Mid Term

Pure Tones Noise Bands

(Estimating the Frequency of Sound) According to this exercise, _ (type of signal) is/are more useful in equipment testing and measurement, whereas _ (type of signal) is/are more useful in acoustic testing and measurement.

Comes from left then widening out to the right

.5ms-30ms delay on right

phantom center

0ms delay on right

Doubling, phasing, flanging

1-35ms

alters amount of boost/cut based on amplitude of signal (rather than fixed change)

Briefly describe how a 'dynamic EQ' differs from a traditional EQ (like those we have been discussing in class).

emulate VU meters in a digital system 8. give better impression of perceived loudness

Match the following characteristics to RMS meter

similar in response to the human ear 2. good for continuous duration sounds (i.e. music) 3. does NOT register 'peaks' or 'transients'

Match the following characteristics to VU meter

API has a proportional Q Massive has steep slope

List TWO characteristics that were ascribed in the EQ-IQ 'Parameters' video to specific analog equalizers, e.g. API 550, Massive Passive, etc.

affect the time relationship of signals 'change' the acoustic environment

Primary Function of Temporal Processor

change 'timbre' of the sound affects the frequency/amplitude response pattern

Primary Function of spectral Processor

Sample peak meters

Prior to PT12, typical DAW metering used:

120dB

Typical Dynamic range

display the measured level in an objective manner b. show specific audio characteristics

The function or purpose of audio metering is to (select ALL that apply):

harmonics

Whole number multiples only

Talkbox

add a voice-like resonance

Fit

affect a better blend

Feature

alter for creative reasons

mix

balances of the amount of processed signal

20-50ms

chorus, doubling ms

0-20ms

comb filtering, flanging ms

Pultec EQP-1

combined effect of controls (i.e. may boost & cut simultaneously)

analog

continuous functioning and frequency domain

Modulation

controls the rate of the 'wah' frequency sweep up & down

Fundamental

lowest frequency present in a musical tone

digital

operate on discrete data and time domain

Fix

overcome deficiencies

Timbre

relative intensities that are key to an instruments sound

Filter

selects type of filter (HP/BP/LP)

Pedal Min/Max Frequency

sets the limits of the 'wah' filter's frequency sweep

Manley Massive Passive

small 'bump' just ahead of the corner frequency

Continuous/broadband

white noise, pink noise, rumble, hiss

Intermodulation distortion

energy at frequencies related to sum & difference components

Continuous/Tonal

feedback, hum, buzz

Kill EQ

filters out low, mid, high broadband frequency range

Enhancer

generates harmonics

Noise

hiss, rumble (HVAC), wind, etc.

Continuous Discrete

'Analog' spectral processors operate as _ functioning devices in the frequency domain, while 'digital spectral processors operate on _ data in the time domain.

High shelf EQ

'dull' sounding vocals solution

soft clipping

'gentle' change at maximum output

50-150ms

'slap' or 'bounce' echo

Discrete or ping pong

150-400ms

Delayed repetition (break) (temporal fusion)

35ms delay on right

"slap or bounce" echo

50-150ms

Debuzzer

50/60 Hz + harmonics line frequency noise

Frequency Time Amplitude

A 'spectrogram' allows simultaneous visualization of 1 (vertical axis), 2 (horizontal axis), and 3 (color intensity).

Parametric George Massenburg Continuous Center Frequency

A unique spectral processing device, called 1 EQ, was proposed in an AES paper in 1972 by inventor 2 . It allowed for 3 control of 4 , gain, and bandwidth.

Boost Search Set

According to Alex Case, the conventional procedure for using an equalizer has the following three steps (in sequence):_, _. and _.

According to Case's video, reverb adds spectral content to an audio signal by emphasizing the frequencies where it resonants longer and it contributes to the timbre of the instrument. Each different reverb has their own unique spectral qualities. Reverb can add spectral content to an audio signal by adding an upward tilt to the frequency response.

According to Case's video, how does 'reverb' add spectral content to an audio signal?

Strategies and recipes

Alex Case reminds us to create 1, NOT 2 in order to properly adjust spectral content.

overtones

All other frequencies

Octave Frequency

Audio 'noise' may include pink noise which is equal energy per _, and white noise which is equal energy per _.

MS times 60 / BPM = 60,000/BPM

Calculation for slap delay is

high level on the signal peaks

Distortion

RMS

Emulates VU meteres

perceptual EQ

In EQ- IQ, Alex Case refers to the 'VOLUME CONTROL' as a(n):

using a different DAW e. changing bit depth of recorded files f. changing from smaller to larger control room monitors

In EQ-IQ, Alex Case suggested that there are many methods that may be used to effect spectral content in recording or mixing WITHOUT using 'EQ'. Select from this list those that would LEAST likely do this. **select ALL that apply**

+4dBu

In a standardized digital system, -18 dBFS is equivalent to:

Templates Landmarks

In the final EQ-IQ videos, Alex Case recommends that you develop '1' for each instrument that represent the 'spectral '2' of each instrument.

Computer

In this 'typical hydrid system' used in recording and mixing, which device(s) would be LEAST likely to contribute to the overall system 'noise' level?

displays a 'peak' then holds for period of time 5. good for evaluating peaks to avoid overload 6. poor for monitoring continuous duration sounds (i.e. music)

Match the following characteristics to PPM meter

Impulsive - broadband Kick/snare

Musical sounds that are '1' create '2' energy. Examples include instruments such as '3' and '4'.

30Hz-4000Hz

Not all frequencies are present in all genres of music. The range of the acoustic piano represents the 'fundamentals' of most instruments, which include the frequencies from approx. _ Hz to _ Hz.

Proximity Effect

ONE 'sonic issue' that may be improved by using 'FILTERS' (according to Alex Case in EQ-IQ FIX) is _ .

around 3K

Our peak listening response is

change the acoustic envelope affect the dynamic rang

Primary Function of Dynamic Processor

Dynamic range

Range between noise floor and clipping point

Signal to noise ratio

Range between noise floor and reference point

peaking EQ

Sibilance solution

Fundamentals and harmonics

Spectral processors' affect the balance between the _ and _, which together make up the 'timbre' of the instrument.

Minimum Linear

The 'phase response' of a spectral processor will affect the sonic character of the signal passed through it. Analog spectral processors are always _ phase type, while digital spectral processors may be _ phase unless they are modeled to be like analog processors.

Human voice muted

The 'wah wah' pedal creates a distinctive effect, which it supposed to mimic the _, and was originally intended to imitate the sound produced by a _ trumpet.

Corner/turnover frequency and slope

The TWO adjustable controls on a typical FILTER (hardware or plug-in) are shown on the figure below.

+4dBu

The '0' on an analog VU meter equals a signal level of:

96

The 'dynamic range' possible using a 16 bit digital system is

Wave analyzer Critical Band

The human auditory system acts as a '_' (fill-in two words). Using it, we can "hear out' the harmonics of a complex sound until we reach the point where two of these are within the _ (fill-in two words), which is about 15-20 % of the frequency being considered.

Center Frequency

The inner workings of the 'wah wah pedal' are fairly simple. The foot pedal controls the _ of a bell curve EQ or pass filter with a gain boost.

Instrument Selection Correct. and Microphone Selection / Placement Incorrect.

There are many ways to affect 'spectral content' in a recording without using 'EQ'. Two of the variables are

Fix Fit Feature

There are three basic 'uses' for which spectral processing can be applied in music recording/mixing. These are (in order as we discussed them in class) _, _, and _.

Digital Delay Digital Delay pedal

Uses a buffer to hold a signal for a set amount of time example is

Analog Delay Tape delay

Uses physical means to hold back a signal for a set amount of time example is

Effects Loop

Using aux sends and return tracks, this method allows you to use a single reverb for multiple tracks in your DAW

As level of 'distraction' increases, so does the range of frequencies increase (upward spread effect), resulting in loud low frequency events (bass/kick) 'masking' mid-frequency events (vocal).

What are the implications for use of EQ in music mixing presented in this chart (titled 'Masking as a Function of Amplitude') and class discussion (EQ-IQ:Fit)?

Our hearing threshold changes in the presence of 'distracting tones', and these 'distracting tones' will mask nearby frequencies.

What are the implications for use of EQ in music mixing presented in this chart (titled 'Masking as a Function of Frequency') and class discussion (EQ-IQ:Fit)?

analog, tape delay ; digital, plug-ins

______ delay (e.g. _______ ) uses a physical means to 'hold back' a signal, whereas ______ delay (e.g. _______ ) uses a buffer to 'hold back' a signal.

Denoiser

analog tape hiss or similar

Low pass filter

analog tape noise (hiss) solution

Noise

anything that is NOT part of the intended signal

Vintage EQ

applies a modulating, resonant filter

150 - 400 ms

discrete or 'ping pong' echo

0-5ms

image effects delay time

Distortion

particular artifact that is correlated with the signal

High pass filter

plosives/proximity effect solution

Declicker

pops & tics on 'records'

API 550b

proportional Q (BW)

Impulsive

tics, pop, clicks, crackles