When the distance from sound source to "ear" is halfed, the sound is 4x as loud. 

When the distance from the sound source to "ear is doubled, the sound is 1/4 as loud

Converts accoustic energy into electrical voltage and vice versa

eg. Microphone or Speaker 

Front Address-front of the mic is sensitive to sound

Side Address-side of mic is sensitive to sound

Omni Directional

Figure 8

Cardioid

Hemispherical 

Utelizes two capacitor diaphram assemblies. Chraging them differently, or simmilarily will create different pollar patterns

Charge both capacitors equal, but opposite (one negative and the other positive)

*rejection on the side* 

Frequency Range

Frequency Response

Sensitivity

Overload

Purpose it to provide accurate representation of a  sonic event, provide depth and perspective of sonic elements, and capture environmental ambiance.

Coincident 

Near-coincident

Spaced 

Reduce High Z to Low Z

Reduce signal from line level to mic level

Convert unbalanced signal to balanced one

Isolate an output signal from an input signal

Allows a choice between two or more potential audio signals to be allowed to continue

or

Offers a single signal a choice of two or more potential paths

Distributes the level of audio signal between two busses

Panoramic Potentiometer 

Busses designed to accept signals from the mixer's input

Can target left or right mix buss, or target the multitrack recorder

Pan pot feeding a switch matrix. Designed to to route signal to desired sub group.

Pan pot determines an odd or even buss designation

Switch determines which pair of odd or even busses eg, 1-2,or 3-4, ect

When panning left or right, the side that is opposite to the side that is being panned too is reduced in level. By this logic, when panned center, the signal is unintentially boosed.

Pan Law is compensating for this by droping the amplitude when panned center

A drop of 3 dB in the center

percieved audio stays the same volume while being panned left, right, and center

A drop of 6 dB in the center. 

Dispayed in meter as a constant level

When bouncing to the monitor path panning but be manualy set the same.

Linear fader and rotary fader must also be manualy set the same.

Cannot utilize faders and EQ within Westar

Panning must be manualy set to match.

Linear and Rotary faders must be set equally

*Filters and EQ are now utilized*

All filters, EQ, and Panning used. May not want this in rare occasions.

*Bypass rotary fader, meaning both signals controled by linear fader.*

Half normalized-signal flows to patchpoint and continues

Terminated-interconnect outboard gear

Mults-create copies of a signal

Wild in-merge signals together

Bridge out-maintain signal flow, steal copy os signal

Break in- injects signal into path, interups signal, replaces with new one

Equalizer-device whos funtion is to midofy the frequency content of a signal.

Altering frequency to either make certian frequency ranges more or less pronounced.

Passive-components that do not require power

Active-uses components that are capeable of producing signal gain.

Pros: No power required

Cons: Components drasticlyimpedes signal

Solution? amp after EQ to boost signal back to normal

A copy of the signal is taken, and is run through various electical components, inputed into the negative of the amp, and is re-introduced in the main signal.

The negative amp flops the phase, causing cancelation in certian frequency areas on the main signal.

Shelving

Bell or Peaking curve

What are a peaking EQ's perameters?

What do they do?

Amplitude-amplify/atenuate, full sweep vs sleectable sweep

Center frequency-ful sweep, selectable sweep, fixed frequency,

Bandwidth-octaves

Bandwidth Q-narrows or broadens the amount of frequencies boosted or cut

An instrument tuned in the key of C, just tuning, would s

only sound good in C

The partials of a sustained note are out of tune with the other notes in a chord.

Partials are very quiet, so this is rarely a problem.

Threshold

Input Level Control

Ratio

Gain Reduction

Attack

Release

Hard knee, signal get compressed with a predetermined ratio. Can sound abrupt and harsh.

Soft knee, ratio is varied as level increases. Compression starts under the threshold logarythmicly, and sounds more natural

Pumping and breathing-caused by a fast attack and

short release.

Harmonic distortion-caused by a fast attack and short release. Ocurs in LF when the threshold is near the zero crossing of the waveform.

Attack Distortion- caused by a fast attack and a slow release. Compresser still in release mode when the next signal is processed.

Variable-MU

Opto-electrical

FET

VCA

Digital

First compresser ever made, uses vaccum tubes for gain control, no adjustable ratio.

Cons:limited gain reduction

Pros:Great sound

An electro-luminecent pannel or LEDs shine on a LDR (light dependant resistor) As input level increases, luminecense increases, causing an increase in gain reduction

Cons:limited perameter adjustment

Pros:Creates a natural attack and release, hard to make sound bad

Uses a transistor as gain control.

Cons:limited gain reduction, LF can cause amplitude modulation, artifacts, and waveform distortion

Pros: Very fast reaction time to transients

Cons: Low quality can colour audio path

Pros:Extremely fast transient response, extreme gain reduction abilities 

Digital compressers alter the wordlength of converted audio.

Cons:processing can cause latency

Pros:"look ahead" circutry allows instant responses, visual display, store settings for recall, plug-ins are easily upgraded

Downward expanders (most common)

Upward expanders (less common)

Noise gates

Single ended, non complimentary process-compresser, gate

Double ended, complimentary process-encode/decode process, compression then expansion

Full compansion system with a fixed 2:1 compression ratio followed by a 1:2 expansion ratio. Threshold permanently set to to 0dB

Works fine when music spans the full frequency spectrum, but noise becomes aparent when there is a solo, and can be heard changing with the dynamics of the solo instrument

Divides entire frequency range into 4 fixed frequency bands, each band is adjusted with dynamic range compression. Boosts the gain of low level audio when recording by as much as 10dB (encode) Corespondingly, reduces the level by the same amount when playing back (decode). Tape hiss is reduced. Occurs in various degrees in the 4 frequency bands.

Used by Dolby

Acoustical chamber

Spring

Plate

Digital

Interaural time differences

Head shadow 

Pnna response

Shoulder Echo

Head motion

Early echo response

Reverberation

Vision

Delay-shortest delay value in sweep, highest frequency in comb filter

Depth-delay variance from shortest to longest, depth of sweep

Rate-how often a full sweep is repeated

Feedback-degree of output, reintroduced at input