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Basic Sound Terms and Principles > Basic Sound Terms and Principles > Flashcards

Basic Sound Terms and Principles Flashcards

1
Q

Amplifier

A

Boosts the electrical signals in the audio system so that they can be used by a loudspeaker to generate acoustic energy. Amplifiers increase the “amplitude” (electrical energy) of a signal.

Wasem, James. Great Live Sound: A practical guide for every sound tech (p. xix). Great Sound Institute. Kindle Edition.

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2
Q

Analog Audio

A

Much of the audio we work with in live sound starts as an analog signal. Analog audio signals are transmitted over audio cables by a change (variance) in the voltage of the signal.

Wasem, James. Great Live Sound: A practical guide for every sound tech (p. xix). Great Sound Institute. Kindle Edition.

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3
Q

Aux/Auxillary

A

Used to describe secondary output channels that are part of the mixing console or audio system for each input channel. Stage monitors and devices other than the main loudspeakers are often connected to auxiliary channels.

Wasem, James. Great Live Sound: A practical guide for every sound tech (p. xix). Great Sound Institute. Kindle Edition.

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4
Q

Buzz

A

Buzz (come on, make a sound like a bee…) is often due to electrical or radio frequency (RF) interference.

Wasem, James. Great Live Sound: A practical guide for every sound tech (p. xx). Great Sound Institute. Kindle Edition.

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5
Q

Hum

A

Hum (yep, you can do that) is mostly caused by an electrical “ground loop” or difference in electrical potential among the components in the audio and/or electrical system.

Wasem, James. Great Live Sound: A practical guide for every sound tech (p. xx). Great Sound Institute. Kindle Edition.

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6
Q

Channel Strip

A

The channel strip is a group of controls dedicated for use with a single input or output channel on a mixing console.

Wasem, James. Great Live Sound: A practical guide for every sound tech (p. xx). Great Sound Institute. Kindle Edition.

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7
Q

Clipping (also called “peaking” or “overdriving”)

A

When an audio signal is “clipped” it has essentially reached and exceeded its electrical limits within the audio component where the clipping occurs.

Wasem, James. Great Live Sound: A practical guide for every sound tech (p. xx). Great Sound Institute. Kindle Edition.

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8
Q

Why does Clipping happen?

A

Clipping can happen when a loud sound overpowers an audio device and the parameters or sensitivity it is designed to handle. Clipping often happens at the input gain stage of an audio component.

Wasem, James. Great Live Sound: A practical guide for every sound tech (p. xx). Great Sound Institute. Kindle Edition.

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9
Q

Easiest way to fix Clipping?

A

Simply turning down the Gain or Trim on the device can reduce the incoming electrical signal and eliminate the clipping condition.

Wasem, James. Great Live Sound: A practical guide for every sound tech (p. xx). Great Sound Institute. Kindle Edition.

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10
Q

Compression

A

Audio compression has the effect of controlling the dynamics of an audio signal. Think of a compressor as simply averaging the level between high volume and low volume signals. Some audio signals can benefit from mild compression (a bass guitar), while others need more drastic control (a screaming singer).

Wasem, James. Great Live Sound: A practical guide for every sound tech (p. xx). Great Sound Institute. Kindle Edition.

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11
Q

Crossover/Xover

A

An audio crossover is a device or processor that takes one audio input and separates the full frequency range into two or more smaller ranges.

Wasem, James. Great Live Sound: A practical guide for every sound tech (p. xxi). Great Sound Institute. Kindle Edition.

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12
Q

Why use a Crossover?

A

Most loudspeakers cannot handle the full range of audible frequencies (20 Hz – 20 kHz), so an audio crossover is used to provide high and low, or high-mid-low frequency information to the appropriate loudspeaker. A crossover can be adjusted to provide specific frequency control.

Wasem, James. Great Live Sound: A practical guide for every sound tech (p. xxi). Great Sound Institute. Kindle Edition.

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13
Q

dB/Decibel

A

A decibel is a unit of measure that we use to describe and measure the intensity of sound or other electronic signals. Changes in volume, or sound pressure level (SPL), are expressed in terms of dB. A change in signal level from 0 dB to 10 dB is 100 times more powerful.

Wasem, James. Great Live Sound: A practical guide for every sound tech (p. xxi). Great Sound Institute. Kindle Edition.

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14
Q

Digital Audio

A

Digital audio refers to audio content that is stored or transmitted as data (think 0’s and 1’s). An audio signal can start as digital, or it can be converted from analog to digital, and vice versa.

Wasem, James. Great Live Sound: A practical guide for every sound tech (p. xxi). Great Sound Institute. Kindle Edition.

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15
Q

How is Digital Audio typically transmitted?

A

Digital signals are typically transmitted over Ethernet network cables, USB, coaxial cable, or other serial data cables.

Wasem, James. Great Live Sound: A practical guide for every sound tech (p. xxi). Great Sound Institute. Kindle Edition.

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16
Q

What is an example of Digital Audio?

A

A CD or MP3 is a common example of digital audio content. Dante is a common digital audio protocol used in live sound systems.

Wasem, James. Great Live Sound: A practical guide for every sound tech (p. xxi). Great Sound Institute. Kindle Edition.

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17
Q

Digital Signal Processor (DSP)

A

They take an analog audio signal and convert that signal to digital audio, which can then be manipulated with various digital utilities like EQ, compression, and signal level

Wasem, James. Great Live Sound: A practical guide for every sound tech (p. xxi). Great Sound Institute. Kindle Edition.

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18
Q

Driver (e.g. Loudspeaker Driver, also “motor”)

A

A driver is the term used to describe the physical loudspeaker element that converts electrical energy to acoustic energy, thereby reproducing sound.

Wasem, James. Great Live Sound: A practical guide for every sound tech (p. xxii). Great Sound Institute. Kindle Edition.

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19
Q

What is a Driver composed of?

A

A driver is made up of an electro-magnet, a wire coil attached to a diaphragm of some type, and a “basket” or other physical device to hold the components in place.

Wasem, James. Great Live Sound: A practical guide for every sound tech (p. xxii). Great Sound Institute. Kindle Edition.

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20
Q

EQ (Equalizer or Equalization)

A

This is a common term we use for the balance among various audible frequencies. When we talk about applying EQ to something, we are referring to the adjustment of those frequencies.

Wasem, James. Great Live Sound: A practical guide for every sound tech (p. xxii). Great Sound Institute. Kindle Edition.

21
Q

Fader

A

A Fader is the slide control often used to control the final audio signal level of the input and output channels on the mixing console. While most consoles have vertical faders, some compact mixers will have horizontal faders, or just knobs for this channel control.

Wasem, James. Great Live Sound: A practical guide for every sound tech (p. xxii). Great Sound Institute. Kindle Edition.

22
Q

Frequency

A

Vibrations in the air create sound. Audio frequencies are typically expressed in Hertz (abbreviated as Hz) or kiloHertz (kHz). This is the number of cycles per second that a vibration occurs and forms a wave. We interpret these waves or frequencies in a number of ways,

Wasem, James. Great Live Sound: A practical guide for every sound tech (p. xxii). Great Sound Institute. Kindle Edition.

23
Q

What is the audible portion of the frequency spectrum?

A

20 Hz to 20 kHz (20 kiloHertz or 20,000 Hz) for humans.

Wasem, James. Great Live Sound: A practical guide for every sound tech (p. xxii). Great Sound Institute. Kindle Edition.

24
Q

Front of House (FOH)

A

This term describes anything that is happening in the listening audience and controlled by the main mixing console. While this term is often used in professional circles, it can be useful to use at shorthand for anything the audience can hear.

Wasem, James. Great Live Sound: A practical guide for every sound tech (p. xxii). Great Sound Institute. Kindle Edition.

25
Q

Gain or Trim (the term varies depending on the manufacturer and components)

A

This term commonly refers to the very first stage of audio signal amplification. The gain or trim adjustment on a piece of audio equipment will allow you to adjust the sensitivity of the signal where it enters a device.

Wasem, James. Great Live Sound: A practical guide for every sound tech (p. xxiii). Great Sound Institute. Kindle Edition.

26
Q

What can happen if your Gain/Trim is too high/low?

A

If your gain is set too high, the audio signal may be distorted. Too low, and you may be trying to compensate for it elsewhere. A

Wasem, James. Great Live Sound: A practical guide for every sound tech (p. xxiii). Great Sound Institute. Kindle Edition.

27
Q

Headroom

A

The amount of headroom in a piece of audio equipment refers to a buffer that is available between the ideal (nominal) audio signal level and the maximum signal level capacity of the equipment. Headroom allows for greater dynamic range of the audio signal before it clips or peaks beyond the capacity of the audio device.

Wasem, James. Great Live Sound: A practical guide for every sound tech (p. xxiii). Great Sound Institute. Kindle Edition.

28
Q

IEM (aka In-Ear Monitor)

A

IEMs or in-ear monitors are often used in live sound to reduce stage noise and provide a more detailed monitoring experience. While headphones can be used as a personal monitor system, in-ear monitors are inserted in the ear. Universal fit and custom molded monitors are a great way to provide good noise isolation and deliver sound to a musician or vocalist.

Wasem, James. Great Live Sound: A practical guide for every sound tech (p. xxiii). Great Sound Institute. Kindle Edition.

29
Q

Impedance

A

Impedance is the effective resistance of electrical signals found in sound systems (alternating current). All sound system electronics and devices have an impedance characteristic that plays a crucial role in how they interact with other system components.

Wasem, James. Great Live Sound: A practical guide for every sound tech (p. xxiv). Great Sound Institute. Kindle Edition.

30
Q

Line Level

A

Line Level is commonly any signal that isn’t “mic level”. This often refers to a “high impedance” signal or noted as HiZ.

Wasem, James. Great Live Sound: A practical guide for every sound tech (p. xxiv). Great Sound Institute. Kindle Edition.

31
Q

Loudspeaker (or simply “speaker”, not to be confused with a person speaking.)

A

the component that converts amplified electrical energy back to acoustic energy that we can hear. Loudspeakers come in a variety of sizes and formats, but their ultimate function is the same.

Wasem, James. Great Live Sound: A practical guide for every sound tech (p. xxiv). Great Sound Institute. Kindle Edition.

32
Q

What frequencies are a Tweeter for?

A

High

33
Q

What frequencies are a Woofer for?

A

Low

34
Q

What frequencies are a Sub Woofer for?

A

Very low

35
Q

How does a Loudspeaker work?

A

A loudspeaker creates audible sound by moving a physical diaphragm at varied rates (frequency), creating vibrations in the air, which our ears then interpret as sound.

Wasem, James. Great Live Sound: A practical guide for every sound tech (p. xxiv). Great Sound Institute. Kindle Edition.

36
Q

Mic Level

A

While not purely a technical term, Mic Level is generally the type of signal that comes from a microphone. Technically this refers to a “low impedance” signal or noted as a LoZ. Mic level signals almost always use a balanced 3-wire connection.

Wasem, James. Great Live Sound: A practical guide for every sound tech (p. xxiv). Great Sound Institute. Kindle Edition.

37
Q

Microphone (also known as “mic”)

A

Microphones capture acoustic energy and convert it to electrical energy that can be transmitted through the sound system.

Wasem, James. Great Live Sound: A practical guide for every sound tech (p. xxv). Great Sound Institute. Kindle Edition.

38
Q

How do Microphones work?

A

Microphones are the opposite of loudspeakers in that vibrations in the air move a physical diaphragm at varied rates (frequency), causing the diaphragm to move back and forth in an electrical/ magnetic circuit, creating voltage that becomes an analog audio signal.

Wasem, James. Great Live Sound: A practical guide for every sound tech (p. xxv). Great Sound Institute. Kindle Edition.

39
Q

Mixing Console (also “mixer”, “console”, or “board”)

A

The mixing console is the primary hardware interface that allows you to adjust and control the fundamental audio signals in your sound system. Mixing consoles consist of several audio inputs that can be mixed and routed through the board and sent to one or more audio outputs. Some mixing consoles may be very simple with a basic “gain” and level control for each channel, while others may have built-in effects processors, advanced routing options, and other customizable features for live production or recording.

Wasem, James. Great Live Sound: A practical guide for every sound tech (p. xxv). Great Sound Institute. Kindle Edition.

40
Q

Monitor (aka Stage Monitor)

A

Monitor typically refers to a stage monitor loudspeaker that is used to allow musicians, presenters, and performers on stage to hear themselves and others. Monitors are used as sound reinforcement for the stage, not the audience. Mixing for monitors can be very different than mixing for the audience since the audio is mixed specifically for each performer or presenter.

Wasem, James. Great Live Sound: A practical guide for every sound tech (p. xxv). Great Sound Institute. Kindle Edition.

41
Q

Mono

A

A mono audio signal is one that has only one channel of audio. A single mono channel may be sent to a mixing console and then routed to the left or right audio outputs (or both).

Wasem, James. Great Live Sound: A practical guide for every sound tech (p. xxv). Great Sound Institute. Kindle Edition.

42
Q

Pan

A

The Pan knob on the mixing console is used to adjust stereo audio from left to right. The pan knob can be set from full left to full right, centered, or anywhere in between, depending on how drastic or blended the balance needs to be.

Wasem, James. Great Live Sound: A practical guide for every sound tech (p. xxvi). Great Sound Institute. Kindle Edition.

43
Q

Phantom Power

A

Condenser microphones and other “active” audio equipment need additional power to function properly. This power often comes from a mixing console or other power supply and is called phantom power. Though voltage can vary, the most common form of phantom power is 48 Volts DC (direct current). The power circuit is considered “phantom” because dynamic microphones and devices that don’t need the extra power are not affected by its presence in the electronic circuit.

Wasem, James. Great Live Sound: A practical guide for every sound tech (p. xxvi). Great Sound Institute. Kindle Edition.

44
Q

Pre & Post

A

The term “Pre” generally refers to “pre fader level”. Meaning: the audio signal level available before any fader level adjustment. “Post” is simply the opposite of that – “post fader level”. Meaning: the audio signal level that is available after the fader level adjustment. Depending on the manufacturer, some mixing consoles will notate their Auxiliary channels as “pre” or “post” OR they can be noted as PFL (pre fader level) and AFL (after fader level).

Wasem, James. Great Live Sound: A practical guide for every sound tech (p. xxvi). Great Sound Institute. Kindle Edition.

45
Q

Preamp

A

Think of a Preamp as a “low voltage amplifier”. It takes the initial audio signal and boosts it slightly so that it can be used in other audio components. The Gain or Trim controls the preamp so that an audio signal can be properly adjusted for your needs.

Wasem, James. Great Live Sound: A practical guide for every sound tech (p. xxvi). Great Sound Institute. Kindle Edition.

46
Q

Signal

A

This audio term typically describes the electrical information that is transferred from one audio component to another.

Wasem, James. Great Live Sound: A practical guide for every sound tech (p. xxvii). Great Sound Institute. Kindle Edition.

47
Q

Signal Path or Signal Chain

A

We use the term “signal path” or “signal chain” to refer to the route that an audio signal takes on its way through the sound system. A signal may pass through many components. Each one of these components is part of the signal path. It is important to know about the different components in the signal path so that you can adequately troubleshoot and trace the audio signal as it travels from one device to another, eventually going where you want it to go.

Wasem, James. Great Live Sound: A practical guide for every sound tech (p. xxvii). Great Sound Institute. Kindle Edition.

48
Q

Stereo

A

An audio signal comprised of Left and Right channels is considered a Stereo signal. A single audio channel may also be routed to a Left or Right output channel depending on the mixing console settings selected with the Pan control.

Wasem, James. Great Live Sound: A practical guide for every sound tech (p. xxvii). Great Sound Institute. Kindle Edition.

Basic Sound Terms and Principles (1 decks)

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