1. ACOUSTIC
1.1. No Recodring
1.2. Musical Instruments
2. DIGITAL
2.1. Analog Signal Converted to Numbers
2.2. Alter Speed, Tone and Pitch Independently
3. PHASE
3.1. Timing Difference
3.1.1. location or timing of a point within a wave cycle of a repetitive waveform
4. FREQUENCY
4.1. Rate at which sound waves fluctuate
4.2. Measured in HZ
4.3. Sine Wave - One Frequency at a time
4.4. Sometimes referred to as Pitch
4.5. Timbre
4.5.1. The difference between quality of tone from one's voice or musical instrument.
4.6. Lower Frequency
4.7. Higher Frequency
4.7.1. More detail in shape of sound wave
5. AMPLITUDE
5.1. Measured in Decibels - dB
5.1.1. Sound Pressure Level (SPL)
5.2. Measure how intensely sound waves fluctuate
5.3. A high amplitude wave carries a large amount of energy
5.4. A low amplitude wave carries a small amount of energy
6. ACOUSTIC SIGNAL PATH
6.1. ACOUSTIC SOUND IS PRODUCED
6.1.1. Vocals - someone singing
6.1.2. A Musical Instrument
6.1.3. No Recodring
7. SIGNAL PATH
7.1. ACOUSTIC TO ANALOG AND BACK TO ACOUSTIC SIGNAL PATH
7.1.1. Acoustic Sound Source
7.1.1.1. Transducer
7.1.1.1.1. Input Mixer/Pre Amplifier
7.1.1.1.2. Dynamic microphone
7.1.1.1.3. Electric Guitar PickUps
7.1.1.1.4. Change Acoustic sound waves into an analog electrical signal
7.1.1.1.5. Piezoelectric Elements
7.1.1.1.6. Sound is altered depending on Proximity Effect
7.1.1.1.7. Higher signal to noise ratio - cleaner sound
7.2. ACOUSTIC SOUND TO RECORDING DEVICE
7.2.1. Acoustic Sound Source
7.2.1.1. Mic Level Signal
7.2.1.1.1. Input Mixer/ Preamplifier
7.2.2. Analog Connections
7.2.2.1. Mic Level Electrical Analog Signal
7.2.2.1.1. Weakest - very low voltage
7.2.2.2. Line Level Signal - less than one volt
7.2.2.2.1. Boosted Mic Level Signal - Preamplifier
7.2.2.2.2. Found in studios
7.2.2.3. Speaker level - 100 volts
7.2.2.3.1. Live Sound Production
7.2.2.4. Two wires
7.2.2.4.1. Signal
7.2.2.4.2. Ground
7.2.2.5. Mic cables
7.2.2.5.1. Balanced cables
7.3. GAIN STAGES IN ANALOG DOMAIN
7.3.1. Any point at which a signal can change volume
7.3.2. Signal passes through Amplifier and Attenuator
7.3.3. Microphone signal through mixer - 3 or 4 gain stages
7.3.4. Setting volumes in Signal path - GAIN STAGING/ SETTING GAIN STRUCTURE
7.3.5. Turn down Input Signal - Amplifier produces undistorted output
7.3.6. DO NOT turn input sound so low- avoid noise
7.3.7. Clean Signal - High Signal to Noise Ratio
7.3.7.1. Relatively quiet noise and relatively loud signal
7.3.7.2. Use Level Meter
7.3.7.2.1. Use a VU (Volume Units) Meter
7.3.7.3. Use Peak Meter
7.3.7.3.1. Shows highest instantaneous level the sound hits
7.3.7.3.2. Faster response to transience
7.3.7.4. Use 0 dB reference point
7.3.7.4.1. dB Sound Pressure Level (SPL)
7.4. DIGITAL SIGNAL PATH
7.4.1. Analog to Digital
7.4.1.1. Sampling
7.4.1.1.1. ADC - Analog to Digital Converter
7.4.1.1.2. Sampling Rate or Sampling Frequency
7.4.1.1.3. Most Common 44, 100 samples per second or 44.1 kilohertz
7.4.1.1.4. Nyquist Frequency - up to 1/2 of the sampling rate can be recorded
7.4.1.2. Filter out all frequencies above the Nyquist limit
7.4.1.2.1. Anti-aliasing Filter
7.4.1.3. Higher frequencies may cause Aliasing
7.4.2. Gain Stage
7.4.2.1. Sound too loud
7.4.2.1.1. Run out of number range if turn sound too loud
7.4.2.1.2. Finite number of Quatizing
7.4.2.2. 0 dB FS - Using all available Quantizing levels available
7.4.2.3. Signal too low
7.4.2.3.1. Quantization distortion
7.4.2.4. Dither
7.4.2.4.1. Allows digital domain to handle low sounds - low amplitude signals
7.4.2.4.2. Eliminates Quantization Distortion
7.4.2.4.3. Use it
8. DIGITAL AUDIO FOUNDATION MIND MAP BY SYLVIA ODOMS
9. ANALOG
9.1. Microphone - Electrical current
9.2. Pitch, Tone, Speed locked together
9.3. Record, Amplify and Edit Sound
9.4. SIGNAL PATH
10. HOW DO WE HEAR?
10.1. Physical -Ears
10.1.1. Vibration of hairs in the ear
10.1.2. Human hearing range - decreases with age
10.1.3. Average person's hearing capacity is from 20 HZ to 20,000 HZ
10.2. Subconscious
10.2.1. McGurk Effect
10.2.2. Hear words and understand their meaning
10.2.3. Sight can influence perception of sound
10.3. Conscious
10.3.1. Brain processes and makes meaning of what we hear
11. SOUND SPEED
11.1. Air - Sound travels the slowest
11.2. Water - Sound travels 4 times faster
11.3. Solid - Sound travels 15 times faster
12. TIME
12.1. Represent time taken for one complete cycle of vibration to pass a given point.
12.1.1. As the frequency of a wave increases, the time period of the wave decreases
12.2. Comb Filtering
13. DIGITAL AUDIO WORKSTATION
13.1. REVERB CHAMBER
13.2. MIXING CONSOLE
13.3. TAPE RECORDER
13.4. MIDI SEQUENCER
13.5. MIDI
13.5.1. Language
13.5.1.1. Pitch Bend
13.5.1.2. Note off
13.5.1.3. Note On
13.5.2. Instructions on how to make sound
13.5.3. Medium
13.5.4. USB Midi Interface
13.5.5. Input -Electronic Instrument played by a person
13.6. DRUM MACHINE
13.7. SYNTHESIZER
13.8. GUITAR AMPLIFIER
13.9. EFFECTS UNIT
13.10. COMPUTER
14. MIXING SOUND
14.1. SPECTRUM ANALYZER
14.1.1. 1000 Hz - Sine Wave
14.1.1.1. Frequency
14.1.1.1.1. Partials
14.1.1.2. Sine waves at different amplitudes, frequencies, timings
14.1.2. Tells which parts of Frequency Spectrums are at what amplitude
14.2. COMPRESSION
14.2.1. Dynamic Processor
14.2.1.1. Time Parameters
14.2.1.2. Types
14.2.1.2.1. Compressor
14.2.1.2.2. Limiter
14.2.1.2.3. Expander
14.2.1.2.4. Gate
14.3. MONITORS LEVELS
14.3.1. Check Levels at different volume
15. How to turn digital audio into finished product
15.1. MIXING AND EFFECTS PROCESSING
15.1.1. Effects
15.1.2. Volume Levels
15.1.2.1. Your ears determine the best levels
15.1.2.1.1. Avoid Clipping Distortion
15.1.2.2. What needs to be quieter?
15.1.2.3. Good gain staging practices
15.1.3. Equalization
15.1.3.1. Uses Filters/ Adjusts Frequencies
15.1.4. Automation
15.1.4.1. Computer moves faders
15.1.4.2. Controls the mix
15.1.5. Panning
15.1.5.1. Left, Right, In-between, Panaroma
15.1.5.1.1. Bass Management - Panning Sound
15.1.5.2. One ear compatibility
15.1.5.3. Mono compatibility
15.1.5.4. Individual tracks recorded
15.1.5.5. Mono and Panned to create stereo mix