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Sound & Hearing Flashcards

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1
Q

Control Room

A

Where majority of engineer’s tools are kept

e.g. console, control surface, outboard gear, power amps, computer systems, multitrack machines, etc1

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2
Q

How is the Control Room built?

A

To be acoustically isolated from other parts of the studio (tracking rooms), including outside surroundings

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3
Q

What is the Control Room for?

A

Critical listening

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4
Q

What are the Two Recording Processes?

A

Real-time & Multitracking

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5
Q

What is Real-time recording?

A

With 1 or 2 mics, the musicians & artists would be positioned and play all together, recording live on one track - mixing is done at the same time

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6
Q

What is Multi-track recording?

A

All artists & musicians can be recorded on their own track, either at the same time or separate times, or even both - this allows endless mixing possibilities

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7
Q

What are the steps of pre-production?

A
  1. budget
  2. type of artist
  3. how many songs
  4. how many tracks for each song
  5. what format being recorded to
  6. how much studio time has been booked
  7. what is the goal of the project
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8
Q

3 Main steps to Recording

A
  1. Recording (tracking, basic tracks)
  2. Overdubbing - basic tracks are played over headphones and additional tracks are recorded to either fix, add, re-record an entire take
  3. Mixing (mixdown) - panning, balancing levels, eq, dynamic processing, time-based effects, etc
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9
Q

What is the definition of engineering?

A

The application of scientific & mathematical principles to achieve an end result

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10
Q

Transducer

A

Any device that changes one form of energy into another CORRESPONDING form of energy

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11
Q

Examples of Transducer

A

Microphones, speakers, guitar pick-ups, OUR EARS

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12
Q

3 Electrical levels & their measurements

A
  1. Mic level - millivolts
  2. Line level - 1.23 volts
  3. Speaker level - 1-50 volts
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13
Q

Subjective sound v. Objective sound

A

Subjective sound implies that a brain is required for sound
- Objective sound asserts that just because a brain may not be present, sound waves were still made, therefore, there is sound

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14
Q

Subjective sound

A

Brain’s perception & interpretation of vibration of a physical stimulus causing sound pressure waves to propagate through air

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15
Q

Objective sound

A

Repetitive vibrations of a physical object will produce variations in barometric/atmospheric pressure, aka sound pressure waves

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16
Q

What causes sound pressure waves?

A

Compression and rarefaction

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17
Q

Compression

A

Greater than normal atmospheric pressure

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18
Q

Rarefaction

A

Less than normal atmospheric pressure

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19
Q

List the 7 waveform characteristics

A
  1. Wavelength
  2. Amplitude
  3. Velocity
  4. Envelope
  5. Frequency
  6. Phase
  7. Harmonic Content
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20
Q

What direction do low frequencies travel in?

A

Omnidirectional

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21
Q

What direction do high frequencies travel in?

A

Unidirectional

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22
Q

Wavelength

A

The actual physical distance between the beginning and end of a cycle

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23
Q

Complex

A

Waves that are not necessarily symmetrical and don’t necessarily repeat

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24
Q

Waveform

A

A graphic representation of a signal’s sound pressure level or voltage level over time

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25
Q

Phase Shift

A

The difference in time between two waveforms

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26
Q

Amplitude

A

The distance above or below the centerline of a waveform

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27
Q

Producer

A

The person who helps the artist and/or record label create the best possible recorded performance and final product, and is also in charge of the entire session

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28
Q

Propagation

A

The process of sound pressure waves “travelling” through the air

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29
Q

Phase

A

A time relationship between two or more waveforms

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30
Q

Engineer

A

This person’s job is to interpret and capture the sonic and creative vision of the producer, artist, and record label through a recording and/or mix

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31
Q

Decibel (dB)

A

The unit of measurement for sound pressure level (SPL), voltage level, etc.

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32
Q

Fundamental

A

The note being played

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33
Q

Assistant Engineer

A

This person’s job is to run the tape machine, Pro Tools, setup and tear down session, document the session, and make sure the session runs smoothly

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34
Q

Peak-to-peak value

A

Distance from max positive value to max negative value

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35
Q

Peak-Amplitude value

A

Distance from centerline to max positive, or centerline to max negative

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36
Q

RMS (root-mean-square)

A

Average of all peak-amp values

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37
Q

Frequency

A

The measurement of the number of cycles that occur in one second of time/ cycles per second; unit is Hz

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38
Q

Variations in atmospheric pressure

A

Sound pressure waves

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39
Q

Sine wave

A

Simple wave; pure tone

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40
Q

Omnidirectional frequencies

A

Low frequencies

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41
Q

Unidirectional frequencies

A

High frequencies

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42
Q

Average range of human hearing

A

20Hz - 20kHz

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43
Q

Range of frequencies humans hear best

A

1kHz - 4kHz

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44
Q

Formula for Wavelength

A

W=Velocity / Frequency

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45
Q

Wavelength is measured in __________

A

Feet per cycle

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46
Q

What is the velocity of a sound wave at room temperature (70°F)?

A

1130 feet per second

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47
Q

1.1 feet per second

A

Velocity increases by this much for each degree increase, or decreases by this much for each degree decrease

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48
Q

Amplify

A

Increase in amplitude

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49
Q

Attenuate

A

Decrease in amplitude

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50
Q

Cycle

A

The completion of a wave 360°

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51
Q

Amplitude measurement

A

Decibels (dB)

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52
Q

Period

A

The time it takes to complete one cycle

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53
Q

The absolute positive and negative values in a wave form

A

Polarity

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54
Q

Envelope

A

The attack, decay, sustain, and release of a waveform

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55
Q

Fundamental

A

The frequency of the note being played

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56
Q

Harmonics

A

Whole-number multiples of the fundamental

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57
Q

When the frequency is doubled, that harmonic is called:

A

An octave

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58
Q

Sound reflects off a surface boundary at an angle _____ & ______ to its original angle of incidence

A

Equal and opposite

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59
Q

Diffraction

A

Sound pressure wave’s ability to “bend” around an object

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60
Q

Floating scale (dB)

A

Designed to measure one value against another

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61
Q

The best dB SPL for listening?

A

85dBSPL

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62
Q

Masking

A

When loud sounds cover up softer sounds, so we can’t hear them

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63
Q

Bell Labs engineers who established the Equal Loudness Contours of the human ear

A

Fletcher and Munson

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64
Q

How would you find the 3rd harmonic of 250Hz?

A

Multiply 750Hz by 3

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65
Q

How would you find the 1st octave of 500Hz?

A

Multiply 500Hz by 2

66
Q

How would you find the 2nd harmonic of 1500Hz?

A

Multiply 1500Hz by 2

67
Q

How would you find the 2nd octave of 200Hz?

A

Multiply 200Hz by 4 (200x2=400 (1st octave) then 400x2=800Hz (2nd octave))

68
Q

Wavelength of a 1000Hz wave?

A

1130 feet/sec(velocity)/1000Hz cycles/sec(frequency)= 1.13 feet/cycle

69
Q

Wavelength of a 20Hz wave?

A

1130 feet/sec(velocity)/20Hz cycles/sec(frequency)= 56.5 feet/cycle

70
Q

List 4 things that could be done during mixdown?

A
  1. Combine tracks
  2. Balance levels
  3. Panning
  4. EQ & dynamic and time-based processing
71
Q

Nominal level

A

The best operating for audio devices

72
Q

What is nominal level in dB?

A

0dB

73
Q

Area between nominal level and distortion

A

Headroom

74
Q

Ratio of wanted signal and the noise floor

A

Signal to noise ratio

75
Q

Crosstalk

A

Unwanted leakage between channels on a console or tracks on an analog tape

76
Q

4 possible console inputs

A
  1. Mic
  2. Line
  3. Tape/Monitor
  4. Group Signal on the I/O
77
Q

What are the 2 paths of a console?

A
  1. Channel path

2. Monitor path

78
Q

2 types of console layouts?

A
  1. In-line

2. Split Monitor

79
Q

MTR must be in ______ to receive signal & in ______ to record signal

A

Input & record ready

80
Q

2 common ways to send signal to MTR?

A

Multitrack Bus (MTB) & Direct Out

81
Q

Buss

A

A common signal line

82
Q

Which fader sends signal to the MTR?

A

Source fader

83
Q

Which fader receives signal from the MTR?

A

Return fader

84
Q

Which fader receives signal from a MTB?

A

Group fader

85
Q

Patchbay

A

The central location for all the audio wiring in a control room and studio

86
Q

Mult

A

A passive bus that allows us to make multiple copies of an audio signal in parallel on a patchbay

87
Q

Half-normal

A

Breaks at the input

88
Q

Full-normal

A

Breaks at the input and output

89
Q

Signal flow: Microphone leads to

A

Mic pre

90
Q

Signal flow: Mic pre leads to

A

Source fader

91
Q

Signal flow: Source fader leads to

A

Track pan

92
Q

Signal flow: Track pan leads to

A

MTB

93
Q

Signal flow: MTB leads to

A

Group fader

94
Q

Signal flow: Group fader leads to

A

MTR

95
Q

Channel path consists of:

A

Mic Pre, Source fader, Track pan

96
Q

Direct Out jumps from _____ to ______

A

Source fader to MTR

97
Q

Signal flow: MTR leads to

A

Monitor path input

98
Q

Signal flow: Monitor path input leads to

A

Return fader

99
Q

Signal flow: Return fader leads to

A

Stereo pan

100
Q

Monitor path consists of:

A

Monitor path input, Return fader, Stereo pan

101
Q

Signal flow: Stereo pan leads to

A

SB (stereo bus)

102
Q

Signal flow: SB leads to

A

Master fader

103
Q

Signal flow: MDR leads to

A

Control Room level

104
Q

Signal flow: Control Room level leads to

A

Power amps

105
Q

Signal flow: Power amps lead to

A

Speakers

106
Q

2 types of Dynamic microphones

A
  1. Moving coil

2. Ribbon

107
Q

Dynamic microphones operate by using ______

A

Electromagnetic induction

108
Q

Condenser microphones operate by using ______

A

Electrostatic principle

109
Q

ICA

A

Impedance Conversion Amplifier

110
Q

What does an ICA do?

A

It lowers output impedance of the mic, and amplifies output voltage to mic level

111
Q

PAD

A

Pre-attenuation device

112
Q

What does PAD increase?

A

The mic’s max SPL

113
Q

3 types of ribbon microphones?

A
  1. Passive
  2. Active
  3. Tube
114
Q

Does the ICA require power?

A

Yes

115
Q

What powers the ICA?

A

+48vDC (phantom power)

116
Q

Should you send phantom power to a tube mic? Why?

A

No, tube mics have their own power supply

117
Q

Pressure operated

A

Technical term for omnidirectional

118
Q

Proximity effect

A

An increase in bass response as a directional mic is brought closer to the sound source

119
Q

Transient response

A

Measure of how quickly a microphone’s diaphragm will react to an acoustic waveform

120
Q

Rumble

A

3Hz - 25Hz frequencies that are transmitted through a building’s structure to the mic, causing unwanted noise floor

121
Q

3 types of unidirectional polar patterns

A
  1. Cardioid
  2. Supercardioid
  3. Hypercardioid
122
Q

Figure 8

A

Bidirectional polar pattern

123
Q

Null point

A

The area where a microphone rejects the most amount of sound

124
Q

On-Axis

A

The point where a microphone picks up the most amount of sound?

125
Q

Matched pair

A

A pair of mics tested by the manufacturer to be exactly the same

126
Q

Which type of mic has the fastest and most accurate transient response?

A

Condenser mics

127
Q

High pass filter / roll off

A

Attenuates low frequencies entering the mic

128
Q

Things to employ to help dismiss Rumble

A
  1. Roll off / High pass filter

2. Shockmount

129
Q

Front address

A

The capsule inside the mic that captures sound pressure waves is facing upward
e.g. typical handheld dynamic mic

130
Q

Side address

A

The capsule inside the mic that captures sound pressure waves is facing sideward
e.g. typical condenser mic (yours)

131
Q

3 sections of the recording console

A
  1. Input
  2. Output
  3. Monitor
132
Q

In a Direct Out signal flow: Source fader leads to

A

MTR

133
Q

Decibel uses a ______ scale

A

Logarithmic

134
Q

dBSPL

A

Decibels referenced to Sound Pressure Level

135
Q

0dBSPL

A

The softest sound a human can hear

136
Q

dBu/dBv

A

Decibels referenced to 0.775 volt

137
Q

0dBu

A

0.775 volts

138
Q

dBFS

A

Decibels referenced to Full Scale (digital)

139
Q

0dBFS

A

CLIPPING

140
Q

dBVU

A

Decibels referenced to Volume Units (analog)

141
Q

0dBVU

A

Nominal level in analog

142
Q

Attack

A

The time taken for the amplitude to build up to it’s max peak

143
Q

Decay

A

The initial decline after the attack

144
Q

Sustain

A

Changes in amplitude as the note is held out

145
Q

Release

A

The final bit of sound produced as the note is finished being played

146
Q

Frequency determines ______

A

Pitch

147
Q

Velocity

A

Speed of sound

148
Q

Harmonic Content

A

Tone/timbre of the fundamental frequency

149
Q

Normals

A

Something pre-wired/connected to each other

150
Q

Timbre

A

A component of harmonic content that allows a C played on a piano to sound different than a C played on a guitar

151
Q

What kinds of power can a condenser microphone use?

A

+48vDC, external power supply, battery power

152
Q

What makes up a capsule?

A

Diaphragm and back plate

153
Q

In condenser microphones, what does +48vDC power?

A

The capsule and the ICA

154
Q

FET

A

Field Effect Transistor

155
Q

What kind of condenser mic wouldn’t need phantom power?

A

Tube: A condenser that uses a vacuum tube instead of a FET

156
Q

Voice coil

A

The copper wire that is the moving coil in dynamic microphone

157
Q

Mylar is part of what?

A

Diaphragm

158
Q

Between the diaphragm and the back plate, which is fixed and which is moveable?

A

Diaphragm - moveable; Back plate - fixed

159
Q

By default, dynamic ribbon mic are which directional?

A

Bidirectional

160
Q

Pressure-gradient microphones

A

Directional microphones; they respond differently depending on where sound pressure waves come from

161
Q

Signal flow: Master fader leads to

A

MDR

Music Production (16 decks)

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