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| _______ originated in Italy in the late 1500s, combines music and drama, and is the beginning of music in film. |
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| This man wrote the play Dafne, considered to be the first opera ever and tells the story of Apollo falling in love. |
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| This man is perhaps the most famous purveyor of early opera, some of his famous works include L'Arianna, L'Orfeo, and Scherzi Musicali. |
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| This 1927 play was the first American "musical-play," meaning the music and story were written to work organically together. |
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| Piano accompaniment in silent films were used for what? |
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| provide a background to the film and used to mask to sound of the loud projector in the theaters |
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| This man was the composer of Potemkin. |
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| This person is in charge of contracts and paychecks, works directly for production company, and has NO control over the style or placement of the music. |
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| This person is in charge of negotiating with record labels for the music that will be used in the film, in charge of selecting tracks for retail soundtrack, and works directly for the production company. |
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| This person writes the original score for the film. |
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| The original score of a film must consist of _______ and _________. |
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| In The Life Aquatic documentary, this man used to sing in the band Devo and used classical reference. |
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This person is part of the composer's team and arranges and composes music for the proper instrumentation. |
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| this person generates parts for individual members of the orchestra, is aware of musical preparation conventions, and prepares orchestra breakdown. |
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| this is digidesign owned music notation software. |
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| this person can be the composer, the orchestrator, or be professionally hired specifically for the job. |
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| these people are professionally hired and are good sight readers. |
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| this person acts as a liaison between the director, composer, and mixer, creates the temp score, assigns cue numbers to all musical cues, and must be familiar with scores/soundtracks and with a broad variety of music. |
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| this type of music in a movie is pre-existing music licensed for use in the production. |
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| this type of music for a film is specifically written to correspond with scenes in the film. |
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| this music for film is "in" the scene, can be heard by the characters and can be source or score. |
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| this is created by the music editor out of pre-existing music, cut to film temporarily, and used to communicate the style in which the score will eventually be written. |
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| this is the mix of the film that is used to show test audiences. |
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| this must follow specifications laid out by whomever they are going to, and is usually created by interns or digital assistants |
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| this is the term for a melodic phrase or passage in the music of the film that accompanies the re-occurance of a theme, character action or situation. |
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| this is documentation that has the final timings of music, used to determine who and how much is paid to the "music people," it is done after the printmaster is finished and it is given to the production company. |
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| this is the use of a specific performance of a song by a specific artist |
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| this involves use of just the song, not the performance |
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| this is the blending of edited sound elements into one continous soundtrack |
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| this person is the head of the re-recording stage, takes direction from the director, and may help mix foley |
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Definition
| dialogue re-recording mixer |
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| this person mixes backgrounds, SFX, and foley. |
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| this person is in charge of routing and patching, documentation, and will often get his chance to move up by mixing the M&E or the television mix |
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Term
| dub stage consoles are usually ___ of the way back from the screen, can be __ - __ feet in length, and can range anywhere from ___ to ___ inputs. |
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| this is outboard processing and patch bays, and the only place you will find audio on a digital stage. |
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Calibration: LCR speakers pinked at __dB SPL C-weighted Ls-Rs are pinked at __dB SPL The sub is pinked at __dB C-weighted |
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Definition
LCR = 85dB LsRs = 82dB Sub = 95dB |
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Term
| this is from blending source elements from editorial, and creating more manageable sub mixes |
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these type of sounds share a common genre. |
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Definition
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| this is having common frequencies |
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| in this stage of the predub, the production is recorded to a limited number of tracks on the MTR, it is split based on perspective, and routed to the center channel for monitoring. |
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| this can be recorded up to 8 tracks on MTR, split based on character, and is routed to the center channel for monitoring |
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| this is recorded to 5 tracks on MTR, consists of walla, and routed to LCR-LsRs channels for monitoring |
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| this is often used to get a reference for ADR |
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Definition
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| this is used as a back up just in case when dialogue is panned and bounces around based upon perspective. |
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| these sound elements are recorded to one channel on MTR, routed to the center channel for monitoring, and processed to match production. |
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Definition
| foley cloth, footsteps, and props. |
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Term
this sound element offers the most flexibility, and can be recorded to 4 tracks on MTR, routed to center channel for monitoring. the same element can be recorded as 5.0 mix and can be routed to LCR-LsRs for monitoring. |
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Definition
Quad Backgrounds 5 channel backgrounds |
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Term
these are SFX designed for the front of the theater, recorded to 3 channels on MTR, and routed to LCR for montioring |
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Definition
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Term
| these sfx are designed to take advantage of sub and/or surrounds, recorded to 6 channels on MTR, and are routed to LCR-LsRs-LFE for monitoring. |
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Term
true or false: a static cue is a cue that does not change. |
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this type of cue involves movement of the listener's body |
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Definition
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| this type of static cue is the delay between sounds arriving at the left and right ears, listeners can perceive a 1 degree difference, and it is most effective between 270Hz and 500Hz |
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Definition
| Interaural Time Difference (ITD) |
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Term
| this type of static cue is the difference of intensity of a sound reaching the left and right ear, its frequencies are predominant above 1400Hz |
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Definition
| Interaural Intensity Difference (IID) |
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Term
| this type of static cue is the effect of the external ear on a sound. |
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| this static cue is the reflections of sound off of the shoulders into the ear, 1kHz - 3kHz are most clearly reflected |
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| Name the dyamic cues and explain each, there are 4 of them. |
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Definition
head movement = turning to localize source vision = look to confirm what you hear early echo = reflections within the first 50 - 100ms reverberation = the natural decay of sound in a space |
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Term
| this is the measure of sound pressure vs. frequency for which a listener perceives a constant loudness |
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Definition
| fletcher munson equal loudness curve |
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Term
| these octaves are considered to be the base range, they convey strength and power. |
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Definition
octaves 1 - 4 1 - 2 are the power, boom, and fullness 3 - 4 are the foundation and give sounds bottom |
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Term
| this set of octaves are said to give sound intensity, they are most of the frequencies of the human voice, they are fundamental and lower harmonics of most sounds |
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Definition
octaves 5 - 7 5 = known for fullness, roundness, and body 6 = hornlike 7 = adds definition, can be annoying |
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Term
| this octave is the upper mids. lower half improves speech intelligibility. upper adds definition, realism, and clarity |
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Definition
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Term
| these octaves are the treble frequencies. |
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Term
| this allows the listener to "tune in" to what one speaker is saying despite the chatter of others around |
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Definition
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Term
| this is when the ear shifts the combined response of the unwanted signal in two ears and partially cancels it out. |
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Definition
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Term
| this is the effect in which we hear a sound coming from the direction from which it first reaches us. |
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Definition
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Term
| this is the crowding of wave fronts around a sound source. |
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Definition
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| this is a six channel controlled transfer mix of the film, it is routing all the stems through the console with the faders set to untiy. |
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Term
| this game phase is the beginning and in this phase the game is playable with temporary graphics and prototype sounds are provided. |
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| in this game phase the game is fully playable, it is the most busy point, filled with sounds, still buggy, still designing, etc. |
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| this is the busiest time for programmers, fully playable with all aspects and elements in place. at this point you are attending meetings and playing the game a lot. |
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| this is the double checking/final approval phase, the game is finished and going through final checks for release |
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