Rpr Final

Front 1

Microphones that use a moving coil to transduce acoustic energy to electrical energy are _____________ microphones.

Back 1

Dynamic

Front 2

Condenser microphones require you to add ______________ _______________ for them to work.

Back 2

Phantom Power

Front 3

A condenser microphone operates on the principle that two parallel __________________ _______________________, each holding an opposing electrical charge (+ and -), creates a capacitor.

Back 3

Metal Plates

Front 4

Most condenser mics operate on a phantom power of ___________________, others over a wide range of voltages (9-48Vdc).

Back 4

48Vdc

Front 5

____________________ ____________________ refers to the increase in BASS response as the source signal is brought closer to the microphone capsule.

Back 5

Proximity Effect

Front 6

__________-_______________ describes sound signals originating directly in front of the mic’s diaphragm.

Back 6

on-axis

Front 7

__________________ polar patterns picks up sound arriving from all directions in a uniformly way.

Back 7

omnidirectional

Front 8

__________________ polar patterns are designed to pick up sounds that originate right in front (0° on-axis), reducing the pickup levels at the sides (90° and 270°) while rejecting sounds from the rear (180° off-axis).

Back 8

Cardioid

Front 9

___________________ polar pattern mics pic up sound from the front (0° on-axis) and rear (180° off-axis) with equal strength while rejecting sound from the sides (90° and 270° off-axis).

Back 9

Bidirectional/Figure Eight

Front 10

An _________ connector is typically used for mic cables and AES/EBU digital cables.

Back 10

XLR

Front 11

Professional line level audio is 1.23 Volts RMS or ________________________.

Back 11

+4dBu

Front 12

Consumer line level audio is 0.316 Volts RMS or __________________________.

Back 12

-10dBV

Front 13

The main purpose of a mic pre-amplifier (preamp) is to boost the signal to Line Level, which is the standard level for all professional equipment in the studio.

Back 13

True

Front 14

When thinking signal flow in a studio or live environment, you should think about connecting _________________ to __________________.

Back 14

Outputs to Inputs

Front 15

Gain staging is the process of optimizing your input noise levels in order to maximize noise strength while minimizing signal (bringing up the noise floor).

Back 15

False

Front 16

A mic signal must go through a _______________________ to convert the signal to line level signal, ready to be distributed to other signal processing components or directly to a recording device.

Back 16

Preamp

Front 17

In a DAW you don’t have to worry about the analog quality of the signal, because we can use plug-ins to fix it in the mix.

Back 17

False

Front 18

All inputs and outputs of studio gear, the console, and your interface will be located on the _______________________.

Back 18

Patch Bay

Front 19

Most professional patch bays use ________________ ________________________ connectors as their way to reroute signal.

Back 19

Tiny Telephone

Front 20

What are the three main types of patch bays.

Back 20

Fully-normalled, Half-normalled, & no normalled.

Front 21

The ________________of a waveform is measured in cycles per second or hertz.

Back 21

Frequency

Front 22

____________________ ______________ do not have cycles per second property.

Back 22

Aperiodic waves

Front 23

_______________________ is the intensity of vibration.

Back 23

Amplitude

Front 24

We use a __________________ to convert one form of energy to another.

Back 24

transducer

Front 25

The standard level for professional audio is ___________________.

Back 25

+4 dBu

Front 26

A rarefaction is the ________________ of air pressure in a sound wave.

Back 26

decrease

Front 27

The compression of a waveform is the ______________ of air pressure in a sound wave.

Back 27

increase

Front 28

The useable dynamic range of a piece of gear is between the ___________ ______________ and the point that the signal gets _____________.

Back 28

noise floor, clipped

Front 29

Three types of Transducers.

Back 29

microphone, speaker, & tape head

Front 30

A ________________________ shows Amplitude vs. Frequency.

Back 30

spectrum analyzer

Front 31

With an analog recording/mixing system, like a console, the busing is accomplished using the “____________ ________________” of the board.

Back 31

Routing Matrix

Front 32

Busing signals inside a digital audio workstation is not that much different than using a traditional mixing board.

Back 32

True

Front 33

Grouping allows dynamic processing on a group of signals using one processor (or two for stereo processing). We called this “___________ _________________”.

Back 33

audio subgrouping

Front 34

If you're running out of audio tracks or channels, you can do some _____________ ________________ to free up tracks.

Back 34

track bouncing

Front 35

Mixer Transunion is the process of combining multiple recorded tracks to one or two open tracks on the multi-track recorder.

Back 35

False

Front 36

Fader grouping doesn’t introduce “noise” from summing amps, unlike a typical “busing” group.

Back 36

True

Front 37

______________ _________________ doesn’t combine the signals, but makes use of a single control voltage or digital assignment to control the “relative” levels of tracks from a single fader.

Back 37

Fader Grouping

Front 38

One single fader could control all other fader volumes, even if no audio is on that single fader.

Back 38

True

Front 39

“How do I compress my drums with this one vintage stereo EQ I have?”

Back 39

audio subgrouping

Front 40

When doing Audio Subgrouping you would want to remove the source signal from the stereo bus.

Back 40

True

Front 41

_______________ __________________ determine our perception of a sound source’s location and size and conveys the true timbre of the source.

Back 41

Direct sounds

Front 42

When surfaces are reflective, the sound is bounced back into the room and toward the listener. This is referred to as:

Back 42

Reflections

Front 43

Early _________________ consist of the first few ________________ that are projected to the listener off of major boundaries within an acoustic space.

Back 43

reflections, reflections

Front 44

Reverberation is sounds reaching the listener ______________ or later in time, and is perceived as a random and continuous stream of reflections that arrive from all directions.

Back 44

50-msec

Front 45

The Haas Effect is also known as the ________________________ Effect.

Back 45

Precedence

Front 46

Effects that change the signal’s timing in one way or the other to produce the desired result, are _____________________ effects.

Back 46

Time-based

Front 47

____________ _____________ uses magnetic tape as their recording and playback medium. Electric motors guide a tape loop through a variety of mechanisms allowing modification of the effect's parameters.

Back 47

Tape Delay

Front 48

What are the three parameters used in Modulation?

Back 48

Depth, Rate, & Waveform

Front 49

__________ is the time that’s required for a sound to die away to a millionth of its original intensity (resulting in a decrease over time of 60 dB).

Back 49

RT60

Front 50

Some of the common reverb types are:

Back 50

Hall, Spring, & Plate

Front 51

Multitrack recording for modern sessions and projects involves three stages:

Back 51

Recording, Overdubbing, & Mixdown

Front 52

Musicians listen to the previously recorded tracks and then play along in sync while recording new and separate tracks that are added to the basic tracks in order to fill out and finish the project. This is called?

Back 52

Overdubbing

Front 53

If the musician makes a minor mistake during an otherwise good performance, sections of a take can be “______________________” on the same track to correct a bad overdub section.

Back 53

punched in

Front 54

The individually recorded signals are blended into a stereo signal (most common), and that’s fed to the master recorder . This process is called?

Back 54

Mixdown

Front 55

Professional analog multi-tracks will have a separate head for each function. What are the functions?

Back 55

Erase, Record, & Reproduce

Front 56

Analog tape recorders use magnetic tape to store the information, recording onto it and playing back off it.

Back 56

True

Front 57

DAWs have the ability to edit a sound file without altering the data that was originally recorded to disk. This is referred to as “_____________________________________”.

Back 57

Nondestructive Editing

Front 58

Before recording actually begins, the software can be setup to give the performer a “_______________” so as to get in the groove and land a good take. Its usually set up in bars.

Back 58

Count-in

Front 59

When performing a punch in/out, the artist needs a some time to properly lead into the take. This is known as the “_______________”. Once the mistake is corrected, the amount of time the machine is allowed to play is the “______________”.

Back 59

pre-roll / post-roll

Front 60

Color coding your tracks provides a visual reference as to the nature of your tracks, whereas they may be audio, instrument, midi, or auxiliary tracks. It makes navigating through your tracks a little easier, especially during mixing.

Back 60

True

Front 61

______________ range in analog audio is the difference between the noise floor and high-level signal saturation resulting in clipping.

Back 61

Dynamic

Front 62

________________ reduces the volume of loud sounds or amplifies quiet sounds by narrowing or "compressing" an audio signal's dynamic range.

Back 62

Compressors

Front 63

On a Compressor the __________________ setting is the level at which the compressor will begin to process the signal. Commonly set in decibels dB.

Back 63

Threshold

Front 64

On a Compressor the __________________ setting is how fast the gain reduction will happen after signal crosses the threshold. Commonly expressed in mSec.

Back 64

Attack

Front 65

On a Compressor the __________________ setting is how fast the compression will end after signal crosses below the threshold Commonly expressed in mSec.

Back 65

Release

Front 66

________________ is a behavior of compression by which the output level will not significantly increase as the input level increases, thus _________________ the output of signal.

Back 66

Limiting

Front 67

Expanders increase the difference in loudness between quieter and louder sections of audio making quiet sounds quieter and loud sounds louder.

Back 67

True

Front 68

What are the four main controls on a Noise Gate?

Back 68

Threshold, Attack, Release, & Range

Front 69

A __________________ can be used to eliminate noise from an instrument or vocal track during silent passages.

Back 69

Noise Gate

Front 70

Professional gate units can also provide a secondary input in order to “open” (release the attenuation) via this secondary signal. This is referred to as _______________ the gate.

Back 70

Keying

Front 71

A visual representation of the spectrum of frequencies in a sound as they vary with time. Is called a :

Back 71

Audio spectrogram

Front 72

_______________ is a professional audio device that measures and displays the frequency spectrum of an audio signal.

Back 72

RTA

Front 73

A __________________ __________________ will only allow to change the amplitude of each frequency.

Back 73

Graphic Equalizer

Front 74

Parametric equalizers are _____________ _____________ equalizers which allow users to control the three primary parameters per band: amplitude, center frequency and bandwidth.

Back 74

multi-band variable

Front 75

A Parametric EQ with no bandwidth control is referred to as ________-______________ or shelving EQ.

Back 75

semi-parametric

Front 76

Filters differ from equalizers in that they are designed to only attenuate at a _____________ slope.

Back 76

constant

Front 77

A ____________________ (also known as low-cut) is a filter that passes signals with a frequency higher than a certain cutoff frequency, and attenuates signals with frequencies lower than the cutoff frequency.

Back 77

high-pass filter

Front 78

A ____________________ (also known as a high-cut) is a filter that passes signals with a frequency lower than a certain cutoff frequency and attenuates signals with frequencies higher than the cutoff frequency.

Back 78

low-pass filter

Front 79

________________ __________________ is the result of combining a high-pass and a low-pass filter. Adjusting the cutoff frequencies of both filters results in a defined bandwidth of frequencies “passing” through.

Back 79

band-pass filter

Front 80

The _________ frequency of a filter is the frequency where the signal starts attenuating down by -3dB.

Back 80

cutoff