Question 1

Some characteristics of a coincident-pair stereo recording are __________________.

Accepted Answer

A)  vague imaging and a spacious effect. 
B)  a ping pong effect. 
C)  mono compatibility and a narrow stereo spread. 
D)  sharp imaging and deep bass. 
A)  vague imaging and a spacious effect. 
B)  a ping pong effect. 
C)  mono compatibility and a narrow stereo spread. 
D)  sharp imaging and deep bass. C

Question 2

A convenient device to mount two mics on a single mic stand for stereo recording is a ______________.

Accepted Answer

A)  stereo bar. 
B)  mic stand adapter. 
C)  mic swivel mount. 
D)  mic boom. 
A)  stereo bar. 
B)  mic stand adapter. 
C)  mic swivel mount. 
D)  mic boom. A

Question 3

Usually, you get a natural sound if you put the mic _____________________.

Accepted Answer

A)  a few inches away 
B)  ten feet away 
C)  as far from the source as the source is big 
D)  above the sound source aiming down 
A)  a few inches away 
B)  ten feet away 
C)  as far from the source as the source is big 
D)  above the sound source aiming down C

Question 4

Some characteristics of a spaced-pair stereo recording are __________________.

Accepted Answer

A)  sharp imaging and deep bass 
B)  vague imaging and a spacious effect 
C)  a ping pong effect 
D)  a hole in the middle 
A)  sharp imaging and deep bass 
B)  vague imaging and a spacious effect 
C)  a ping pong effect 
D)  a hole in the middle

Question 5

Some characteristics of a baffled-omni recording are __________________.

Accepted Answer

A)  sharp imaging and deep bass. 
B)  a ping pong effect. 
C)  vague imaging and weak bass. 
D)  a strong mono effect. 
A)  sharp imaging and deep bass. 
B)  a ping pong effect. 
C)  vague imaging and weak bass. 
D)  a strong mono effect.

Question 6

Some characteristics of a near-coincident pair recording are ____________________.

Accepted Answer

A)  sharp imaging and an accurate stereo spread. 
B)  a ping pong effect. 
C)  mono compatibility and a narrow stereo spread. 
D)  vague imaging and deep bass. 
A)  sharp imaging and an accurate stereo spread. 
B)  a ping pong effect. 
C)  mono compatibility and a narrow stereo spread. 
D)  vague imaging and deep bass.

Question 7

To make a commercial-sounding recording of a pop group, how many microphones are needed?

Accepted Answer

A)  2 for stereo. 
B)  one for each instrument. 
C)  one or more for each instrument. 
D)  one or more for each instrument that isn't using a direct box. 
A)  2 for stereo. 
B)  one for each instrument. 
C)  one or more for each instrument. 
D)  one or more for each instrument that isn't using a direct box.

Question 8

To capture an accurate sound, a mic's frequency response should cover _________________ .

Accepted Answer

A)  10 Hz to 10 kHz 
B)  an instrument's fundamentals and harmonics at equal levels. 
C)  1000 Hz to 100,000 Hz 
D)  subharmonics 
A)  10 Hz to 10 kHz 
B)  an instrument's fundamentals and harmonics at equal levels. 
C)  1000 Hz to 100,000 Hz 
D)  subharmonics

Question 9

Why does moving a mic change the recorded tone quality?

Accepted Answer

A)  Each part of the instrument sounds different. 
B)  Phase interference color the sound. 
C)  High frequencies radiate in a tight cone. 
D)  Proximity effect changes with mic direction. 
E)  all of the above. 
A)  Each part of the instrument sounds different. 
B)  Phase interference color the sound. 
C)  High frequencies radiate in a tight cone. 
D)  Proximity effect changes with mic direction. 
E)  all of the above.

Question 10

Miking close to an instrument ______________________.

Accepted Answer

A)  gives a tight, present sound. 
B)  reduces pickup of background noise. 
C)  reduces pickup of leakage. 
D)  reduces pickup of reverberation. 
E)  all of the above. 
A)  gives a tight, present sound. 
B)  reduces pickup of background noise. 
C)  reduces pickup of leakage. 
D)  reduces pickup of reverberation. 
E)  all of the above.

Question 11

The three-to-one rule states:

Accepted Answer

A)  Use 3 mics if 1 mic doesn't work well. 
B)  The mic-to-source distance should be 3X the mic spacing. 
C)  Space the mics at least 3X the mic-to-source distance. 
D)  Three mics pick up 3x as much sound as one mic. 
A)  Use 3 mics if 1 mic doesn't work well. 
B)  The mic-to-source distance should be 3X the mic spacing. 
C)  Space the mics at least 3X the mic-to-source distance. 
D)  Three mics pick up 3x as much sound as one mic.

Question 12

Leakage becomes a problem when _________________.

Accepted Answer

A)  you record with two mics in stereo. 
B)  you record a loud instrument and quiet instrument at the same time. 
C)  you record without baffles. 
D)  you overdub. 
A)  you record with two mics in stereo. 
B)  you record a loud instrument and quiet instrument at the same time. 
C)  you record without baffles. 
D)  you overdub.

Question 13

A guitar miked very close to the sound hole sounds _______________.

Accepted Answer

A)  tinny 
B)  too loud 
C)  natural 
D)  boomy 
A)  tinny 
B)  too loud 
C)  natural 
D)  boomy

Question 14

If the monitored stereo spread is too narrow, you should _________________.

Accepted Answer

A)  add another microphone to the mix. 
B)  angle or space the mics closer together. 
C)  move the mics farther away from the ensemble. 
D)  angle or space the mics farther apart. 
A)  add another microphone to the mix. 
B)  angle or space the mics closer together. 
C)  move the mics farther away from the ensemble. 
D)  angle or space the mics farther apart.

Question 15

In a stereo recording, if you hear exaggerated separation, that means _______________.

Accepted Answer

A)  you've succeeded in capturing true stereo. 
B)  each instrument's image is very wide. 
C)  the mic have the wrong polar pattern. 
D)  the mics are spaced or angled too far apart. 
A)  you've succeeded in capturing true stereo. 
B)  each instrument's image is very wide. 
C)  the mic have the wrong polar pattern. 
D)  the mics are spaced or angled too far apart.

Some characteristics of a coincident-pair stereo recording are __________________.

A convenient device to mount two mics on a single mic stand for stereo recording is a ______________.

Usually, you get a natural sound if you put the mic _____________________.

Some characteristics of a spaced-pair stereo recording are __________________.

Some characteristics of a baffled-omni recording are __________________.

Some characteristics of a near-coincident pair recording are ____________________.

To make a commercial-sounding recording of a pop group, how many microphones are needed?

To capture an accurate sound, a mic's frequency response should cover _________________ .

Why does moving a mic change the recorded tone quality?

Miking close to an instrument ______________________.

The three-to-one rule states:

Leakage becomes a problem when _________________.

A guitar miked very close to the sound hole sounds _______________.

If the monitored stereo spread is too narrow, you should _________________.

In a stereo recording, if you hear exaggerated separation, that means _______________.

The Recording Process

Sound and Psychoacoustics

Studio Acoustics; Signal Characteristics of Audio Devices

Equipping Your Studio

Monitoring

Microphones

Microphone Techniques

Equalisation

Effects and Signal Processors

Mixers

Digital Audio

Computer Recording

Daw Operation

Judging Sound Quality

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 7: Mic Technique Basics

Some characteristics of a coincident-pair stereo recording are __________________.

A convenient device to mount two mics on a single mic stand for stereo recording is a ______________.

Usually, you get a natural sound if you put the mic _____________________.

Some characteristics of a spaced-pair stereo recording are __________________.

Some characteristics of a baffled-omni recording are __________________.

Some characteristics of a near-coincident pair recording are ____________________.

To make a commercial-sounding recording of a pop group, how many microphones are needed?

To capture an accurate sound, a mic's frequency response should cover _________________ .

Why does moving a mic change the recorded tone quality?

Miking close to an instrument ______________________.

The three-to-one rule states:

Leakage becomes a problem when _________________.

A guitar miked very close to the sound hole sounds _______________.

If the monitored stereo spread is too narrow, you should _________________.

In a stereo recording, if you hear exaggerated separation, that means _______________.

The Recording Process

Sound and Psychoacoustics

Studio Acoustics; Signal Characteristics of Audio Devices

Equipping Your Studio

Monitoring

Microphones

Microphone Techniques

Equalisation

Effects and Signal Processors

Mixers

Digital Audio

Computer Recording

Daw Operation

Judging Sound Quality

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