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85 Cards in this Set
- Front
- Back
Synthesis |
Dealing with designing sound through editing through hardware. Generated by an Oscillator. |
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Additive Synthesis |
Process of adding partials to create complex waves |
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Subtractive Synthesis |
Process of removing partials from complex waveforms |
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Patch Window |
Allows you to build sounds using modules in a fixed signal flow |
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Two types of Synthesis Modes |
Single (Main Oscillator) & Double (Main Oscillator + Mod Osc Summed) |
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Two types of waveforms |
Simple waves and Morph waves |
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Unitab |
Creates multiple voices of main oscillator |
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Parameter Menu |
Where you choose the parameter you want to modulate within selected modules or Master section |
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Channel Select |
Where we choose the parameter location |
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Phase (LFO Parameters) |
Choose where in the waveform to start oscillation |
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Pitch (LFO Parameters) |
Modulates incoming pitch values |
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Secs (LFO Parameters) |
Dictates amount of time for waveform cycle to complete |
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Depth (LFO Parameters) |
Controls depth of min-max values, or amplitude of waveform in % values |
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Invert (LFO Parameters) |
Inverts LFO waveform. Allows parameters to be offset from one another. |
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Time Code |
Positional reference used to arrange timelines, events or devices |
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How does DFTC function? |
Drops frames every 2 seconds except on the 10 minutes (0,10,20 etc). |
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How does Polyphonic function? |
Gurantees you start where the phase position you chosen on the waveform |
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What is the rule about MASTER AMPLITUDE ENVELOPE RELEASE TIME? |
Must be greater or equal to the largest release time that you want to hear |
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Breakpoints |
Target points on the envelope that represent a parameter's modulation value. |
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How many breakpoints are available? |
68 |
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What are the envelope modes? |
Release, Sustain and Loop |
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Release Mode (Envelope) |
Plays through envelope from start to finish. Ignores Sustain Marker. |
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Sustain Mode |
Plays envelope until it hits sustian/release market where it sustains until note off message. |
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Loop Mode |
Allows a section of the envelope to be looped once a certain loop point is hit |
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Time Code Modes |
Ways TC is able to produce consistent time values |
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Types of Time Code Modes |
Master and Slave |
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Master Modes are... |
Free Run, Record Run and 24 Hour Run. |
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Slave Modes are... |
EXT TC, EXT TC/Cont, EXT TC/Auto Record, EXT TC/Con-Auto Record |
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Free Run |
Runs continuously, much like a time of day clock. Start time is user defined. TV + Film use this mode. |
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Record Run |
Runs only when unit is recording. When unit stops, TC numeric value stops. SFX Recording + Documentaries. |
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24 Hr Run |
Jams to the time of day set by user. Begins immediately and continuously runs throughout day. TV+Film+Live Sound |
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OMF EDL |
Open Media Framework |
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AAF EDL |
Advanced Authorizing Formatted. |
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What is a Harmonic Partial? |
A partial is defined as a single frequency component of a complex waveform. Integer multiples of the fundamental are referred to as harmonic partials. |
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If fundamental = 100hz... |
100 Hz × 1 = 100Hz (first harmonic partial) 200Hz × 2 = 200Hz (second harmonic partial) 100Hz × 3 = 300Hz (third harmonic partial) |
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The group of all the harmonic partials is called... |
The Harmonic Series |
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The first harmonic partial is also known as... |
The Fundamental |
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Even Order Partials... |
Contains even-integer multiples of the fundamental. Tend to sound more pleasant. (If fundamental is 100hz, even order freqs are 200Hz, 400Hz, 600Hz) |
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Odd Order Partials... |
Contains odd-integer multiples of the fundamental. Sounds unpleasant. (If fundamental is 100Hz, odd order freqs are 300Hz, 500Hz 700Hz) |
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Inharmonic Partials... |
Frequencies that are not whole integer multiples of the fundamental. (If fundamental is 100Hz, Harmonic # is 1.21, Freq = 121Hz) |
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Harmonicity... |
The relative proportion of harmonic to inharmonic partials or COMBINATION of partials. |
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Test Waves... |
Have shapes or patterns which are determined by their partial content. Simplest is the SINE WAVE. |
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Square + Triangle Waves... |
Contain only odd harmonic partials |
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Sawtooth wave... |
Contains all harmonic partials at varying amplitudes. |
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A noise waveform... |
Is a signal of randomly generated frequency content. |
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Pink Noise... |
Has equal amount of energy per octave band of the audio spectrum. |
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White Noise... |
Has equal amount of energy per frequency. |
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Octave '8va' |
A doubling of frequency. Most basic musical interval. An octave higher than 250Hz is 500Hz. |
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Three Areas of Foley |
Actor's clothing, actor's footfalls, handling of objects/props |
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BG's... |
Sounds without a visual hit point. |
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FM Synthesis... |
Is a controlled distortion technique whereby the output of one oscillator distorts the harmonic content of another. |
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Carrier... |
The modulated oscillator where audio output comes from |
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Tuning Ratio... |
Determines the level of Harmonicity. The simpler the ratio, the greater the Harmonicity. |
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A C:M Ratio of 1 (Carrier) to 1(Modulator)... |
The simplest of all. Partials created will all be harmonic. |
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Modulator... |
Outputs "distort" the carrier's waveform to produce a predictable set of partials, harmonic or inharmonic. |
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Sidebands... |
As the modulator distorts the carrier frequency, SIDEBANDS are created on both sides of the carrier. |
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Must deselect this to maintain the exact location of every clip when exporting an AAF |
Enforce Media Composer Compatibility + Quantize Edits |
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Types of Grammatical |
L-Cut J-Cut Musical Grammatical |
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L-Cut |
Sound remains same but a picture occurs occurs. Done to eradicate establishing shot, accelerate narrative development. |
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J-Cut |
Picture remains the same but a sound edit occurs. Done to conclude narrative first with sound and then with picture, as well as to draw attention to an important piece of narrative information. |
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Music Grammatical |
Used to affirm to the audience that the theme is still the same even though picture is changing. |
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Purpose of Loudness Metering |
To standardize audio loudness content for consumer media. |
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Meter used to monitor Loudness? |
Waves WLM |
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Different Loudness Standards |
ITU (Global) ATSC A85 (North America) EBU R128 (Europe) TASA (Movie Trailers) ASWG SCE (Interactive Audio) |
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Which Standard does not use ITU 1770-4? |
TASA |
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ATSC A85 |
Recommends target loudness to be -24LKFS (+/- 2LU tolerance). Unit of measurement is LKFS. Maximum True Peak value shall not exceed -2dBTP. |
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EBU R128 |
Recommends target loudness to be -23LUFS. Measurement is expressed in LUFS. (+/- 0.5LU) tolerance. Maximum True Peak shall not exceed -1dbTP. |
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TASA |
Trailer Audio Standards Association. Addresses audience complaints about excessively loud trailers. Uses LEQ(M) weighting. Recommends 85dB as average loudness. Max True Peak -6dbTP. |
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ASWG SCE has two parts... |
Home Based Interactive Audio and Portable Interactive Audio. |
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Home Based Interactive Audio... |
Loudness average of -24LKFS. (+/-2LU) Tolerance. |
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Portable Interactive Audio... |
Average loudness of -18LKFS. (+/- 2LU) Tolerance. |
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Loudness Weighting |
LEQ (M) and LEQ (A) |
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LEQ (M) |
Measurement of perceived loudness overtime, designed for film trailers. Designed to deal with loud audio in the MID to HIGH freq range in cinema. Expressed as db. |
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LEQ (A) |
Designed for long term loudness measurements of dialogue content = 'dialnorm'. Unit of measurements is LKFS. Example target is -27LKFS. |
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Types of Loudness Method... |
EBU LM1 DIAL |
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EBU (Loudness Method)... |
Uses foreground audio as the anchor element to measure average loudness. Elements that fall below -10LU will be gated out. Target loudness is -23LUFS. |
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LM1... |
Measures all audio without selecting single anchor points. Recommended target is -24LKFS. |
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DIAL... |
Measure dialogue as the anchor point for average loudness, when dialogue is not detected, all audio is gated out. Target loudness is -24/-27LKFS. |
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Lo Ro |
Center is added equally to L/R, surrounds are added to respective front channels. Option of attenuating C/Ls/Rs before summed. |
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Lt Rt |
Center is added equally to L/R (-3db), surrounds are summed to mono then added to both L/R (-3db). L +90° and R -90° phase |
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LFE in the Downmix... |
Is often ignored. |
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Downmix Options |
Left total and Right total (Lt Rt), and Left Only and Right Only (Lo Ro). |
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Stereo to Surround |
During the decoding process, Pro Logic II 'steers' audio info to channels based on PHASE and RMS signals. |
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Decoding Rules for CENTER... |
Common and in-phase audio |
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Decoding rules for SURROUNDS |
Common and out of phase audio |