Basic Recording

Front 1

Musical octaves maintain what frequency ratio?

Back 1

2:1

Front 2

The range of human hearing can be divided into how many octaves?

Back 2

10

Front 3

The octaves of the human range fall into how many classifications referenced in this class?

Back 3

8

Front 4

Fill in the following chart listing the titles referenced in this class for each classification and the octaves that belong to each classification. The list must start with the lowest and work up to the highest.

Classification title (octave(s) included)

Back 4

Low bass (1-2)
Bass (3)
Low mids (4)
Mids (5-6)
Upper mids (7)
Lower highs (8)
Highs (9)
Uber-highs (10)

Front 5

λ of 100Hz =

Back 5

11.3'

Front 6

λ of 1100Hz =

Back 6

1.0'

Front 7

Frequency of a signal with a λ of 64' =

Back 7

17.7Hz

Front 8

Frequency of a signal with a λ of 11' =

Back 8

102.7Hz

Front 9

True/False:

A "buss" refers to physical circuitry that accepts and combines several signals into one common, blended path.

Back 9

True

Front 10

True/False:

"Aux" or "Sends" are branch line level paths that feed cue systems and effects.

Back 10

True

Front 11

True/False:

When a sound reaches a surface or other obstacle the effect of spreading or bending around the surface is known as diffusion

Back 11

False

Front 12

True/False:

The Alesis MasterLink is capable of 24-bit 48kHz recording

Back 12

True

Front 13

True/False:

In a multi-track recording session an equalizer placed pre-monitor fader will record changes in EQ to the record track

Back 13

False

Front 14

True/False:

A microphone preamp must be used to boost mic signals to acceptable recording levels (often by 30-60dB).

Back 14

True

Front 15

True/False:

In a multi-track recording session an equalizer placed pre-channel fader will record changes in EQ to the record track

Back 15

True

Front 16

True/False:

The uniform distribution of sound energy in a room so that its intensity throughout the room is approximately equal is called diffusion

Back 16

True

Front 17

True/False:

When a sound reaches a surface the effect of spreading or bending around the surface is known as diffraction

Back 17

True

Front 18

True/False:

If two in phase signals of equal amplitude and frequency are added together they will sum to produce another signal of the same frequency but twice the amplitude

Back 18

True

Front 19

True/False:

A patch bay is said to be normalled if the components connected to two jacks above and below one another are connected directly to each other when there is no plug in either jack.

Back 19

True

Front 20

True/False:

The phrase "monitor path" generally refers to paths occurring after the multitrack.

Back 20

True

Front 21

Fill in the blank(s)

Simple harmonic vibration consists of areas of _ and _ within the air.

Back 21

compression, rarefaction

Front 22

Fill in the blank(s)

2 KiloHertz is how many vibrations per second of time?

Back 22

2000

Front 23

Fill in the blank(s)

Concerning any acoustic sound wave or cyclically varying electrical signal, the number of complete vibrations or cycle per unit of time is called _

Back 23

frequency

Front 24

Fill in the blank(s)

The third (3rd) harmonic of a signal with a fundamental of 500 Hz is _

Back 24

1500 Hz

Front 25

Fill in the blank(s)

What is the fundamental frequency of a tone located two octaves above a 60 Hz tone?

Back 25

240 Hz

Front 26

Fill in the blank(s)

What is the wavelength of a 10kHz signal?

Back 26

.113'

Front 27

Fill in the blank(s)

Generally speaking, the frequency range of audible sound is _ to _

Back 27

20Hz, 20kHz

Front 28

Sequentially order the power up sequence for the following equipment:

System Computer, External Magma Chassis, Sync Peripheral, 192 "B" Machine, 192 "A" Machine

Back 28

External Magma Chassis
Sync Peripheral
192 "A" Machine
192 "B" Machine
System Computer

Front 29

Sequentially order the power down sequence for the following equipment:

System Computer, External Magma Chassis, Sync Peripheral, 192 "B" Machine, 192 "A" Machine

Back 29

System Computer
192 "B" Machine
192 "A" Machine
Sync Peripheral
External Magma Chassis

Front 30

True/False:

EQ works to boost, cut, or pass frequency bands to achieve a more pleasing sound or minimize unwanted artifacts.

Back 30

True

Front 31

True/False:

An "aux" style path emulates a send, i.e. a branch line level output typically feeding cue systems and effects. The amount of contribution of each path to the send mix is determined by an independent aux/send level control provided for each path

Back 31

True

Front 32

True/False:

A "Main" type path is generally the final destination of all monitor paths, "returns" and such that is then used to drive final monitoring devices.

Back 32

True

Front 33

True/False:

By itself a single ear provides sufficient information for perception of pitch, loudness, timbre, and directional cues.

Back 33

False

Front 34

True/False:

Phantom power is required for the KSM 32.

Back 34

True

Front 35

True/False:

Phantom power is required for the SM 57.

Back 35

False

Front 36

True/False:

A dynamic microphone operates by using electromagnetic induction to generate output signal.

Back 36

True

Front 37

True/False:

A condenser microphone requires phantom power.

Back 37

True

Front 38

True/False:

Shorter wavelengths are more directional and easier to localize than longer wavelengths.

Back 38

True

Front 39

True/False:

Spatial stereo cues are perceived at frequencies below 1 kHz by the relative time of arrival of the signal at the two ears

Back 39

True

Front 40

True/False:

Most ribbon microphones require phantom power.

Back 40

False

Front 41

True/False:

Spatial stereo cues are perceived at frequencies above 3 kHz by the relative time of arrival of the signal at the two ears

Back 41

False

Front 42

True/False:

Stereophonic reproduction was first documented in Paris in1881.

Back 42

True

Front 43

True/False:

Coincident micing techniques, also known as intensity stereo, use the intensity differences of sound arriving at two mics to recreate the stereo field

Back 43

True

Front 44

True/False:

A spaced pair consists of two identical mics of any kind, usually omni-directional, and is also referred to as "A B" technique

Back 44

True

Front 45

True/False:

Near-coincident micing schemes introduce timing cues by spacing the mics slightly apart

Back 45

True

Front 46

True/False:

Perception depends equally on two different phenomena for the stereo effect: head shadow or intensity prevails at high or treble frequencies, and the time effect dominates at low or bass frequencies

Back 46

True

Front 47

Which of the following abbreviations are stereo micing techniques?

ORTF, IID, NOS, ORTD, PINNA, MST, MS, ITD, BLUMLEIN

Back 47

ORTF, NOS, MS, BLUMLEIN

Front 48

The capability of two ears to localize a sound source within an acoustic space is called spatial or binaural localization. List at least two of the three cues the ear uses for localization.

Back 48

interaural intensity differences, time of arrival differences

Front 49

An aux send post monitor fader is best suited for:

a. returns
b. effects
c. cue systems
d. recording gain control
e. none of the above

Back 49

b. effects

Front 50

Aux Sends may receive signals directly from:

a. returns
b. cue amps
c. effects
d. pre or post monitor fader
e. none of the above

Back 50

d. pre or post monitor fader

Front 51

Aux sends may be defined as:

a. branch line level outputs which feed the multitrack
b. branch line level outputs which drive cue systems and effects
c. branch line level inputs which carry effects to the stereo buss
d. branch line level inputs which dump directly to the stereo buss
e. none of the above.

Back 51

b. branch line level outputs which drive cue systems and effects

Front 52

An aux send pre-monitor fader is best suited for:

a. echo
b. cue
c. delay
d. harmonizer
e. none of the above

Back 52

b. cue

Front 53

ORTF is

a. A spaced pair set-up
b. A near-coincident set-up
c. A coincident set-up
d. A M-S set-up

Back 53

b. A near-coincident set-up

Front 54

NOS is

a. A spaced pair set-up
b. A near-coincident set-up
c. A coincident set-up
d. A M-S set-up

Back 54

b. A near-coincident set-up

Front 55

A channel fader is generally

a. used to trim the LR output buss
b. used for adjusting volume of control room monitors
c. the main gain control for signals reaching the stereo buss
d. none of the above

Back 55

d. none of the above

Front 56

2 cardiod microphones
17 cm apart
110 degree angle between capsules

a. ORTF
b. NOS
c. DIN
d. Decca
e. Blumlein
f. XY

Back 56

a. ORTF

Front 57

2 cardiod microphones
20 cm apart
90 degree angle between capsules

a. ORTF
b. NOS
c. DIN
d. Decca
e. Blumlein
f. XY

Back 57

b. NOS

Front 58

2 bidirectional microphones
coincident
90 degree angle between capsules

a. ORTF
b. NOS
c. DIN
d. Decca
e. Blumlein
f. XY

Back 58

e. Blumlein

Front 59

Apparent sources of sound, such as reproduced musical instruments, in well-defined locations, usually between a pair of loudspeakers placed in front of the listener

Back 59

images

Front 60

The synthesis of a single apparent source of sound (an image or "phantom image") from two or more real sound sources (such as loudspeakers)

Back 60

fusion

Front 61

An image's angular position relative to a point straight ahead of a listener, or its position relative to the loudspeakers

Back 61

location

Front 62

The distance between the extreme left and right images of a reproduced ensemble of instruments [wide versus narrow]

Back 62

stereo spread

Front 63

The apparent distance of an image from a listener, the sense of closeness and distance of various instruments or elements.

Back 63

depth

Front 64

The ability of a listener to tell the direction of a sound. Also the relation between interchannel interaural differences and perceived image location.

Back 64

localization

Front 65

Referencing the attached signal flow diagram, assign the letter the correct term for each location within the signal path.

Back 65

mic trim, mic/line input select switch, channel fader, assignment buss, channel trim, multitrack, line trim, monitor input select switch, eq, monitor fader, pan, sends, returns