Audio Engineering 101
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1. Pitch/Frequency the note that is being played
2. Hertz (Hz-Khz) how long something is vibrating as is the unit of measure-
ment for frequency
3. Volume/Ampli- how loud sound is
tude
4. Sound Pressure how loud something is
Level (SPL)
5. Decibel the unit of measurement used to measure sound.
6. Wave Length the distance a sound wave takes up in one cycle
7. Velocity speed of 1135ft/sec
sound
8. Phase time relationship between two or more sound waves
9. Harmonics and descirbes the frequency characteristics of a sound
Harmonic Con-
tent
10. Envelope ADSR Describes the volume character of a sound
Attack Decay Sustain Release
11. Wave form Picture of a sound wave
12. Flat Frequency accurate and unmanipulated
responses
13. The Human Be- 20 Hz to 20,000 HZ
ing Frequency
Response Range
14. Dynamic and Dy- how loud something is how soft something is. threshold of
namic range pain is around 150 db.
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15. Dynamic Volume ranges
16. Fletcher Munson describes human hearing response
Curve human hearing gets more accurate at louder levels.
range: 1Khz- 6Khz
17. Hass Effect Two sounds making a similar sound less than 20 millisec-
onds apart the brain perceives them as one sound
18. isolation protecting sound from escaping or invading recording
space
Ex( floating floors, double walls, hung ceilings)
19. Transmission how effective the recording room is at isolation
Loss
20. Standing wave resonant frequency of the room
21. room modes Harmonics
22. Absortion capture the energy of the sound
23. Reflection the repel or reflect the energy of a sound
24. Diffusion Scatters sound in multiple directions
25. Flutter Echo self propagating echo due to parallel surfaces
26. Diffuser Sound scattering device
27. Absortion coeffi- Measure of how absorbing sound is
cient
28. Bass traps, Pan- devices that can absorb low frequencies
el Absorbers,
Helmholtz res-
onators
29. Direct sound Sound from a direct source
30. Reverberation Several echoes clustered together
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31. Early Reflectors Sound reflected off of the wall
32. reverb time How long the reverb lasts or time it takes to die away.
33. Microphone Sound converted to electricity
34. Transducer Devices changes one form of energy into another
35. Dynamic Mics Moving coil, Ribbon
36. Condensor mics Large diaphragm, small diaphragm
37. moving coil durable mic that contains a coil surrounded by magnets
as its diaphragm. as acoustic pressure hits the diaphragm
the coil moves channeling vibration into electricity
38. Ribbon Mics delicate mic that diaphragm contains a thin piece of metal-
lic ribbon to vibrate
39. Condenser mics require phantom power
40. Transient Re- sound that is there for one moment and then taken out the
sponse next
Ex(Drums)
41. high frequency sustained notes
response
42. Proximity effect Bass Frequencies get boosted the closer you get towards
the mic
43. pop filter mic filter that prevents pop sounds for vocals on conso-
nance
44. Shock Mount reduces vibrations from the mic stand
45. sensitivity rating how sensitive the mic is to have given sound
46. overloads distortion due to the levels being to loud
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47. pads switch on a microphone that turns down the internal vol-
ume of the mic
48. Analog Storing sound energy via magnetism
49. Digital Storing sound energy by gathering information
50. Sampling Voltage reading of sound
51. Nyquist Frequen- The sample rate needs to be two times the highest record-
cy ed frequency
52. anti aliasing filtering off of high frequencies about the highest recorded
frequency before sampling occurs
53. bit Depth affects the signal-to-noise ratio of a digital recording
(16bit- standard for cd)
54. dithering a small amount of analogue white noise is added to a dig-
ital signal in order to mask the edges of a digital waveform
55. Wordclock a sample accurate clock used to keep multiple digital audio
device sampling at the same time.
56. PCM pulse code modulation. this is the coding system common-
ly used to encode a digital signal to tape
57. DSD Direct stream Digital
58. Digital audio dis- A real time bit stream used to transfer a digital audio signal
tribution from one device to another
59. AES/EBU Audio Engineering society/ European Broadcast Union
2-channel stereo interleaved format. uses XLR or a mul-
ti-pin connector for multi-channels
60. S/PDIF Sony/ Phillips Digital Interface Format
2- channel stereo uses RCA connector or optical cable.
61. ADAT Optical
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lightpipe 8 channel format that provides 44.1 k and 48K
sampling only on one fiber optic cable
62. TDIF Tascam Digital Interface Format. 8 channel system similar
to the ADAT
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