578517
Description
Flashcards by Hazel Meades, updated more than 1 year ago
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Created by Hazel Meades
almost 11 years ago
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| Question | Answer |
| Frequency response | How a mic responds to different frequencies. E.g: frequency response which favours high frequencies = more trebly output. |
| Transient response | The measure of accuracy with which an audio system reproduces transients. E.g: hit of a snare may have a 12-15dB above average signal level. |
| Transient | A sudden high amplitude that decays quickly to average program level e.g: percussion instrument beats. |
| Capacitor | An electronic component which stores energy in the form of an electrostatic field. |
| Phantom power | A means of distributing DC current through audio cables to provide 12-48V to mics and other equipment. |
| Expanders | Reduces signal levels that fall below the threshold to expand dynamic range. Generally used to reduce background noise. |
| Noise gate | An extreme form of expander used to reduce background noise to silence. Uses a ratio closely set to infinity symbol:1. |
| Limiter | A more extreme form of compressor designed to quickly reduce the signal so it doesn't damage equipment. It has a short attack and release and ratio close to infinity symbol:1. |
| Drum machines | Use a combination of sampling and synthesis to imitate real drums. Often used instead of a professional drummer if they're unavailable |
| MIDI | This stands for Musical Instrument Digital Interface. The standard protocol for drum tracks is 10. |
| MIDI choke | The condition that occurs when a MIDI sender, such as a sequencer, tries to send data at a rate exceeding what the cable is capable of transmitting. This may be done deliberately to avoid too much data being sent through. |
| Expression | This is a MIDI parameter different to overall volume because it controls parts within the instrumental melody instead of the overall volume level. |
| Phase | Measured in degrees from 0-360, this compares the timing of 2 similar sound waves. If waves of the same frequency sound simultaneously they're in phase (0 degrees). This produces a stronger sound. If they're out of phase (180 degrees) they are exactly opposite an cancel each other out to produce virtual silence (phase cancellation). |
| Fundamental harmonic | This is the lowest strongest part of the sound - AKA the pitch. |
| Harmonics | Every sound has higher, softer overtones. These occur at regular integer multiples of the fundamental frequency. We hear this as timbre. |
| Signal to noise ratio | This is the difference between the nominal recording level and noise floor (the level of electrical activity or noise present in a system). The nominal level is the ideal level for the device usually labelled as 0dB. In order to avoid amplifying noise it is important to record at around this level. |
| Headroom | Space above the nominal level which allows for louder but not distorted signal. Having this space helps to manage the sound levels and maintain dynamic interest. |
| Distortion | This can be achieved by overdriving the audio circuit so the signal shape distorts. This can add warmth to the recording. However, in post-production this should be avoided. |
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