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| Where air moves in wavelike fashion, carrying sounds to the membranes in your ears. |
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| The up and down wave form depicting a sound. One up and one down equals a full wave |
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| How many times the sound cycles; the more _____ the higher the pitch (not volume). |
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| Audio files from the program (computer) |
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| End product (consumer/commercial/compressed) files |
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| Button or mic right to the track |
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| Wire that carries more than 1 signal a ta time to the track |
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| Feeds thespeaker from all the inputs/tracks that mix to form the final product. |
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| Effects, i.e. echo, reverb, etc. |
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| Special effects, compressors, equalizers, gates |
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| Breakout boxes with input/output (I/O) |
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| Keep mics 3 time saway from each other so there is zero phase cancellation |
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| Where one mic is hearing hte other, cancelling out the noise complete (white space) |
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| Double the distance from something and the volume gets cut in half. |
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| Accoustical reflection; where the sounds hits the ear, then the wall, then the sound from the wall hits the ear. |
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| When the volume goes down, thelow frequency becomes less apparent; when it goes up thelow frequency is more apparent. |
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| When it goes louder and the low frequence can start to sound flat. |
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| Hard to tell where the low frequency (wave length) comes from. |
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| Where musical instruments or voices are too similar and there is not enough harmonic contract to separate one from another. |
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| Where the sound is captured and recorded and comes out the same as the original sound. |
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| A magnet with a holder with a wafer of foil and the ribbon vibrates. |
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| Coil of wire surrounded by magnetic can and the coil vibrates. |
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| Plates and electronis, battery, resistor and cord (more expensive; used in studios) |
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| When themic hears itself. |
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| Comes with a new mic to show legend of Hz, etc. for setup. |
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| Line graph showing loudness and frequencies. |
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| Giving the mic a bigger base effect by bringing it closer to the mouth. |
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| Screens, filters, etc. for when the sound is too loud for the speakers. |
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| Draws a comparative relationship; cassette tapes, vinyl records. |
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| Random energy (the white noise you hear on a tape or record in between sounds or tracks). |
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| Binary Os & 1s, bits & bytes (one byte is 8 bits). |
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| Each sample is given a number so it's quantified and the computer recognizes it and associates it with a sound. |
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| Need to take 2 x times as many samples as you have cycles/second to get an accurate sample. |
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| professional sampling frequency for video |
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| sampling rate for end product audio |
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| gives you more possible volumes; the dynamics is different between loud & quiet |
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| When there are more than 1 audio track, you can rearrange them automatically when you drag them. |
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| Can slide audio in the window to the L or R |
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| When you know what time frame you want and can just type in the number and go to it. |
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| Shows the track on grid lines and allows you to place sound files at predetermined units of time depending on how the counter is set. |
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| Goes by the number of minutes and seconds in the file. |
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| h:m:s:frame -- used to synchronise with video machines, etc. |
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| Use for celluloid film not video |
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| Align the sample to an audio file. |
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| When the plugins are too many and it bogs down the processor and it comes back late. |
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| The amount of computer space set aside for the processing; the bigger the buffer the worse the latency. |
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| Takes a range of high frequencies and turns it up or down. |
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| Starts out low then goes loud or vice versa this is the dynamic range |
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| Time based special effect meant to simulate an effect of a particular space, i.e. room with echo, etc. |
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| How many surfaces there are to reflect sound; i.e. a cube has low diffusion; a room with lots of stuff in it has high diffusion. |
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| How long does the reverb hang around. |
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| The time between the original sound and when the reverb comes back. |
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| Musical Instrument Digital Interface |
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