Question 1

An ideal reverberation time for classical music is __________ seconds.

Accepted Answer

A)  0.5 to 1.2 
B)  1.2 to 2 
C)  2 to 5.1 
D)  5.1 to 10 
A)  0.5 to 1.2 
B)  1.2 to 2 
C)  2 to 5.1 
D)  5.1 to 10 B

Question 2

A cure for breath pop is __________________.

Accepted Answer

A)  use a pop filter. 
B)  place the mic above or to the side of the mouth. 
C)  use an omnidirectional microphone. 
D)  use a highpass filter. 
E)  all of the above. 
A)  use a pop filter. 
B)  place the mic above or to the side of the mouth. 
C)  use an omnidirectional microphone. 
D)  use a highpass filter. 
E)  all of the above. E

Question 3

Wide-range sound with extended low- and high-frequency response results from using:

Accepted Answer

A)  high-quality microphones and adequate EQ. 
B)  digital recording. 
C)  analog recording. 
D)  bass boost and treble boost. 
A)  high-quality microphones and adequate EQ. 
B)  digital recording. 
C)  analog recording. 
D)  bass boost and treble boost. A

Question 4

"Tonal balance" refers to the balance of __________________.

Accepted Answer

A)  timbre and envelope. 
B)  a mix. 
C)  bass, midrange and treble. 
D)  tones. 
A)  timbre and envelope. 
B)  a mix. 
C)  bass, midrange and treble. 
D)  tones.

Question 5

If a reproduced orchestra sounds too narrow, ___________________.

Accepted Answer

A)  pan the left mic hard left and pan the right mic hard right. 
B)  angle or space the mics closer together. 
C)  angle or space the mics farther apart. 
D)  place the monitor speakers farther apart. 
A)  pan the left mic hard left and pan the right mic hard right. 
B)  angle or space the mics closer together. 
C)  angle or space the mics farther apart. 
D)  place the monitor speakers farther apart.

Question 6

One cure for noise is ________________________.

Accepted Answer

A)  use a highpass filter for hiss and a lowpass filter for rumble. 
B)  switch out a mic pad if not needed. 
C)  turn down gain. 
D)  keep master fader high and channel faders low. 
A)  use a highpass filter for hiss and a lowpass filter for rumble. 
B)  switch out a mic pad if not needed. 
C)  turn down gain. 
D)  keep master fader high and channel faders low.

Question 7

A "clean" recording is __________________.

Accepted Answer

A)  digital. 
B)  analog. 
C)  free of noise and distortion. 
D)  free of guitar-amp distortion. 
A)  digital. 
B)  analog. 
C)  free of noise and distortion. 
D)  free of guitar-amp distortion.

Question 8

"Presence" is achieved by __________________.

Accepted Answer

A)  close miking, overdubbing, upper midrange boost, less reverb. 
B)  recording an entire band at once 
C)  lo-fi microphones 
D)  extra reverb to add a sense of space 
A)  close miking, overdubbing, upper midrange boost, less reverb. 
B)  recording an entire band at once 
C)  lo-fi microphones 
D)  extra reverb to add a sense of space

Question 9

When judging stereo imaging, ____________________.

Accepted Answer

A)  always use headphones. 
B)  sit equidistant from the speakers. 
C)  sit closer to one speaker than the other to make sure the imaging is robust. 
D)  sit farther from the speakers than their spacing. 
A)  always use headphones. 
B)  sit equidistant from the speakers. 
C)  sit closer to one speaker than the other to make sure the imaging is robust. 
D)  sit farther from the speakers than their spacing.

Question 10

Dynamic range is _________________.

Accepted Answer

A)  loudness. 
B)  signal-to-noise ratio. 
C)  the range of expression of a vocalist. 
D)  the range of volume levels from softest to loudest. 
A)  loudness. 
B)  signal-to-noise ratio. 
C)  the range of expression of a vocalist. 
D)  the range of volume levels from softest to loudest.

Question 11

Some cures for distortion are _________________.

Accepted Answer

A)  use less gain, insert a pad 
B)  set master fader to minimum and faders to maximum. 
C)  higher gain, lower fader setting. 
D)  record no higher than 0 dBFS in rms meter mode. 
A)  use less gain, insert a pad 
B)  set master fader to minimum and faders to maximum. 
C)  higher gain, lower fader setting. 
D)  record no higher than 0 dBFS in rms meter mode.

Question 12

If an orchestral recording sounds too dry, _________________.

Accepted Answer

A)  record in a concert hall with a longer reverb time. 
B)  use spot mics. 
C)  mike closer to the orchestra. 
D)  turn down artificial reverberation. 
A)  record in a concert hall with a longer reverb time. 
B)  use spot mics. 
C)  mike closer to the orchestra. 
D)  turn down artificial reverberation.

Question 13

In a classical-music recording, "perspective" is controlled by _________________.

Accepted Answer

A)  miking distance 
B)  direct-to-reverb ratio 
C)  microphone polar pattern 
D)  amount of artificial reverb 
E)  all of the above. 
A)  miking distance 
B)  direct-to-reverb ratio 
C)  microphone polar pattern 
D)  amount of artificial reverb 
E)  all of the above.

Question 14

Some cures for "muddy sound" are ___________________.

Accepted Answer

A)  reverberation and delay. 
B)  omnidirectional microphones and digital recording. 
C)  overdubbing, recording direct. 
D)  boost EQ at 300 Hz and cut at 5 kHz. 
A)  reverberation and delay. 
B)  omnidirectional microphones and digital recording. 
C)  overdubbing, recording direct. 
D)  boost EQ at 300 Hz and cut at 5 kHz.

Question 15

To add a sense of depth, _________________.

Accepted Answer

A)  turn up the reverb slightly on all tracks. 
B)  add some delay. 
C)  mike instruments farther away. 
D)  use varied amounts of reverb on each track. 
A)  turn up the reverb slightly on all tracks. 
B)  add some delay. 
C)  mike instruments farther away. 
D)  use varied amounts of reverb on each track.

An ideal reverberation time for classical music is __________ seconds.

A cure for breath pop is __________________.

Wide-range sound with extended low- and high-frequency response results from using:

"Tonal balance" refers to the balance of __________________.

If a reproduced orchestra sounds too narrow, ___________________.

One cure for noise is ________________________.

A "clean" recording is __________________.

"Presence" is achieved by __________________.

When judging stereo imaging, ____________________.

Dynamic range is _________________.

Some cures for distortion are _________________.

If an orchestral recording sounds too dry, _________________.

In a classical-music recording, "perspective" is controlled by _________________.

Some cures for "muddy sound" are ___________________.

To add a sense of depth, _________________.

The Recording Process

Sound and Psychoacoustics

Studio Acoustics; Signal Characteristics of Audio Devices

Equipping Your Studio

Monitoring

Microphones

Mic Technique Basics

Microphone Techniques

Equalisation

Effects and Signal Processors

Mixers

Digital Audio

Computer Recording

Daw Operation

Midi and Loops

Session Procedures

Mastering and Cd Burning

On-Location Recording of Popular Music

On-Location Recording of Classical Music

Web Audio, Streaming and Online Collaboration

Appendix A: DB or Not DB

Appendix B: Optimizing Your Computer for Multitrack Recording

Appendix C: Impedance

Appendix D: Phantom Power; Legacy Recording Devices, AUDIO GLOSARRY

Filters

Exam 15: Judging Sound Quality

An ideal reverberation time for classical music is __________ seconds.

A cure for breath pop is __________________.

Wide-range sound with extended low- and high-frequency response results from using:

"Tonal balance" refers to the balance of __________________.

If a reproduced orchestra sounds too narrow, ___________________.

One cure for noise is ________________________.

A "clean" recording is __________________.

"Presence" is achieved by __________________.

When judging stereo imaging, ____________________.

Dynamic range is _________________.

Some cures for distortion are _________________.

If an orchestral recording sounds too dry, _________________.

In a classical-music recording, "perspective" is controlled by _________________.

Some cures for "muddy sound" are ___________________.

To add a sense of depth, _________________.

The Recording Process

Sound and Psychoacoustics

Studio Acoustics; Signal Characteristics of Audio Devices

Equipping Your Studio

Monitoring

Microphones

Mic Technique Basics

Microphone Techniques

Equalisation

Effects and Signal Processors

Mixers

Digital Audio

Computer Recording

Daw Operation

Midi and Loops

Session Procedures

Mastering and Cd Burning

On-Location Recording of Popular Music

On-Location Recording of Classical Music

Web Audio, Streaming and Online Collaboration

Appendix A: DB or Not DB

Appendix B: Optimizing Your Computer for Multitrack Recording

Appendix C: Impedance

Appendix D: Phantom Power; Legacy Recording Devices, AUDIO GLOSARRY

Filters