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Music Production > Dynamic Processors & EQs > Flashcards

Dynamic Processors & EQs Flashcards

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1
Q

Gate/expander

A

Allows the signal that is above the selected threshold to pass through to the output at unity gain and without dynamic processing

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2
Q

Gates threshold (trigger)

A

Sets the level at which the gate will open and allow signal at the input to pass through through to the output

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3
Q

Gate parameters

A

Set the level amount and if the waveform passes above it, it allows it in, and if it’s below it, it attenuates it

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4
Q

When a signal opens the gate, what sounds come through?

A

Everything

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5
Q

What does gating help with?

A

Helps remove unwanted signals

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6
Q

Why is gating “irrelevant” in digital audio?

A

Because you can just cut out areas that have bleed

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7
Q

What is gating typically used for in digital audio?

A

Creative uses

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8
Q

Gate: Attack

A

Sets how fast the fate fully opens once the signal crosses the threshold

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9
Q

Gate: Hold

A

Set the amount of time the fate remains open once the input falls below the threshold

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10
Q

Gate: Release

A

Sets the amount of time it takes the gate to close, once the input falls below the threshold level AND the hold function has expired

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11
Q

What do the gate functions match? (attack, etc)

A

Envelopes of waveforms

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12
Q

Attenuation (Range, depth)

A

The amount of attenuation applied to the input signal once it falls below the threshold

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13
Q

What happens if range is set at around -60dB?

A

It’s essentially more like a mute button, and having it mute on and off causes the instrument coming through to sound fake and unnatural

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14
Q

When is a bit of ‘bleed’ okay?

A

It’s okay to let some bleed in and let it attenuate smoothly rather than shutting the gate off quickly and causing the sound to be unnatural

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15
Q

Noise gate attenuation amount

A

Full attenuation

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16
Q

Expander attenuation amount

A

Partial attenuation

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17
Q

Where is an example that gating is necessary?

A

Live sound (used all the time) and analog editing (for those who actually do that still lol)

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18
Q

Compressor/limiter

A

A device that puts gain reduction to manipulate or control the dynamic range of an audio signal

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19
Q

Compressor threshold

A

When the input signal exceeds a pre-determined level, the compressor’s gain is reduced and the signal is attenuated

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20
Q

Gates vs Compressor thresholds

A

Gates attenuate signal when dB is BELOW the threshold, until dB goes ABOVE and the gate opens to let signal through, aka. doesn’t let softer sounds in
Compressors leave signal as is when dB is BELOW the threshold, until dB goes ABOVE and then it is attenuated, aka. doesn’t let loud sounds out

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21
Q

Signal path in a dynamic processor

A

Signal is split between two paths: audio and side-chain

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22
Q

Side-chain

A

Where the signal level is measured by a voltage detector (threshold)

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23
Q

Ratio

A

The amount of input dBs ABOVE the threshold, versus the amount of output dBs ABOVE the threshold
What you put in versus what you get back

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24
Q

Unity gain

A

1:1 ratio

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25
Q

4:1 compression becomes more like _____

A

A limiter

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26
Q

Compressor vs Limiter

A

Primary difference is the RATIO. Generally, the higher the ratio, it is more of a limiter, while a lower ratio is compressor

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27
Q

Gain reduction

A

Threshold + ratio will result in gain reduction

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28
Q

Compressor: Attack

A

The amount of time it takes for the compressor’s gain to be reduced once the signal crosses the threshold

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29
Q

Compressor: Release

A

The amount of time it takes for the compressor’s gain to return to its original level

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30
Q

Release side effects

A

If the release is too fast: pumping or breathing - a rapid rise in noise floor due to too fast of a release time for the program material
If the release is too slow: over-compression (the compressor never lets up)

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31
Q

Output/make-up gain

A

Compensates for gain reduction that occurs post-compression, that makes the compressed signal louder (match it to the input signal level)

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32
Q

What also gets louder when you turn up output gain?

A

Noise floor turns up with it - this rarely poses an issue when the whole mix is playing together as it will be masked

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33
Q

4 steps to setting up any compressor

A
  1. Input - insert patch
  2. Set ratio
  3. Lower the threshold to achieve gain reduction
  4. Match output gain to input level
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34
Q

Audio Equalisation

A

Device that enables the engineer to exercise control over the harmonic/timbral content of a live or recorded sound

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35
Q

Timbre

A

Term that describes characteristics of sound outside of pitch and volume. It is the harmonic and musical content of a sound that differentiates itself from another sound producing the same pitch, regardless of volume.

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36
Q

What does not have any timbre?

A

Sine waves (simple and pure tone)

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37
Q

Reasons to EQ

A

To correct or improve specific problems in a “live” signal, a recording, or within a room

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38
Q

Consumer audio EQ examples

A

Home stereos, car audio, record players

39
Q

RIAA equalisation curve

A

This curve is what record players use to cut highs and boost lows at the phono preamp stage, creating a flat frequency response when being brought to speaker level

40
Q

Live sound EQ examples

A

Feedback correction in monitorland, tune PA to the room, make the mix sound good for FOH, crossover in speakers is also a form of EQ

41
Q

EQ audio in a recording setting (microphones)

A

EQing can help overcome deficiencies in the frequency response of a microphone or in the sound of an instrument
Not everyone will have an array of microphone/instrument selections, so EQing the equipment you do have is far more affordable

42
Q

EQ audio in a recording setting (experimentation)

A

EQing while mixing for musical/creative reasons

This was trailblazed by the Beatles

43
Q

Why is experimentation with EQing in the studio more difficult to do these days compared to when the Beatles were making music?

A

Because in that era, there was more money in the music industry to play around and experiment. That is not the case these days to spend money to ‘play around’ in the studio. Nowadays, the faster it’s done, the better = less money spent

44
Q

EQ audio in a mixing setting

A

EQing sounds of different instruments that produce similar frequencies can help the tracks blend together while still being able to differentiate the instruments. Blended mix vs blurry, muddy mix

45
Q

“It doesn’t matter who something sounds on its own -

A

it’s all about how it sounds in the mix”

46
Q

Example of why we might EQ a kick drum and a bass guitar

A

Kick drum and bass guitar usually share common frequencies, which can cause cancellation, or muddy mix due to the frequencies competing

47
Q

EQ audio in a mixing setting (leakage)

A

If a hi-hat is leaking into the kick drum track, or vice versa, for example, EQing helps eliminate leakage. You can use rolloffs on the mic.

48
Q

Peaking curve

A

The most common EQ curve - peak-shaped bell curve that can be boosted / cut at a selected frequency

49
Q

Q

A

Q is the ratio of center frequency to bandwidth; if you raise the Q, the bandwidth narrows, and if you lower the Q, the bandwidth broadens

50
Q

High Q

A

Narrow bandwidth = less frequencies outside the selected bandwidth are being affected

51
Q

Low Q

A

Broad bandwidth = many frequencies outside the selected Q are being affected

52
Q

Shelving curve

A

Rise or drop in frequency response at a selected frequency, which tapers off to a preset level and continues at this level to the end of the audio spectrum

53
Q

Shelving curve Q or Slew Rate

A

Controls the progression of amplification or attenuation from the “flat” position
Normally has a Q of 1

54
Q

High/Low pass filters

A

Certain frequencies are passed at full level, while others are attenuated

55
Q

Passband

A

Frequencies attenuated less than 3 dB are said to be inside the passband

56
Q

Stopband

A

Frequencies attenuated more than 3 dB are said to be inside the stopband

57
Q

Slope

A

The rate at which the frequencies are rolled off

58
Q

High/low pass filters vs Shelving curves

A

High/low pass filters’ attenuation does not level off outside the passband, rather it continue to increase

59
Q

Low pass filters

A

Low frequencies are passed, highs are rolled off
Not often found on recording consoles
Used often in post-production for effect

60
Q

High pass filters

A

High frequencies are passed, lows are rolled off

Found on microphones and recording consoles to correct/eliminate “rumble”

61
Q

Band pass filters

A

High pass filter and low pass filter used in combination

Used often in post-production

62
Q

4 EQ types

A
  1. Selectable frequency EQ
  2. Parametric EQ
  3. Graphic EQ
  4. Notch filter
63
Q

The first instance of audio EQing

A

Telephone - filtering out frequencies so that the voice can travel through wires more adequately

64
Q

Selectable frequency EQ

A

Set number of frequencies to choose from that usually allows a boost or cut with a predetermined Q
Independent LOW, MID, and HIGH ranges
Typically found on older consoles and outboard gear
Usually has 2, 3, or 4 bands

65
Q

Parametric EQ

A

Introduced by George Massenburg in 1971
Four overlapping frequency bands (low, low mid, high mid, high)
Centre frequency in each band is continuously variable
Amount of cut or boost is continuously variable
Q is continuously variable

66
Q

Difference between parametric EQ and semi-parametric EQ

A

Semi-parametric has no Q or bandwidth control - the Q is only switchable between high and low

67
Q

Does the Neotek Elite feature parametric EQs or Semi-parametric EQs?

A

Semi-parametric

68
Q

Graphic EQ

A

Boost or cut control over a series of frequencies that are spaced according to musical intervals
Often used to tune a system to match the acoustics of a room
31 band for live sound

69
Q

Graphic EQ name explanation

A

The controls are typically linear slider types arranged in a row side-by-side, giving a “graphic” representation of the EQ curve

70
Q

Notch filter

A

Very little bandwidth (9 frequencies), with little effect on the rest of the material
ONLY USED to ATTENUATE a specific frequency

71
Q

Notch filter attenuation in dB

A

Can attenuate up to -60 dB

72
Q

What are notch filters used for?

A

Typically used to remove hum and other undesirable discreet frequency noises
ex. air conditioners, etc.

73
Q

Knee of compressor

A

How strictly the threshold is applied/enforced

74
Q

Soft knee

A

Lest strict enforcement of the threshold; the ratio is applied within a region surrounding the threshold and increases above the threshold

75
Q

Term for soft knee on the DBX compressor

A

Overeasy

76
Q

Hard knee

A

Strict enforcement of the threshold; the ratio is applied as soon as the signal crosses the threshold level

77
Q

Which knee type would you use when wanting to avoid clipping?

A

Hard knee - with a 1:1 ratio and fast attack

78
Q

Frequency dependent dynamic processing

A

By applying high pass and low pas filters to the side-chain, you can accomplish more frequency specific dynamic processing
ex. de-esser

79
Q

De-esser

A

Doesn’t remove frequencies from the vocals - it removes frequencies from the side-chain
Single band compressor

80
Q

Frequency dependent side-processing

A

You’re processing the side-chain, NOT the audio

81
Q

Side-chains are called as such on compressors. What are they called on gates?

A

Key inputs

82
Q

Key inputs

A

Auxiliary input that can trigger the voltage detector (threshold) from an external source

83
Q

Turnover

A

On a high/low pass filter, the frequency at which the signal is attenuated by exactly 3 dB

84
Q

Band-pass filter

A

When a high pass and low pass filter are used in conjunction

85
Q

Frequency around which you would find the “bottom depth” of a kick drum

A

60 Hz

86
Q

Frequency around which you would find the “attack” of a kick drum

A

2.5 kHz

87
Q

Frequency around which you would find the “fatness” of a snare drum

A

240 Hz

88
Q

Frequency around which you would find the “crispness” of a snare drum

A

5 kHz

89
Q

Frequency around which you would find the “pluck” of a bass guitar

A

2 kHz

90
Q

Frequency around which you would find the “bite” of an electric guitar

A

2.5 kHz

91
Q

Frequency around which you would find the “shrillness” of horns

A

5 kHz

92
Q

Frequency around which you would find the “shimmer” of cymbals

A

7.5 kHz

93
Q

Frequency around which you would find the “presence” of a vocal

A

5 kHz

94
Q

Frequency around which you would find the “sibilance” in a vocal

A

7.5 kHz

Music Production (16 decks)

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