Just maybe some useful info

Mindset

Well-known member
I attached the study guide I made up for my final exam. It may or may not contain some helpful information. The guide is partially incomplete as I didn't add a small amount of information so that I can study easier, but yeah... I attached it for some of you to view I think it also contained my Pro Tools test along with it lol....:::::::::::::::::::::

Sound-pressure waves – Sound arrives at the ear in the form of periodic variations in atmospheric pressure.

Compression – Air molecules are forced together to form a compression wave.

Rarefaction – the vibrating mass moves inward, a rarefied area of lower atmospheric pressure is created.

Diffusion

Diffraction

Wave form has 7 parts
1. Amplitude
2. Frequency
3. Velocity
4. Wavelength
5. Phase
6. Harmonic Content
7. Envelope

Amplitude – The distance above or below the centerline of a waveform. Measured in different ways
1. Peak Amplitude Value – Maximum or negative signal level of a wave.
2. Peak To Peak Value – Total measurement of the positive and negative peak signal
3. RMS Value

Transducer – changing one form of energy to another
Sound – atmospheric changes in pressure

To measure wavelength, is velocity divided by frequency.

3 different phases
1. Out Of Phase – Volume Surge
2. In Phase – Amplitude Doubles
3. 180 degrees out of phase – Cancels out

Harmonic Content – overtone frequencies that are whole number multiples of the fundamental frequency.
Timbre - ____________________________________________________________________

Envelope: 4 parts
1. Attack
2. Sustain
3. Decay
4. Release
Works in combination of Timbre

3 different ways to measure dB
1. dB SPL
2. dB V
3. dB M

Threshold of hearing: .0002 microbar or ______dB
Threshold of pain: 140dB
Threshold of Feeling: 118dB

Fletcher Munson Curve – indicates the ears average sensitivity to different frequencies at various levels.

Combination tones result when two loud tones differ by more than 50Hz

Masking is a phenomenon by which loud signals prevent the ear from hearing softer sounds.

Perception Of Space
1. Direct Sound
2. Early Reflections
3. Reverberation

RT-60: The time reverb takes to die down in seconds.

Studio Acoustics & Design

To be considered when building a studio:
1. Acoustic Isolation
2. Frequency Balance
3. Acoustic Separation
4. Reverberation
5. Cost Factors

Transmission Loss (TL) – The reduction in the SPL of a sound source as it passes through an acoustic barrier of a certain physical mass.

Absorption Coefficient: how something absorbs.

Low-Frequency Absorption – 3 different types of traps
1. Quarter-Wavelength Trap
2. Pressure-Zone Trap
3. Functional Trap

Walls – the studs need to be 24 inches apart; the walls shouldn’t be parallel; Rubber caulk should be used to seal walls air tight; don’t use screws if possible; when using materials, you should layer them to increase transmission loss; There shouldn’t be any 90 degree angles.

Doors – They should be heavy solid doors; with rubber surroundings to sound lock the doors.

Ceilings – should be Z suspended.

The ear operates over an energy range of approximately 1013:1 (10,000,000,000,000:1)

Haas Effect: When events occur less than 20ms apart, humans can’t tell the difference.

Temporal Fusion - ____________________________________________________________

On The NEVE console. To set up everything, after mic is plugged in – Turn on phantom power, make sure it’s not in remix mode, press the corresponding buss on the track OR press direct. To buss to a different channel, (from channel 1 to channel 3), press buss 3 on both channel 1 & 3, then turn on preamp on channel 1 by switching the top knob on, raise fader, arm track.

Signal flow of Mix. Multi-track out to channel line inputs – monitor sends – stereo buss – power amp – speakers – ear.

MICROPHONES
Dynamic mic operates by using electromagnetic induction. Has a permanent magnet, voice coil, mylar diaphragm. TRS or XLR

Ribbon Mic – also works on electromagnetic induction. The thin aluminum ribbon diaphragm is 180 off axis & 0 degrees on axis. 2 permanent magnets, has a step up transformer to XLR

Condenser Mics – Works on electro-static. Has a movable top plate and is air tight under it where the bottom plate is fixed.

Hyper Cardioids – Just front but also rejects everything else
Cardiod – Just front pickup.
Mic Impedance: Rating that used to match the signal – providing capability of one device to signal drawing requirements of another. The more ohms, the lower impedance. Good mic’s have low impedance (around 200 ohms). A balanced line uses 3 wires to carry the audio signal. 2 wires use to carry signal voltage, the 3rd is a neutral ground that is wrapped around the 2 wires. Unbalanced cables are prone to RFI interferences.

Solution for unbalanced cables is to use a D.I (direct input) box.

There are 4 different types of Miking Techniques.
1. Distance miking: 3ft or more
2. Close miking: 1inch to 3 ft
3. Accent miking: Just so that 1 thing stands out a little
4. Ambient miking: miking the room’s ambience.

There are 4 different stereo miking techniques
1. Spaced pair
2. X/Y
3. M/S (mid-side)
4. Decca Tree

THE AUDIO PRODUCTION CONSOLE
Purpose of mixer is to give full control over volume, tone, blending, and spatial position for any signal from mic’s, electronic instruments, effects, recording system, and other audio devices.



3 stages to recording
1. Recording
2. Overdubbing
3. Mix Down

Digital recording – don’t record hot – record -18dB-12dB
Analog recording – close to 0dB

Different types of monitoring:
1. Inline Monitoring
2. Separate Monitor Section
3. Direct Insertion Monitoring

On Patch Bay, there are 4 different types
1. Open – When no plugs are inserted
2. Half –Normalled – When no plugs are inserted, but each I/O connection still goes through, and when patched, it will break signal into the patch
3. Normalled – When patched, the signal still goes through the processor, but doesn’t break up through the Patch Bay. (signal passes through the patch bay, and stays in patch bay even when patched)
4. Parallel –

Digital Audio: Sampling & Quantization.
Sample Rate (how many samples it can take in a second (Hz/kHz))

The Nyquist Theorem – Sample rate needs to be twice as great as the highest frequency. Used to be 40kHz samples, but aliasing sounds come into the sound (like human hearing is at 20kHz, so sample rate needs to be 40kHz, but with the aliasing sounds, sample rates were a little higher)

On Lo Pass Filters there are these things :
1. Pass Band
2. Turnover
3. Cut off frequency -3dB
4. Stop Band

Quantization – Voltage level monitoring in the digital realm
Dither (180 out of phase to get rid of noise)
Over Sampling: multiplying the original sample rate.

For Error Correction there are 3 different types
1. Drop the last significant bit
2. Redundancy
3. Interleaving

The most common form of digital audio – PCM (pulse code modulation)

There are protocols for connections:

1. AES/EBU (audio engineering society/European broadcast union. Professional – Uses XLR cables, up to 328 feet – At sample rates less than 50kHz – in 1990 they came up with a dual cable standard so they can go up to 96kHz – 24 bit recording)
2. S/PDIF (Sony/Phillips Digital Interface can connect using SPDIF cable (RCA) or TosLink (lightpipe) – 48kHz sampling – has SCMS Serial Copyright Management System – 2 channel digital)
3. MADI (Multi-channel Audio Digital Interface – up to 56 channels at 96kHz – coax cable up to 120 feet or fiber optics)
4. ADAT Light Pipe – 8 channels through cable. Uses light pulse to recreate sound. Only 1 directional
5. TDIF/TDIF2 – Tascam Digital Interface – TDIF uses a 25 pin D-Sub connection (bi-directional) needed a separate cable for sync clocks. TDIF2 used the same cable and didn’t need the separate sync cable anymore.
6. mLAN – Firewire. Lets you use up to 200 channels at various sample rates.

DIGITAL AUDIO SYSTEMS
1. Fixed-Head Digital Audio Recording
2. DASH – Digital Audio Stationary Head – cross interleave 3 code correction
3. The Rotating Head – Digital Audio Tape, Rotary Head has a helical scan path (VHS)

DAT Systems – Originally for customers, now used for pros, can take sampling frequencies of 32kHz, 44.1kHz, 48kHz and up to 2 hours at 44.1 & 48kHz recording
Provides 2 hour max recording with 16 bit linear quantization, provides up to 4 hour @ 12 bit quantization, rarely used, allows recording of 2 or 4 channel non linear 12 bit audio.

DAT Tape/Transport Format – can range down to about 1/10th the thickness of a human hair (allows recording density of 114 million bits per sq inch.
• Low tape tension for longer head life
• Shorter Length of tape
High Speed has 3 ways –
• Start ID – used to indicate the beginning of a section
• Skip ID – Indicates that a selection should be skipped over.

SIGNAL PROCESSING

DSP: Digital Signal Processing

EQ’s
• correct specific quality
• overcome deficiencies in the mic
• allows different sounds to blend
• to increase the separation between mics or tracks to reduce frequencies that “leak”
• to be creative.

4 different EQ Curves
1. Peaking Filter – Able to change all
2. Shelving Filter – rise or drop in frequency response ate a selectable frequency (has a preset Q)
3. Hi-Pass Filter - cuts low
4. Low Pass Filter – cuts high

4 different EQ Types
1. Parametric EQ – Complete control
2. Selectable Frequency – Only select a set frequency to use – Predetermined Q
3. Graphic EQ – Provides boost or cu t control. Fixed EQ, no change in Q
4. Notch Filter – Used to reduce hums, and have a very narrow Q

Human Frequency ranges:
Lo – 20Hz – 200Hz – Felt & Touched, More Punch, Power. Most fundamentals – lower harmonics of bass info.
Lo Mid – 200Hz – 1kHz – The slight change causes the most dramatic change. 500-1khz – Horn Like Sound
Hi Mid – 1kHz – 5kHz – Gets clarity definition, brightness. 1-2khz – Too much makes it sound too tin like. 2-4khz – Intelligibility of speech also makes things seem closer
Hi – 5kHz – 20kHz – Most upper harmonics are here. Give Sparkle & Brilliance. Makes things sound louder. Too much boosting causes sibilance’s

Effects that can only be used in non real time – Time Compression, Gain, Expansion, Normalize
Plug Ins Protocols – DirectX – Audio Suite – VST – TDM
Audio Driver Protocols
1. WDM – Windows Driver Model
2. ASIO Audio Stream Input Output
3. MAS – MOTU Audio System
4. Core Audio – Digidesign Driver

Compressors have Threshold – Output – Ratio – Attack – Release – Input - Meters
Gate – Key Input – Trigger/Range – Input – Output
Limiter – Input – Threshold – Output – Release – Attack
Expander – Ranger – Trigger – Input – Output –
Expander/Gate – Threshold – Ratio – Attack – Hold – Decay – Range – Keyed Input

8 different types of AMPS
1. Operational Amplifiers
2. Preamps (Op-Amp)
3. Equalizers (Op-Amp)
4. Summoning Amplifiers (used on consoles)
5. Isolation Amplifiers (Like a direct box)
6. Distribution (makes 1 signal to more signals)
7. Impedance (used to reduce the mic’s capsules impedance)
8. Power (used to boost speakers & has protective measures like fuses & thermal heat protection)

Vacuum Tube operates by placing a DC current across it’s plate and heated cathode element.

Amplifier Saturation – Results when the input signal is so large that it’s DC Supply output voltage isn’t large enough to produce the required output current.

Dimension (why add dimension)
• To create an aural space
• To add excitement
• To make a track sound bigger, wider, or deeper
• To move a track back into the mix

Texturize using Reverb/Delay

Timed Delay – Make Things sound deeper

Sonic Layering - ___________________________________________________________________

PRO TOOLS

Automation – On plug in, press Auto – select parameters to automate, press Add, go to track control, pick automation mode, start automating

Pro Tools Bounce To Disc
Select length of region or Shift Return to select region – check outputs – file to bounce to disc – change options – click bounce – save

Pro Tools Side Chain Outboard
Edit Window Shows, Sends view, sends view shows A-E or all, click on send, interface out, go from pro tools out to processor and back, create aux track, change to matching interface, raise fader.

Pro Tools Side Chain Internal
Edit Window Shows, Sends View, Send View shows, A-E or all, click on send, interface out, go to interface, buss it, create aux input track, go to aux input and match buss, go to insert of aux track, find plug-in, raise the fader.

The digital audio chain:
SPL – Line amp – Dither – Anti-Alias Filter – Sample & Hold – A/D Converter (multi-track) – Multi-Plextor- Error Correction – Record Modulation – Digital Out To Storage Medium

The digital Audio Chain B, from storage medium
Storage medium – recording de-modulation – error correction – De Multi-plexor – D/A converter – Sample & Hold – AA filter or Lo Pass filter – Line Amp – Speakers – Ear

Signal Flow In Recording Mode
SPL – Mic – Mic Cable – Floor Channel – Patch Bay (mic Lines) to channel line inputs (preamps) – Record/send – buss or direct – multitrack – record returns – stereo buss – power amp – speakers – ear

Signal Flow Of Studio G
SPL - Mic – mic cable – Floor Channel – Channel Mic Input – Preamp – Buss Or Direct – A/D Converter – Record Send – Multi Track – R

Side Chaining – out of Aux send of mixer – into processor – out of processor into Aux return (connected to stereo buss) , or to channel line input.

Inline Patch – insert send – processor – insert return

STUDIO G

To setup Recording sessions…
Steps:

1. connect mic to mic cable from mic cable to floor channel
2. connect headphones to headphone distribution box
3. go to DM2000, turn on phantom power on the same channel as the mic
4. go to computer, run DM2000 software & load Pro Tools template
5. on mic channel, select either direct or bus
6. on pro tools, setup tracks, and select buss that the mic is on.
7. on DM2000, raise the fader on the mic, and make sure they are not going stereo, buss them or direct them.
8. on pro tools, select which output you want it on.
9. on DM2000, select layer 1, and raise the fader & gain on the mic to appropriate level
10. on layer 2 (pro tools) raise fader of whatever output was selected on track
11. on AUX channel layers, raise the faders for headphone send of corresponding outputs that were set on the pro tools channel
12. arm track, and check mic
13. Check volume on speakers, and make sure they are in stereo.

To change the mic’s to show up on another channel on the DM2000, go to Input menu on DM2000, change the channel you want the mic to show up on, to the channel the mic is on (IE: Mic is on channel 9, go to channel 1’s output/input menu, and change Channel 1 to channel 9 and channel 9 to channel 1).

6 Elements of a great mix:
1. Balance (balance in volume also gives you depth and distance
2. Frequency Balance (proper representation of the frequency spectrum.
3. Dynamics (volume envelope, fits better in the mix, allows sound to fit above the mix, changes the shape of the envelope)
4. Dimension (done with effects, 2 main ways: 1 Room Ambience 2nd is to texturize sound)
5. Parama – ( The way a track sits in the stereo or surround field)
6. Interest (make it interesting)
Studio D

To setup Recording Sessions…
Steps:

1. connect mic to mic cable, from mic cable to floor channel
2. connect headphones to headphone distribution box
3. go to NEVE console, and turn on phantom power
4. route the mic channel to whatever channel you want the mic to show up on. OR, to reroute the channel to another channel, on the channel’s buss them.
5. Turn on pre-amp
6. Raise main fader all the way up
7. Raise record/send fader to normal levels
8. Check monitor levels and make sure that REMIX isn’t on.
9. On aux 7/8, send to headphones.
10. Make sure that both the volume knob buttons are not turned on.
11. Make sure that the ________ & ___________ are _________________________
12. Make sure that the switch labeled _______________ is in the ___________________ position
13. ______________
14. ______________

2 Different Signal Levels: Line level & Mic Level

2 Different Signal Levels of Consumer & Professional Line Levels:
* -10 - Consumer Level
* +4 – Professional Level

3 Different types of boxes:
* Sealed Box: Acoustic Suspension
* Ported Box: Bass Reflex
* Bandpass Box

EQ Curve Shelving is Boost & Cut only

Equalization –
1. Peak EQ – The EQ. Curve that affects one frequency in a group more than any other frequency
2. Shelfing EQ – The EQ Curve that affects all frequencies above or below a certain point.
3. Band – With equalizers, the group of frequencies that are affected are referred to as a Band Of Frequencies
4. Fixed Freq. EQ – An equalizer that can only boost or cut a group of frequencies
5. Graphic EQ – An equalizer that is built with a group of sliders instead of rotating controls.
6. Selectable Freq Equalizer – An equalizer that can control center frequency location and boost/cut value.
7. Parametric EQ – An equalizer that can control boost/cut, frequency location & bandwidth
8. Bandwidth (also known as Q) how wide the frequency group is that’s being altered
9. Filters – A cut only device. A filter that removes all frequencies below a given point is called a High-pass filter.
10.
To measure Q, you subtract the 2 end points & divide by the center frequency

Proximity Effect – Increase in bass response when it comes closer to the microphone.

Which meter works faster? VU or Peak = Peak is faster. VU measures the average of RMS, Peak measures the Peaks

To connect a keyboard to the studio, you would need to use a DI Box.

Microphones:
Dynamic Microphones:
1. uses a mylar diaphragm
2. has 2 magnets
3. electro static
4. sound travels through, hits the mylar diaphragm

Condenser Microphone:
1. 2 plates, one is stationary and the other is moving
2. The plates are Air tight
3. DC Power (Phantom Power is needed at 48V)
4. 2 Resistors – one is used to slow down the fast moving signal, and the other is to change polarity of the + to –

Mic Cable Impedance – 110Ohms
Microphone Impedance (professional) – 200-250Ohms
XLR Cables have 3 pins, pin 1 is to the left and is a ground. Pin 2 is on the bottom, and is Hot. Pin 3 is on top, and is neutral.

To setup a recording session in Studio A:

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MORE NOTES:



Pro Tools Shortcuts Test

1. Apple E Separate Region
2. Apple A Select All
3. Apple K Pre Roll/ Post Roll
4. Apple J Sync
5. Shift Apple I Import Audio
6. Apple H Heal
7. Shift Apple W Quit Session
8. Apple X Cut
9. Apple S Save
10. Apple Z Undo
11. Shift Apple Z Redo
12. B Separate Region
13. Apple C Copy
14. Apple D Duplicate
15. E Zoom Toggle
16. Apple F Adjust Fade Parameters
17. Apple G Group
18. G Fade To Send
19. Apple L Lock
20. Apple M Mute
21. Shift Apple L Loop
22. Apple O Open Session
23. Shift Apple P Quick Punch
24. Apple Q Quit Pro Tools
25. Option R Repeat
26. R Zoom Out
27. T Zoom In
28. Apple [ Horizontal Zoom Out
29. Apple ] Horizontal Zoom In
30. Shift Apple [,] Vertical Zoom Out/In
31. Apple . Undo the recording & set cursor back to original spot.
32. Apple Space Record/Play
33. F2 Record/Play
34. F11 Wait For MIDI Note
35. F10 Pencil
36. F9 Scrubber
37. F8 Grabber
38. F7 Selector
39. F6 Trim
40. F5 Zoom Toggle
41. F4 Grid
42. F3 Spot
43. F2 Slip
44. F1 Shuffle
45. 1-5 Alpha Preset Zooms
46. 1 Numeric Rewind
47. 2 Numeric Fast Forward
48. 3 Numeric Record Play
49. 4 Numeric Loop Playback
50. 5 Numeric Record Loop
51. 6 Numeric Punch In
52. 7 Numeric Metronome
53. 8 Numeric 8 bars
54. 9 Numeric MIDI Merge
55. Esc Scroll Through Tools
56 ~ Scroll Through Edit Modes
57. M Nudge Left
58. < Nudge Left
59. > Nudge Right
60. ? Nudge Right
61. +,- Numeric Nudge
62. Apple U Strip Silence
63. Apple V Paste
64. Apple N New Session
65. Shift Apple N New Track
66. Give Steps In Logical Order to Set Up A Side Chain In Pro Tools (internal Processing)
Edit window shows, send views, send view shows A-E or All, go to track, buss it, create Aux track, select corresponding buss, go to insert send, select plug-ins, Raise The Fader.
67. Give steps in logical order to setup a side chain in Pro Tools (external processing)
Edit window shows, sends view, sends view show A-E or All, go to track, change to interface, go out of multi track, into processor, out of processor, back into multi track, create an Aux track, change Aux to corresponding interface, raise faders.
68. Give the steps in logical order for bouncing to disk
Select Region, check outputs of each track, file, bounce to disc, change the options, click bounce, save.
69. Give the steps in logical order for automating a plug in
On the plug in, select AUTO, Select parameters that you want to automate, add, go change automation mode to touch/latch etc, begin automating.
70. Name the three types of plug-ins found in Pro Tools.
RTAS, TDM, Audio Suite
71. Name A type of plug in you would use for side chain processing
Reverb
72. Name a typical type of plug in you would use for in line processing
Compressor
73. Name A particular plug in that can not be used in real time.
Pitch Change
74. When you delete a reagion in the play area, does that remove it off the hard drive?
NO
 
Looks useful, I haven't read the whole thing. I think I'm gonna wait till the movie comes out :D But damn, yall really break it down technically as far as definitions. Good stuff.
 
tell me about it, 20 years of mixing shoved into a semester... My final exam is today at 7pm :eek: And we have to pay attention to detail. If I wrote down that I need to create an aux track for automation in pro tools, I have to place it exactly in the signal chain on paper, even though that's one of the first steps I take to automate a plug in

oh crap I just noticed something. on #73 Name A particular plug in that can not be used in real time, I put Pitch Change, but that can be used in real time, the correct answer could be GAIN.
 
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