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Audio Theory > Final Exam Review Audio Theory > Flashcards

Final Exam Review Audio Theory Flashcards

1
Q

Acoustic Sound Pressure is measured in terms of sound pressure level (db-SPL)

A

True

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2
Q

The ear perceives all frequencies at the same loudness if their amplitudes are the same.

A

True

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3
Q

A studio should be designed to break up paths of sound waves, and reduce flutter echoes.

A

True

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4
Q

When sound reaches a surface, in addition to being partially absorbed and reflected, it diffracts or spreads around the surface.

A

True

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5
Q

Microphones are transducers that convert electrical energy into acoustic energy.

A

False. It is acoustic to electric.

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6
Q

Threshold of human hearing - someone with perfect hearing can hear between 20 Hz and 20,000 Hz.

A

True

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7
Q

Timbre describes sounds tonal quality with transients, harmonics, and overtones.

A

True

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8
Q

Near field studio monitoring should be setup as a isosceles triangle, relative to where you are sitting.

A

False

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9
Q

“Sensorineural Hearing Loss” Occurs when the eardrum or middle ear is damaged by numerous possible factors.

A

False

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10
Q

An out of “phase” sound wave is always because of the signal being out of “polarity”.

A

False

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11
Q

The D in an ADSR Sound Envelope represents “Decay”.

A

True

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12
Q

A dynamic mic can capture more high frequency information than a Condenser microphone.

A

False. A condenser microphone can capture more.

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13
Q

A condenser microphone needs 48 volts of power to function and turn on.

A

True

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14
Q

A super cardioid mic can pick up sound equally in all directions.

A

False

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15
Q

“Frequency Response” refers to +3dB/-3dB where as “Frequency Range” refers to +10dB/-10dB.

A

True

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16
Q

“Binaural Cues” refers to sources arriving from the side will reach the two ears with differences in time of arrival and intensity.

A

True

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17
Q

Ribbon Microphones need “Phantom” power to function

A

False

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18
Q

What are the three of the smallest bones in the body?

A

Malleus, Incus, and Stapes.

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19
Q

A dynamic loud speaker can record sound if you plug it into a microphone input.

A

True

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20
Q

Humans can recognize the pitch of sound between 20 Hz - 20,000 Hz.

A

False

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21
Q

For recoding drums. If you only have 3 mics, use 2 overheads and an independent mic on the kick. If you only have 5 mics, use 1 on the kick, 1 on the snare, 1 on a tom, and 2 overheads.

A

True

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22
Q

There is no right way of miking instruments only methods that have had success.

A

True

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23
Q

Consoles are usually smaller and lightweight compared to mixers.

A

False

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24
Q

An active mic mixer allows for the amplification to the speakers that it connects to.

A

True

25
Q

Sampling is a level component, and quantization is a time component.

A

False

26
Q

MIDI is only good for in-studio recordings.

A

False

27
Q

In acoustics, phase is the relationship between two or more sound waves at a given point in their cycle.

A

True

28
Q

Inverse square law: when the mic-to-source distance doubles, the sound drops 8 dB SPL.

A

False. It drops 6 dB SPL.

29
Q

When miking a piano, open the lid towards the back wall of the room.

A

False

30
Q

A central terminal that facilitates the routing of sound through pathways not provided in the normal console design is a Aux Send.

A

False

31
Q

A fader is typically used to regulate the panning of a channel.

A

False

32
Q

Clipping is a form of waveform distortion that occurs when an audio is overdriven and attempts to deliver an output voltage or current beyond its maximum capability.

A

True

33
Q

Jitter is natural in word-clock signals among digital devices

A

False

34
Q

Ambient miking technique is the technique of choice in studio recordings for most popular music genres.

A

False

35
Q

In audio, synchronization is two or more songs that have the same tempo.

A

False

36
Q

A pop filter helps to stop wind from vibrating/distorting the microphone.

A

False

37
Q

Low latency is badf for tracking live music in the studio.

A

False

38
Q

When two signals are out of Polarity, they are naturally 180 degrees out of phase

A

True

39
Q

44.1 kHz and 16-bit is CD quality.

96 kHz and 24-bit is high end lossless quality.

A

True

40
Q

2kHz -4 kHz Contributes to most of the intelligibility of speech.

A

True

41
Q

90-130 Hz is the Rumble zone.

A

False

42
Q

10 kHz and above is where open, airy, transparent, natural, and detailed frequencies are.

A

True

43
Q

Moderate boosting 5 kHz to 8kHz can add presence without undue harshness or sibilance.

A

False

44
Q

Boosting 180-250 Hz can add “woodiness” to acoustic guitar or bass. Subtractive EQ can reduce murkiness from excessive room tone.

A

False

45
Q

Boosting 60 Hz - 80 Hz Add punch, impact, size, power, and warmth (too much boost eats up headroom)

A

True

46
Q

Humans are most sensitive to 4 kHz - 5kHz.

A

False

47
Q

Moderate boosting 30 Hz - 40 Hz can add low-end punch to sound.

A

False

48
Q

1,000 Hz - 2,000 Hz Can make sound fat, thick, warm, or robust.

A

False

49
Q

500 Hz can add warmth and body to a thin mix.

A

False

50
Q

The cocktail party effect refers to the ability for the human ear to understand multiple sounds simultaneously.

A

False

51
Q

To help maintain definition and intelligibility in a mix, the various sounds should have similar sonic features.

A

False

52
Q

A high pass filter will reduce frequencies above a certain point.

A

False

53
Q

Subtractive EQing means to attenuate the opposite frequency range you want to normal add gain to, then raising the fader to bring up the overall level.

A

True

54
Q

A noise gate is an effect used to create ambient noise.

A

False

55
Q

A parametric EQ allows you to select between gain/attenuation, frequency, and the “Q” (slope/bandwidth).

A

True

56
Q

Compressors must be used on every track to “balance them out”.

A

False

57
Q

Traditionally speaking, Reverb should be the last step in your signal chain of plugins.

A

True

58
Q

The difference between a Mixer and a Control Surface is that a mixer is mobile and control surface only works with your computer.

A

True

Audio Theory (1 decks)

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