Studio A Proficiency

Question 1

7 steps

Answer 1

STA master fader
GM master fader
STA in grand master select
PGM monitor
ST GM in monitor select
C/R volume
Speaker select/mute in control room station

Question 2

Default input to monitor path

Answer 2

Tape

Question 3

3 outputs for Channel Path

Answer 3

PGM bus
Multitrack bus
Direct out

NO DEFAULT

Question 4

Default input for channel path

Answer 4

MIC

Question 5

Default output for monitor path

Answer 5

Direct Out

Question 6

Cue sends?

Answer 6

Monitor Pre

Use 7/8 fader 1 pre for cues

Question 7

Reverb sends?

Answer 7

Monitor post

Question 8

Where do all aux sends default to?

Answer 8

Monitor Post

Question 9

How do you hear cues?

Answer 9

On Aux (227L), hit AFL Solo

Goes to “aux send output” on patch bay, which is normalled to STA on cue box

Question 10

Comb filtering how to find doubling and cancelling frequencies;

1 mic is a foot away from sound, other mic is 4 feet from sound

Answer 10

Doubling frequency = 1130/wavelength (in feet) OR 3 feet

Cancelling frequency = double the distance (3*2=6)

1130/6= cancelling frequency

Question 11

Mid/Side Example using 17/18

Answer 11

Fader 2 #17 bussed to 17 and 18
Pan fader 1 left and right
Mute fader 2 #17
Calibrate with time -> patch multitape out to fader 2 channel input 18
Assign fader 2 #18 to 17 and open bus (1)
Patch open bus (1) to open channel (fader 2 channel input #33
Phase flip 33
Assign fader 2 #33 to bus 18

Question 12

Aux 9/10

Answer 12

Makes aux send 9/10 feed bus matrix 1-8

Question 13

FDR 1

Answer 13

Takes fader 1 path and feeds it to fader 2

Question 14

Film surround order

Answer 14

L C R Ls Rs LFE

Question 15

SMPTE surround order

Answer 15

L R C LFE Ls Rs

Question 16

DTS surround order

Answer 16

L R Ls Rs C LFE

Question 17

Divergence

Answer 17

Bleed to other speakers

More divergence =more discrete panning

Question 18

Inverse Square Law

Answer 18

A 6dB decrease in sound pressure level for every doubling of distance from sound source

Question 19

Moving coil mics

Answer 19

Can handle high SPL levels

High noise floor

Low sensitivity

Question 20

Ribbon mics

Answer 20

Smooth frequency response

Low sensitivity

Low max SPL

Question 21

IAD

Answer 21

Interaural amplitude differences

Question 22

ITD

Answer 22

Interaural timing difference

Question 23

Coincident pair

What are examples?

Answer 23

Both diaphragms are equidistant from sound source

Mono compatible

XY

Blumlein

M/S

Question 24

ORTF

Answer 24

Near coincident

2 cardioids at 110 degree 17cm apart

Question 25

NOS

Answer 25

Near coincident

2 cardioids @ 90 degrees 30 cm apart

Question 26

3:1 rule

Answer 26

About multiple mics on multiple instruments

When 2 or more mics are used on 2 or more sound sources, each mic should be 3X further from adjacent sound source as it is from its own sound source

3x = 10dB drop

Question 27

Encoding

Answer 27

Taking multiple discrete channels and converting to 2 channel mix

Lt/Rt left total and right total

Question 28

Bass mgmt

Answer 28

Determines what subwoofer content will be on playback

• LFE channel
• all bass from all channels that is below cutoff frequency

Question 29

Bass redirect

Answer 29

Mutes or unmutes low frequency signals filtered out of full-range channels (all signals that fall below the bass mgmt filter cutoff frequency)

Question 30

Differences in line, mic, and instrument level

Answer 30

Line = 0VU = 1.228 V = +4 dBU
Low impedance

Mic level = low impedance

Instrument level = high impedance

Question 31

Setting up LFE channel

Answer 31

Use fader 2 as LFE feed
FDR 1 button
Fader 2 assigned to open bus (1)
Multitrack bus (1) patched to LFE filter
Patch FLT out to Surround Fader In LFE