Our hearing threshold changes in the presence of 'distracting tones', however these 'distracting tones' will only mask nearby frequencies in the mid-range.ī. 4dBu b 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)?Ī. muted trumpet human voice c In a standardized digital system, -18 dBFS is equivalent to:Į. It was originally intended to imitate the sound produced by a _.Į. Law of the First Wavefront, Precedence, Haas f The 'wah-wah' pedal creates a distinctive effect, which is supposed to mimic a _. Law of the First Wavefront, Precedence, Delayī. The 'law' that relates the above phenomenon (with time delay on one side) is called the _, which also refers to the _ effect and the_ effect.Ī. Wet/dry mix - The blending parameter the engineer can use to balance the amount of direct signal versus the reverberant signalĮarly reflections - The first echoes that 'bounce back' in a space, indicating the size of the space. pre-delay - The gap in time between the direct sound and the onset of the reverb tailĭirect sound - The original impulse of sound that is created The first echoes that 'bounce back' in a space, indicating the size of the space. The blending parameter the engineer can use to balance the amount of direct signal versus the reverberant signal The original impulse of sound that is created The gap in time between the direct sound and the onset of the reverb tail Pre-Delay, direct sound, wet/dry mix, early reflections It allowed for _ control of _, gain, and bandwidth. Spectrum, dynamics, temporal change tambre of sound- spectrumĬhange acoustic envelope of sound- dynamicsĬhange acoustic enviorment of sound- temporalĪffect the time relationship of signals- temporalĪffects the freq/amplitude reponse pattern- spectrumĮffects dynamic range- dynamics A unique spectral processing device, called _ EQ, was proposed in an AES paper in 1972 by inventor _. Timbre-relative intensities that are key to an instruments sound matchĬontinous functioning, operates on descrete data, time domain, freq domainĪnalog, digital, analong & digital continous functioning- analogĬhange tambre of sound, change acoustic envelope of sound, change acoustic enviorment of sound, affect the time relationship of signals affects the freq/amplitude reponse pattern, affects the dynamic range Lowest frequency present in a musical tone, all other frequencies present, whole number multiples only, relative intensities that are key to an instruments sound fundemental- lowest freq present fundamental, overtones, harmonics, timbre digital, plug-ins analog, tape delay c matchġ. _ ) uses a buffer to 'hold back' a signalī. _ ) uses a physical means to 'hold back' a signal, whereas _ delay (e.g. Vintage filter- applies a modulating, resonant filterĬontinuous/tonal, implosive, continuous broadbandįeedback/hum/buzz, ticks/pops/clicks, white noise/pink noise continuos- feedback/hum/buzzĬontinuous broadband- white noise, pink noise, _ delay (e.g. Kill EQ- filters out low, mid, high broadband frequency Generates harmonics talkbox- adds a voice-like resonance Talkbox, kill EQ, vintage filter, enhancerįilters out low, mid, high broadband frequency Noise - anything that is NOT part of the intendedĭistortion- particular artifact that is correlated with the signal match Intermodulaiton distortion- energy at frequencies related to sum & difference components Particular artifact that is correlated with the signal soft clipping- 'gentle' change at maximum output, Soft clipping, intermodulation distoriton, noise distoritonĮnergy at frequencies related to sum & difference components,Īnything that is NOT part of the intended, Recepies The 'dynamic range' possible using a 24 bit digital system is: Alex Case reminds us to create _ NOT _ in order to properly adjust spectral content. Image effect, comb filter/flanging, chorus/doubling, slap/bounce echo, discrete/ping pong echoĠ-5, 0-20, 20-50, 50-150, 150-400 image effect- 0-5ĭiscrete ping pong- 150-400 In EQ- IQ, Alex Case refers to the 'VOLUME CONTROL' as a(n):į.
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