Question 1

An advantage of using a close mic pair and a distant mic pair is _____________.

Accepted Answer

A)  more mics create a bigger sound. 
B)  phase cancellations are prevented. 
C)  the direct/reverb ratio can be adjusted after the concert. 
D)  redundancy. 
A)  more mics create a bigger sound. 
B)  phase cancellations are prevented. 
C)  the direct/reverb ratio can be adjusted after the concert. 
D)  redundancy. C

Question 2

The sound of an on-location recording of classical music is determined mainly by ______________.

Accepted Answer

A)  the mic preamps. 
B)  the microphones and their placement. 
C)  the quality of the digital recorder. 
D)  the EQ 
A)  the mic preamps. 
B)  the microphones and their placement. 
C)  the quality of the digital recorder. 
D)  the EQ B

Question 3

Microphones should generally be placed __________________.

Accepted Answer

A)  near the back of the hall to pick up room acoustics. 
B)  closer to the ensemble than a good live listening position. 
C)  farther from the ensemble than a good live listening position. 
D)  the same distance as a good live listening position. 
A)  near the back of the hall to pick up room acoustics. 
B)  closer to the ensemble than a good live listening position. 
C)  farther from the ensemble than a good live listening position. 
D)  the same distance as a good live listening position. B

Question 4

When editing a concert recording, _______________.

Accepted Answer

A)  consider using room tone. 
B)  delete sounds before each composition. 
C)  apply EQ if needed. 
D)  shorten the applause if it is too long. 
E)  all of the above. 
A)  consider using room tone. 
B)  delete sounds before each composition. 
C)  apply EQ if needed. 
D)  shorten the applause if it is too long. 
E)  all of the above.

Question 5

To record an orchestra, you need ______________.

Accepted Answer

A)  two or three microphones, or a stereo microphone raised up high. 
B)  a microphone on every instrument. 
C)  a stereo microphone near the back of the audience. 
D)  a stereo microphone at ear height. 
A)  two or three microphones, or a stereo microphone raised up high. 
B)  a microphone on every instrument. 
C)  a stereo microphone near the back of the audience. 
D)  a stereo microphone at ear height.

Question 6

The purpose of spot microphones is to __________________.

Accepted Answer

A)  turn down a section of an orchestra if needed. 
B)  enhance detail and improve the balance. 
C)  amplify certain instruments. 
D)  focus on one instrumental section. 
A)  turn down a section of an orchestra if needed. 
B)  enhance detail and improve the balance. 
C)  amplify certain instruments. 
D)  focus on one instrumental section.

Question 7

To get a "ballpark" recording level before a concert, _______________.

Accepted Answer

A)  set the level to peak around -20 dBFS as the orchestra is tuning up. 
B)  set the level on the first composition. 
C)  set the level to -20 dB. 
D)  let a compressor control the recording level. 
A)  set the level to peak around -20 dBFS as the orchestra is tuning up. 
B)  set the level on the first composition. 
C)  set the level to -20 dB. 
D)  let a compressor control the recording level.

Question 8

An advantage of mid-side recording is ________________.

Accepted Answer

A)  deeper low-frequency response. 
B)  the sides of the room are picked up. 
C)  the stereo width can be adjusted after the concert. 
D)  no hole-in-the-middle. 
A)  deeper low-frequency response. 
B)  the sides of the room are picked up. 
C)  the stereo width can be adjusted after the concert. 
D)  no hole-in-the-middle.

Question 9

If you are recording an orchestra concert and the mics must be inconspicuous, ______________.

Accepted Answer

A)  hang them on fishing lines. 
B)  put them on the stage floor. 
C)  put them in an audience seat. 
D)  use a mini mic clipped onto each instrument. 
A)  hang them on fishing lines. 
B)  put them on the stage floor. 
C)  put them in an audience seat. 
D)  use a mini mic clipped onto each instrument.

Question 10

If you need to record deep low frequencies such as a pipe organ, a good microphone choice is ____________.

Accepted Answer

A)  a hypercardioid condenser microphone. 
B)  an omnidirectional dynamic microphone. 
C)  a cardioid ribbon microphone. 
D)  an omnidirectional condenser microphone. 
A)  a hypercardioid condenser microphone. 
B)  an omnidirectional dynamic microphone. 
C)  a cardioid ribbon microphone. 
D)  an omnidirectional condenser microphone.

Question 11

The purpose of raising the microphones is ________________.

Accepted Answer

A)  to prevent theft. 
B)  pick up the violins from above. 
C)  prevent overly loud pickup of the ensemble's front row relative to the back row. 
D)  prevent feedback if your mics are also being used for PA. 
A)  to prevent theft. 
B)  pick up the violins from above. 
C)  prevent overly loud pickup of the ensemble's front row relative to the back row. 
D)  prevent feedback if your mics are also being used for PA.

Question 12

If the recording venue sounds "dead" or lacks reverberation, __________________.

Accepted Answer

A)  leave it alone -- that is the true sound of the venue. 
B)  add artificial reverb. 
C)  add extra microphones. 
D)  add acoustic absorption to the walls. 
A)  leave it alone -- that is the true sound of the venue. 
B)  add artificial reverb. 
C)  add extra microphones. 
D)  add acoustic absorption to the walls.

An advantage of using a close mic pair and a distant mic pair is _____________.

The sound of an on-location recording of classical music is determined mainly by ______________.

Microphones should generally be placed __________________.

When editing a concert recording, _______________.

To record an orchestra, you need ______________.

The purpose of spot microphones is to __________________.

To get a "ballpark" recording level before a concert, _______________.

An advantage of mid-side recording is ________________.

If you are recording an orchestra concert and the mics must be inconspicuous, ______________.

If you need to record deep low frequencies such as a pipe organ, a good microphone choice is ____________.

The purpose of raising the microphones is ________________.

If the recording venue sounds "dead" or lacks reverberation, __________________.

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

Judging Sound Quality

Midi and Loops

Session Procedures

Mastering and Cd Burning

On-Location Recording of Popular 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 20: On-Location Recording of Classical Music

An advantage of using a close mic pair and a distant mic pair is _____________.

The sound of an on-location recording of classical music is determined mainly by ______________.

Microphones should generally be placed __________________.

When editing a concert recording, _______________.

To record an orchestra, you need ______________.

The purpose of spot microphones is to __________________.

To get a "ballpark" recording level before a concert, _______________.

An advantage of mid-side recording is ________________.

If you are recording an orchestra concert and the mics must be inconspicuous, ______________.

If you need to record deep low frequencies such as a pipe organ, a good microphone choice is ____________.

The purpose of raising the microphones is ________________.

If the recording venue sounds "dead" or lacks reverberation, __________________.

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

Judging Sound Quality

Midi and Loops

Session Procedures

Mastering and Cd Burning

On-Location Recording of Popular 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