Audio Setup Week 5
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This 2 page Class Notes was uploaded by Eric Hoover on Monday October 3, 2016. The Class Notes belongs to JMC 33032 at Kent State University taught by Scott Hallgren in Fall 2016. Since its upload, it has received 5 views.
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Date Created: 10/03/16
ASM Notes Week 5 After this week, this class becomes more project-based, so don’t expect too many more notes from this class in traditional lecture form. Mostly we’ll be discussing plans for projects in class More about the audio board: Channels, busses, and mixes, o my! Audio EIC - manager A1 - head audio mixer A2 - assistants - free hands (cabling, mic setup, boom poles, solve problems) Sound designer - 'senior'; creates layout & design of 'sound picture' for broadcast Sub-mixer - handles parts/elements of mix; audience mix, playback mix, music mix - instruments, vocals, etc. Effects mixer - mix the 'close sounds' in sports (like bat cracks, shoe squeaks, football impacts, etc.) IFB - interruptible foldback - one-way communication for talent, remotes, & staff RF audio/wireless - cable free, frequencies! Transmitter goes on talent, receiver goes to control room The Signal Flow: Capture (w/mic) Store (line-in mixer) Monitor (from speakers/headphones) Bus - the individual line from input to output Group/subgroup - allows you to combine multiple channels into a single bus so you can control all of their levels with a single fader Guidelines for correct group/bus use (CAPTURE) Plug in the mic, select mic (not line), use phantom if necessary Assign track to a group/bus and pan if appropriate Check gain (preamp) level See level with the fader up and track enabled (STORE) Record the signal when ready. (MONITOR) Listen and adjust accordingly. Live: use headphones, not speakers Delivery Specs Review of groups and board structure from Tuesday lab APT delivery sheet – it’s a handout given in class Who is it for and what medium do they want – that’s what to target when doing a project for a client
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