore requires no maintenance. Storage medium - memory card, nonvolatile and re-recordable

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14
Q

Secure Digital(SD, SDHX, SDXC)

A

Industry leading memory cards

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15
Q

Digital audio workstation (DAW)

A

Expandable recording, mixing, signal processing and editing system that can be integrated with and networked to a collection of devices

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16
Q

Wordclock

A

Single, master timing reference through which the overall sample-and-hold conversion states during both the record and playback process for all
digital audio channels and devices within the system will occur at exactly the same time

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17
Q

ISDN, Internet2

A

Allow to produce a recording in real time between studios across town or country with little to no loss in audio quality

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18
Q

AES/EBU

A

Professional digital audio connection interface. Calls for two audio channels to be encoded in a serial data stream and transmitted through a balanced line using XLR connectors

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19
Q

S/PDIF (Sony/Philips Digital Interface)

A

Consumer version of AES/EBU. Unbalanced line using phono connectors. (CD players)

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20
Q

SCSI (Small Computer Systems Interface)

A

Standard for hardware and software command language. Allows two-way communication between, primarily, hard - disk and CD-ROM drives to exchange digital data at fast speeds

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21
Q

iSCSI (Internet SCSI)

A

Standart based of the Internet Protocol (IP) for linking data storage devices over a network and transferring data by carrying SCSI commands over IP networks

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22
Q

MADI (Multichannel Audio Digital Interface)

A

Standard used when interfacing multichannel digital audio. Allows up to 56 channels of digital audio to be sent down one coaxial cable

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23
Q

FireWire

A

Low-cost networking scheme more powerful than SCSI. Powering id flexible, modes are asynchronous/isosynchronous with the same network and compatibility is backward and forward with continuous transmission in either direction.

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24
Q

USB (Universal Serial Bus)

A

Standardized connection to personal computers of devices such as portable media players, microphones, disk drives, personal digital assistants and smartphones

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25
Q

Thunderbolt

A

Very high-speed interface also designed to connect peripheral devices to a computer. Uses four cables two each carrying outward and inward data streams. Can transfer a full high-definition movie in 30 sec

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26
Q

Microphones

A

TRANSDUCERS that convert acoustic energy into electric energy. The device that does the transducing is called the element.

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27
Q

Magnetic Induction

A

Referred to as dynamic mics. The two types of professional microphones that use this are the moving coil and the ribbon mic.

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28
Q

Variable Capacitance

A

Referred to as capacitor mics. Requires a power supply in order to operate. Most modern condensers use a
battery or phantom power. However, since the sound of the old tube mics is still preferred, many new versions have appeared with increasing popularity.

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29
Q

Omnidirectional microphone

A

All around

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30
Q

Bidirectional or figure 8 microphones

A

Front and rear

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31
Q

Unidirectional

A

Front. Has several pickup patterns: cardioid, supercardioid, hypercardioid, and ultracardioid or shotgun

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32
Q

Polar response pattern

A

Microphone’s directional sensitivity that can be displayed
graphically

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33
Q

Frequency response

A

The range of frequencies that it produces at an
equal level, within a margin of ±3 dB, and can be displayed in a response curve graph.

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34
Q

Sensitivity

A

Measures the voltage that a microphone produces (dBV), which is an
indication of a microphone’s efficiency

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35
Q

Signal-to-noise ratio (S/N)

A

The difference between signal and the noise levels in an
electronic component; it is measured in decibels.

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36
Q

Self-noise

A

The electrical noise, or hiss, a microphone (or any electronic device) produces.

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37
Q

Overload

A

All microphones will distort if the sound levels are too high

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38
Q

Maximum sound pressure level

A

The level at which a microphone’s output signal
begins to distort.

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39
Q

Pad

A

Condenser mics are equipped with this to reduce overloading the mic’s electronics, to help protect against loudness distortion.

40
Q

Proximity effect

A

An increase in bass response relative to midrange and treble response – when they are placed close to a
sound source. Directional microphones are susceptible

41
Q

“humbucking”

A

Circuit that minimizes the problem of hum (like the Sennheiser MD421)

42
Q

Lavalier

A

And other mini-mics are unobtrusive

43
Q

Shotgun and Parabolic

A

Used for long-distance pickup

44
Q

Headset mic

A

Frees the hands and frontal working space, and keeps
background sound to a minimum by maintaining a close mic-to-source distance

45
Q

Contact mic or Piezo

A

Can be attached to a vibrating surface

46
Q

Boundary mic or pressure zone mic (PZM)

A

For use on a boundary (a hard reflective surface) so that reflected sounds arrive at the microphone in phase

47
Q

Noise-canceling mic

A

For use close to the mouth with excellent rejection
of ambient sound

48
Q

Wireless mic

A

For greater mobility in plotting sound pickup.

49
Q

USB mic

A

To record directly to a computer without an audio interface

50
Q

Underwater mic or hydrophone

A

To record underwater sounds

51
Q

Windscreens and pop filters

A

Used to reduce distortion caused by wind and
transients

52
Q

Shock mount

A

Built-in shock absorber, is used to prevent
unwanted vibrations from reaching the microphone element

53
Q

Loudspeakers

A

Transducers that convert electric energy into sound (acoustic) energy

54
Q

Moving coil

A

Most often used loudspeakers

55
Q

Passive/Active Loudspeakers

A

Powered externally - passive loudspeakers. Powered internally - active loudspeakers

56
Q

Woofers and Tweeters

A

Loudspeakers have drivers large enough to handle the bass frequencies, and drivers small enough to handle the treble frequencies

57
Q

Crossover network

A

Separates the bass and treble frequencies at the crossover point and directs them to their particular drivers

58
Q

Linearity

A

Frequencies being fed to a loudspeaker at a particular loudness are reproduced at the same level.

59
Q

Amplifier power

A

Must be sufficient to drive the loudspeaker system or else distortion,
among other things, will result.

60
Q

Output-level capability

A

Studio monitors should have an output-level capability of 110 dB-SPL

61
Q

Sensitivity

A

The on-axis sound-pressure level a loudspeaker produces at a given distance
when driven at a certain power (usually at one meter with one watt). Indication of its efficiency.

62
Q

Polar response

A

Indicates how a loudspeaker focuses sound at the monitoring position

63
Q

Arrival time and Phase interference

A

A sound’s arrival time at the monitoring position should be no more that 1 ms; otherwise, aural perception is impaired because of phase interference.

64
Q

Polarity

A

Electrical phase must be maintained between components and systems

65
Q

Distortion

A

The appearance of a signal in the reproduced sound that was not in the original sound

66
Q

Intermodulation distortion (IMD)

A

Results when two or more frequencies occur at the
same time and interact to create combination tones and dissonances that are unrelated to the original sounds

67
Q

Harmonic distortion (THD)

A

Occurs when the audio system introduces harmonics into a recording that where not present originally.

68
Q

Transient distortion

A

Relates to the inability of an audio component to respond quickly to a rapidly changing signal, such as that produced by percussive sounds

69
Q

Loudness distortion

A

Or overload distortion, results when a signal is recorded or played back at an amplitude greater than the sound system can handle

70
Q

Full space loudspeaker

A

A loudspeaker in the middle of the room (full space) generates the least concentrated sound

71
Q

Soffited loudspeaker

A

A loudspeaker near a wall or in a wall (soffited) generates more (half space)

72
Q

Quarter space loudspeaker

A

A loudspeaker at the intersection of two walls (quarter space), or the intersection of two walls and ceiling (the trihedral corners; 1 eighth space) provides the most.

73
Q

Equilateral triangle

A

Positioning where speakers and listener are the corners is the “rule of thumb.”

74
Q

Near-field monitoring

A

Enables the sound engineer to reduce the audibility of control room acoustics by placing loudspeakers close to the monitoring position.

75
Q

Surround sound

A

Differs from stereo by deepening the depth dimension, thereby placing
the listener more in the center of the aural image than in front of it

76
Q

Close miking

A

Places a microphone relatively close to each sound source in an ensemble

77
Q

Distant miking

A

Uses two or a few microphones to record an entire ensemble

78
Q

The 3:1 rule

A

Microphones should be placed no closer together than three times the distance from any mic to its sound source

79
Q

Drums recording techniques

A

Best tone is achieved by miking the top and the bottom of the drum

80
Q

Acoustic Guitar recording techniques

A

Because most of an acoustic guitar’s sound radiates from the front of the instrument, a microphone should be somewhere near, and aimed toward the sound hole.

81
Q

Strings recording techniques

A

Because the dynamic range of bowed string instruments is not wide, sound has to be reinforced by using several instruments, multiple miking, “double tracking,” or all three

82
Q

Piano recording techniques

A

Close miking can create a large stereo sound, distant miking creates a smaller more mono sound

83
Q

Woodwinds recording techniques

A

They should be miked far enough away so that the pickup sounds balanced, or multi-miked

84
Q

Brass recording techniques

A

Because of their loudness and dynamic range, brass instruments require care in microphone placement (avoiding overload, creating balance and/or separation) and careful attention in adjusting levels at the console (keeping enough headroom) and recorder to avoid overload.

85
Q

Amplifiers recording techniques

A

Some electric instruments, such as the bass and guitar, can be recorded either by miking their amplifier speaker or by use of a direct box (DI), or both. A DI is needed for impedance matching. There are two types: active (with an amplifier) and passive (with a transformer). An alternative to using amplifiers for an electric guitar or bass is an amp simulator

86
Q

Coincident pair (X-Y)

A

Employs two matched directional microphones
mounted on a vertical axis – with one mic diaphragm directly over the other – and angled apart to aim toward the left and right sides of the sound source.

87
Q

Near coincident pair

A

Is the same as coincident but the mics moved
horizontally a few inches apart. This creates a wider image but eventually creates a “hole”
in the middle and must be checked for phase.

88
Q

Binaural

A

Recording uses a dummy head with omni mics in the ear canals. This technique can be created with a baffle and two omni mics, but its effect must be heard using headphones.

89
Q

Blumlein

A

Similar to the X-Y technique but two bi-directional
(figure-8) mics are used. The distance between microphone and source should be equal to about half the width of the source, so that the angle between microphone axes is 90°.

90
Q

M-S (middle-side)

A

Uses a centered coincident microphone pair, although there is a cardioid mic pointed straight at the sound source, while a figure- 8 microphone is pointed sideways, with its front facing left. The figure-8 mic is split to
two mixer channels, the cardioid remains in one. Cardioid plus figure-8 equals LEFT. Cardioid plus out of phase figure-8 equals RIGHT.

91
Q

Stereo microphone

A

Contains two capsules in one housing. Usually, you
can rotate the capsules to suit your needs. Phase response is very good but you have relatively little control.

92
Q

Donut

A

Fading the music after it is established and reestablishing it later at its former full level to create a hole for the
announcement.

93
Q

Backtiming

A

Subtracting the time of an individual item from the total time of a program or program segment

94
Q

Deadpotting

A

Playing sound with the fader off

95
Q

Premix

A

Is the phase during which dialog, sound effects, and, to some extent, music are prepared for the final rerecording mix

96
Q

Rerecording mix

A

To blend the premixed DME tracks into a seamless
stereo or surround sound recording.

Audio Technology (1 decks)

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