AUdIoCoUrSeS
Joined: 31 Oct 2002
Posts: 2014
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| Week 9 |
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This is the biggest it gets and it's easier after this one, let me know if u need help.
Good luck
1. Describe the following equipment used by a DJ: Cartridge and stylus, Pickup arm, Turntables, Mixer.
2. Why cannot the output of the cartridge be connected directly to a mixing console?
3. Why is it convenient to DI a synthesizer?
4. Comment on the stereo output of many synthesizers?
5. Why might it be desirable to amplify and mic up a synthesizer, as you would an electric guitar?
6. Comment on the use of loops in recording.
7. Comment on tape loops.
8. Comment on looping using a sampler and sequencer.
9. Why is the sample looped using the sequencer in preference to looping it in the sampler?
10. Comment on the significance of synchronizing the sequencer to multitrack tape.
11. Comment on the suitability of audio sequencers for sample looping.
12. What is timecode?
13. Comment on LTC, VITC and MTC.
14. Comment on MIDI Clock.
15. Why is it desirable to synchronize two MIDI units via MIDI Clock?
16. How does MTC correspond to MIDI Clocks and Song Position Pointers?
17. Why is it desirable to synchronize a sequencer to multitrack tape?
18. Comment on the two stages of building up a recording on multitrack tape with the aid of a sequencer.
19. What is an audio sequencer?
20. Is an audio sequencer suitable as a replacement for a multitrack tape recorder (analog or digital)?
21. Comment on the suitability of an audio sequencer for sample and loop editing?
22. Why is it not straightforward to synchronize an audio sequencer to multitrack tape?
23. What parameters of effects can often be controlled via MIDI?
24. Why would you want to control effects parameters by MIDI?
25. Does MTC come in all the frame rates of SMPTE/EBU timecode?
26. Does MTC contain an address?
27. Does MTC contain a clock?
28. Is MTC useful for synchronizing a MIDI sequencer?
29. Is MTC useful for synchronizing digital audio?
30. Is MTC useful for synchronizing analogue audio?
31. Comment on the difference between standalone hard disk recorders and computer based hard disk recorders.
32. Why is it a problem to use hard disks for long term storage?
33. Onto what media does backup/archival storage take place?
34. What are the advantages of standalone hard disk recorders (compared to tape) for editing?
35. What are the advantages and disadvantages of computer based hard disk recorders compared to standalone hard disk recorders?
36. Comment on the use of Pro Tools as an accessory to multitrack tape.
37. List the common digital multitrack tape formats and describe their characteristics.
38. What is 'formatting'?
39. What are the advantages and disadvantages of digital multitrack compared to analogue multitrack?
40. Compare the maintenance and cleaning of an analogue recorder to that of a digital recorder?
41. Who carries out routine maintenance?
42. Describe how the heads and guides of an analogue machine are cleaned. Mention the materials used.
43. Describe how the pinch roller of an analogue machine is cleaned. Mention the materials used.
44. What are the effects of neglecting cleaning?
45. Why must an analogue machine be periodically demagnetised?
46. What happens if a machine is never demagnetised?
47. What might happen if the demagnetised is operated incorrectly?
48. Why do analogue tape recorders need to be lined up?
49. Do digital recorders ever need to be lined up?
50. Comment on the three elements of line up.
51. Explain the need for monitoring in sync.
52. Why is the sync signal inferior to the playback signal?
53. Why does this matter in track bouncing?
54. Is it possible to edit 2" analogue tape?
55. Is it possible to synchronise two 24-track recorders?
56. Why is it often considered better to use an integrated disk recording system rather than one that uses a personal computer as the user interface?
57. Comment on the presentation of some disk recorders as replacements for tape multitrack recorders.
58. If a tape recorder has 24 inputs and 24 outputs, how many tracks will it have?
59. How many inputs and outputs would a disk recorder need if it was to be a replacement for a 24-track tape recorder?
60. If a disk recording system had two inputs, two outputs, and was capable of twenty-four tracks, what would be its main limitations?
61. What information is stored in the session file?
62. Are session files usually transportable between different systems?
63. Comment briefly on the suitability of SCSI, ATA and Firewire disks for audio recording.
64. What is 'fragmentation'?
65. Comment on archiving to CD-ROM.
66. What are 'virtual tracks'?
67. What is meant by 'edit density'? What are the implications of high edit density?
68. Does the editing and trimming of regions delete audio data from the disk?
69. In editing, what is the difference between 'slip' and 'grid' modes?
70. When might it not be possible to create a crossfade?
71. What is 'bouncing', in the context of mixing?
72. What is meant by 'latency'? What is the difference between DSP processing and host-based processing?
_________________
It's all in the ears. - Learn the concepts not the software.
Audio Courses is a way into the music business for you
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Mon May 01, 2006 10:42 am |
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electrosushi
Tape Op
Joined: 31 Oct 2006
Posts: 21
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1. Describe the following equipment used by a DJ: Cartridge and stylus, Pickup arm, Turntables, Mixer.
The cartridge is the holder of the stylus, it is attached to the headshell of he turntable, while the stylus itself represents the reading mechanism of the turntable itself. The pickup arm, also called tone arm is the device which suspends the the cartridge and the stylus, the job of balancing is left to the counterweight positioned at the side opposite to the stylus; this set of devices is found on a turntable, a device which has a rotating plate on which the record has to be set and it will be then read by the stylus, going through its groove. in a DJ set up, the 2 outputs of the turntable are routed to a 2 or 3 channels mixer which will be used by the DJ to create fades between the 2 turntables.
2. Why cannot the output of the cartridge be connected directly to a mixing console?
A source like a turntable has an output different than a CD player, it needs a preamplifier in order to be heard on any mixing console, for this reason a pre-amplifier is needed.
3. Why is it convenient to DI a synthesizer?
A synthesizer can have balanced or unbalanced output, in order to be sent to a the mixer, a DI box would turn its signal into a balanced signal which would result in a better sound quality. Also, if the synthesizer has 1 output, the DI splits this signal in 2 channels.
4. Comment on the stereo output of many synthesizers?
Some synthesizers have a stereo output, it comes useful to have a stereo output for some effects of panning, in this way the stereo capabilities of the synth would route the signal through 2 separate channels.
5. Why might it be desirable to amplify and mic up a synthesizer, as you would an electric guitar?
The sound of a synth coming out of an amplifier is sometimes warmer and may become useful in order to blend it in the sound with more results.
6. Comment on the use of loops in recording.
A loop is a part of track which is isolated, it normally corresponds to 1 instrument, this can be used in series, the advantage is that it will never go out of tempo.
It can be useful in circumstances when, for example, the drum part needs to be longer very common in techno music.
7. Comment on tape loops.
They are loops of magnetic tape, their use was difficult in live performances, Brian Eno and Robert Fripp designed a device capable of using tape loops in live performances, but its cost and reliability put some limit to the system.
8. Comment on looping using a sampler and sequencer.
A sampler is capable of assigning to different keys different sounds, with the help of a sequencer the artist can create sequenced patterns and have the control over their order.
The Mellotron was an early example of sampler, in fact each key corresponded to a tape which once triggered would have played the sound recorded in the tape, some tapes the Mellotron could use had "tape loops" of songs or instrument, the artist can control these from the keyboard of the Mellotron.
9. Why is the sample looped using the sequencer in preference to looping it in the sampler?
The sequencer is able to control a set of loops over their length, rhythm and level, this allows to create several patterns using a set. The sampler is relies more on its keyboard and its capabilities of reproducing the sound in different tones.
10. Comment on the significance of synchronizing the sequencer to multitrack tape.
Synchronizing the sequencer with the multi track is useful to be able to work on several different tracks, in case the sequencer will be used to create other tracks, the synchronization would make sure that all the steps have an order.
11. Comment on the suitability of audio sequencers for sample looping.
An audio sequencer is capable of store a all library of loops, in live performances especially, this assures that the performer can choose all the desired loops and sequence them, it also possible to create patterns of loops.
12. What is timecode?
Each audio/video event we are presented with has a time code, it is a set interval counter which frequency is snadard it is normally referred to SMTPE time code. SMTPE time code is not the only one, but it is the one used the most in industry. Hours:Minutes:Seconds:Frames
13. Comment on LTC, VITC and MTC.
These are time codes specific for: audio (Longitudinal or linear time code), video (Vertical Interval time code) and MIDI (MIDI time code). LTC encodes SMPTE time code data as a Manchester-Biphase encoded audio signal, while VITC is a form of SMPTE time code embedded as a pair of black-and-white bars in a video signal. MTC embeds the same timing information as standard SMPTE time code as a series of small 'quarter-frame' MIDI messages.
14. Comment on MIDI Clock.
Sequencers, sampler, audio cards and many other components of a studio all have a MIDI clock, if linked together it is necessary to establish which is the master device and which the slaves. A MIDI timing reference signal used to synchronize pieces of equipment together. MIDI clock runs at a rate of 24 ppqn (pulses per quarter note). This means that the actual speed of the MIDI clock varies with the tempo of the clock generator (as contrasted with time code, which runs at a constant rate). Also note that MIDI clock does not carry any location information - the receiving device does not know what measure or beat it should be playing at any given time, just how fast it should be going.
15. Why is it desirable to synchronize two MIDI units via MIDI Clock?
By synchronizing them, the 2 devices will set each other on the same tempo, it is important to avoid placing datas in 2 different formats which would then result into losses of audio.
16. How does MTC correspond to MIDI Clocks and Song Position Pointers?
MTC distributes SMPTE data to devices which format is compatible only with MIDI. Assuming that in every setup there is 1 master device and the others are slaves, at some intervals the MIDI clock of the master device sends updates to the slaves in order to keep them synchronized, the song position pointers can also be synchronized in the same way.
17. Why is it desirable to synchronize a sequencer to multitrack tape?
The multitrack should always be set as Master, as the multitrack tape is a mechanical device it is subject to variations of speed, for this reason it can be considered as the most unreliable to keep track of time code, therefore in case there is any change of speed, all the slaves will know it and regulate to that.
18. Comment on the two stages of building up a recording on multitrack tape with the aid of a sequencer.
Both of these devices work strictly with time code, the sequencer will be first set up, entered with the tempo and pattern settings, and then connected to the to the multitrack tape, which will then slave the sequencer.
19. What is an audio sequencer?
It is a software capable of running several tracks, using normal audio tracks, MIDI tracks and software instrument tracks. It can edit the data and record multiple tracks.
20. Is an audio sequencer suitable as a replacement for a multitrack tape recorder (analog or digital)?
It would be the virtual twin of a multitrack tape offering its pros and cons. Nowadays, the all industry tends to use most of the resources via the computers, but there are always possibility to process your sound on tapes. A computer used in a studio would be equipped with features making it resembling the closest possible to an multitrack tape recorder, just more advanced.
21. Comment on the suitability of an audio sequencer for sample and loop editing?
This is where the computer comes in very handy, loop editing is made a lot less complicate, in its process rather than accomplishing the same operation with a tape recorder. The software makes possible to create and process a loop with a very high level of quality and with an easy process by the user. In a similar way also the samples are simplified in their use, any software sampler relies on the capabilities of the computer, the editing possibility of each sample are enhanced by the use of a computer workstation.
22. Why is it not straightforward to synchronize an audio sequencer to multitrack tape?
They both use a time code, but it isn't the same for both: the sequencer uses MTC while the multitrack uses LTC. If this is the case, a sync unit is needed to make the 2 device talk to each other and regulate their timing.
23. What parameters of effects can often be controlled via MIDI?
In the scenario of an audio sequencer a MIDI interface would be able to connect with virtually any parameter which can take advantage of automation.
24. Why would you want to control effects parameters by MIDI?
One of the disadvantages of working with software is that the keyboard and mouse are the main tool to be used for parameter adjustments, this can be limiting if for example an effect needs controlled with a knob. A MIDI device, in audio sequencer which supports automation, can be used to control that parameter.
25. Does MTC come in all the frame rates of SMPTE/EBU timecode?
No, even if their time code is similar, in case there is a MTC device which needs to be synchronized with a SMPTE device, it is necessary a sync unit to avoid jitter
26. Does MTC contain an address?
MTC is a digital conversion of SMPTE, therefore it contains an address
27. Does MTC contain a clock?
No, like SMPTE, MTC is independent of tempo.
28. Is MTC useful for synchronizing a MIDI sequencer?
Yes, MTC makes possible to synchronize MIDI with SMPTE, therefore the MIDI Sequencer can be set as slave of the other device which synced to.
29. Is MTC useful for synchronizing digital audio?
Yes, digital audio devices which have a MIDI port can be synchronized with SMPTE allowing MTC to be update during playback.
30. Is MTC useful for synchronizing analogue audio?
Analogue audio does not have any possibility to read the digital message of MTC, but as the analogue audio reads SMPTE, it is possible to synchronized them both providing that MTC is set to slave.
31. Comment on the difference between standalone hard disk recorders and computer based hard disk recorders.
A computer hard disk may not be the best solution for audio recording as its speed and its use within the all computer system may create some defrgmentation of the musical files, a stand alone hard disk may be used for the specific intent of storing music files and it can be attached to different devices making possible the transportation of the files less stressful.
32. Why is it a problem to use hard disks for long term storage?
Although HDs are good working devices, there is a limitation given by the life time of each HD, in fact any HD in the market has a life expectancy of few years because they use a very high operative speed (for music purposes they work 7200 rpm), so once decided to store a project in to a HD, it is recommended to back it up as well on CD or DVD.
33. Onto what media does backup/archival storage take place?
Nowadays the most used format is CD or DVD, it seems like the one who can hold data for longer without loosing quality, this replaced the storing of information onto tape which demonstrated to deteriorate the sound quality with the time passing by.
34. What are the advantages of standalone hard disk recorders (compared to tape) for editing?
Mainly their advantage is the speed of accessing the data, of course the possibility of moving the files across the audio sequencer is another advantage. Also comparing the size of the 2 devices, the HD occupies much less space, about the space of a rack module or 2.
35. What are the advantages and disadvantages of computer based hard disk recorders compared to standalone hard disk recorders?
A computer HD would be mounted typically inside a computer, the transportation of this may be difficult if the computer is desktop sitting in a studio, while a standalone HD would typically be USB or FireWire, this second type allows the daisy chin of several FW HD or devices. Of course the portability is their strong factor.
36. Comment on the use of Pro Tools as an accessory to multitrack tape.
Pro Tools can be used with a multitrack tape in a way that it would be possible to play back the tape and directly transfer it to Pro Tools, being the tape the master in the synchronization of the 2 devices.
37. List the common digital multitrack tape formats and describe their characteristics.
DAT digital audio tape introduced by Sony, ADAT a S-VHS introduced by Alesis within the music industry, DASH digital audio stationary head, introduced by Teac.
38. What is 'formatting'?
Formatting a disk means to create a structure within the disc which will allow the system to store the information in the most convenient way.
39. What are the advantages and disadvantages of digital multitrack compared to analogue multitrack?
Digital multi tracking needs processing power, the more it is available, more the system will work flawlessly, while analogue multitrack has a fixed speed and limit given by its physical features. The digital mixer does not suffer of cross talk as an analogue tape would and finally analog tape has suits better music recordings giving a tone which cannot b easily achieved with a digital setup.
40. Compare the maintenance and cleaning of an analogue recorder to that of a digital recorder?
An analogue recorder needs definitely a great deal of care, it is necessary to keep heads clean to avoid unwanted sounds within the recordings and sometimes this cleanings can be done only be authorized personnel, but a digital system needs care too, it is important to constantly make sure that all the components are in good working order and that the software works problem free.
41. Who carries out routine maintenance?
Normally should be the sound engineer who knows how these system works who should take care of the routine maintenance, sometimes it is necessary to consult authorized people to perform some checks.
42. Describe how the heads and guides of an analogue machine are cleaned. Mention the materials used.
Heads should be cleaned regularly using isopropyl alcohol and a cotton bud or freon spray, the heads should also be kept regularly demagnetized to avoid bubbling sounds during the recordings.
43. Describe how the pinch roller of an analogue machine is cleaned. Mention the materials used.
A pinch roller has the the outer surface made of gum as it needs to transport the tape, it is important not drop any alcohol on the rubber side otherwise this will dry it up making it loosing its grip, so in order to clean them manufacturer recommend to use rubber cleaner on a cotton swab.
44. What are the effects of neglecting cleaning?
In an analogue tape, the hiss would be higher if the unit is not clean regularly, it is typical for these devices to produce damages to the tape and losses of sound quality.
45. Why must an analogue machine be periodically demagnetised?
Their working mechanism tends to magnetize the head of the device which would constantly loose sound quality, and create a bubbling effect when the head comes in contact with the tape.
46. What happens if a machine is never demagnetised?
It could be capable of erasing tapes while playing them.
47. What might happen if the demagnetised is operated incorrectly?
It has vital importance the distance from which the demagnetizer should operate, if used too close to the tape recorder this can create a scompensation in the magnetic fields and magnetize even more the device.
48. Why do analogue tape recorders need to be lined up?
With their use the tape may deform the paths of the machine, in order to have always the best sound quality it is important to keep them aligned regularly using test tape.
49. Do digital recorders ever need to be lined up?
The assistance that can be given to digital recorders requires a specialized technician.
50. Comment on the three elements of line up.
After having used the test tape and the machine is aligned it is necessary to check that the azimuth is correctly orientated toward the tape, that the bias level is playing back the same frequency as the test tone and finally check the record level on the 1KHz tone.
51. Explain the need for monitoring in sync.
It is a crucial point in a scenario of overdubbing, without them being synchronized, the punch-ins won't be placed in the exact position where the operator intended to put them and also when providing fold-back to the performers, monitor out sync would result in a mess up recording.
52. Why is the sync signal inferior to the playback signal?
In a tape recorder, the recording head has an output of higher volume rather than the playback head, nevertheless the quality is not compromised.
53. Why does this matter in track bouncing?
When bouncing several tracks, these all have to be synchronized or the result would not be suitable.
54. Is it possible to edit 2" analogue tape?
Back in the days, the technique adopted consisted of manually cutting the tape and join it together with the desired parts, normally the cuts were done just after a loud noise to "mask" any mistake, which however was kept to minimum.
55. Is it possible to synchronise two 24-track recorders?
The problem with this tape of operation is that the 2 recorders are both analog mechanical devices which are normally used as masters due to their mechanical characteristics. I believe that with the use of a SMPTE sync box there is a possibility to to sync them.
56. Why is it often considered better to use an integrated disk recording system rather than one that uses a personal computer as the user interface?
The computer file system structure may be source of troubles, a computer's internal HD contains files used by the computer to run, in case the HD does not have a lot of free space and all the data is spread along the surface of the disks, adding recorded audio can cause fragmentation of the files. an integrated disk recording system has its structure ready to accommodate music data and a speed sufficient to avoid latency or freezes.
57. Comment on the presentation of some disk recorders as replacements for tape multitrack recorders.
Nowadays the industry is migrating towards the use of disk based medias, there are even companies who can transport old tape onto digital medias (CD-ROM-DVDs...). This is all part of the "digitalization" going on, however, when purchasing a HD for music it is important to look for properly built equipment which will better perform.
58. If a tape recorder has 24 inputs and 24 outputs, how many tracks will it have?
24 tracks
59. How many inputs and outputs would a disk recorder need if it was to be a replacement for a 24-track tape recorder?
It would be necessary to look for a 24 tracks HD, makers like Alesis offer models with such features.
60. If a disk recording system had two inputs, two outputs, and was capable of twenty-four tracks, what would be its main limitations?
The limitation would be that only 2 tracks at the time can be recorded simultaneously, the out put will have to set to the 2 main out puts in order to monitor all the recorded tracks.
61. What information is stored in the session file?
Session files carry the audio recordings made during a recording session and information regarding the settings of the DAW in regards to that session (software instruments settings and information).
62. Are session files usually transportable between different systems?
Hardly, each DAW creates a session file with all the information related to that particular DAW, unless a maker specifies that the same data can be used in different workstations, the session file itself cannot be carried to another system.
63. Comment briefly on the suitability of SCSI, ATA and Firewire disks for audio recording.
With the introduction of computers in the studios, the use of archiving the music on disks begun, the first types of disks used were SCSI, they could be attached to computer systems and can also be daisy-chained in order to transport the information to more disks depending by the disk setup (mirror or raid).
ATA disks are common integrated computer disks which were not intended for music recording, however, they are largely used by computer based musicians as they are cheap and their reliability is higher and higher. FireWire disks are adopted in case of portable HDs, they have a quick transfer rate and occupy a very small amount of space, as well it is possible to daisy-chained them.
64. What is 'fragmentation'?
In a HD where all the information is spread all over its surface, and the amount of space is limited, large music data can eventually be disseminated in different parts of the disc, this can lead to problem for the hard disc in retrieving all the information quickly leading to audio freezes, this event is known as fragmentation.
65. Comment on archiving to CD-ROM.
Archiving on CD-ROM is becoming more and more popular, they can hold an amount of space big enough to host an entire session and more, their reliability within the years is known makes them a good way to archive the information.
66. What are 'virtual tracks'?
In a DAW, it is possible to use virtual track on which plug-ins of the "VST and Audio Unit" family, these software instruments run on these tracks and they can be put at the side of audio tracks without any problem.
67. What is meant by 'edit density'? What are the implications of high edit density?
It is the amount of data that a track contains, this data can be made heavy by the amount of plug-ins, automation information and they put a solid weight on the processing power of the computer.
68. Does the editing and trimming of regions delete audio data from the disk?
Unless specified in the preferences of the session, when audio data is edited, the original will always be stored in the session file as recorded, all the information regarding the editing is stored in a separate file, inside the session file.
69. In editing, what is the difference between 'slip' and 'grid' modes?
When moving the audio regions along the DAW, there is the possibility to use a grid which adjust all the movement to the tempo and starting point of the session, it is also possible to use the slip mode which will free the user from this snapping points and the region can be dragged without any adjustment to particular points or positions.
70. When might it not be possible to create a crossfade?
In case 2 audio regions are on the same track, and they are overlapping, the level will be considered as the one of the all track and crossfades will not be possible, a solution is to move the 2 audio regions in 2 tracks and create the crossfade then.
71. What is 'bouncing', in the context of mixing?
The operation of bouncing a mix consist of copy all the information on all the tracks, all synchronized, to an audio file (WAV, AIFF, MP3...), in other words, bounce the entire output of the mix in a file.
72. What is meant by 'latency'? What is the difference between DSP processing and host-based processing?
Latency is a side-effect of low processing power, it is the time difference between the note played and the note heard on the monitor mix, some sound cards offer a feature called Digital Sound Processing (DSP) which consists of process effects applied to a track directly on the sound card without loading it on to the computer's processor as a high amount of edit density may cause freezes or annoying issues when working on a session. |
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