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Assigned Listening > Weekly Questions > Flashcards

Weekly Questions Flashcards

1
Q

The EMU Studio 1 recording space has room to record

A

a jazz big band

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2
Q

In the presentation PDF on p.41, why is the piano player wearing headphones?

A

Without his own personal cue send featuring his piano, he would be forced to play too hard to hear himself.

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3
Q

In the presentation?PDF?on p.36, why is there protective acoustic foam and duct tape securing the Neumann to the mic stand?

A

Because without the expensive and delicate mic stand attachment that some one thoughtlessly broke there was no other way to use the mic

This is such an important point it is well worth reiterating it!!

Handle with EXTREME caution

It is a sin to have to mount this fine piece of equipment this way

A Neumann without the expensive and delicate mic stand attachment is about as much use as a hammer in a sessionif you can’t find some protective acoustic foam and duct tape

Because without the expensive and delicate mic stand attachment that some one thoughtlessly broke there was no other way to use the mic

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4
Q

The Avalon AD 2022

A

Is an excellent mic preamplifier

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5
Q

Neumann U 87s should be handled with care because

A

They are delicate and extremely expensive

Are comparatavely heavy and can easily topple an ordinary mic stand

Feature a very delicate mounting attachment

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6
Q

The EMU Studio 1 recording space has facility to connect

A

32 microphones if necessary

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7
Q

In reference to unused audio files

A

Leave them where they are - Hard drive space is cheap

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8
Q

In the presentation?PDF?on p.39, why is there 2 stripes of tape on the mic?

A

To identify it easily among others like it

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9
Q

The Patchbay

A

Provides flexiblility to the studio configuration

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10
Q

P.12 of this week’s PDF features two SSL signal processing modules. The one on the right is a ..

A

Eq module

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11
Q

On page 4 of the PDF for this week - the 6 channel mixer has a button marked ‘slate’

A

It’s used in association with the mic to its left

It is used to print engineer announcements to tracks to help identify takes

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12
Q

PFL stands for

A

Pre fader level (or listen)

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13
Q

P.21 of this week’s PDF features a photo of Fantasy studio’s control room - why is there so much wood.

A

Wood has some very favorable acoustic properties when used appropriately in recording studios.

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14
Q

P.22 of this week’s PDF features a large machine. It is a..

A

Studer 24 track 2 inch tape deck

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15
Q

Low impedance mic cables -

A

feature a 3 pin connector on one end

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16
Q

A split configuration console

A

Uses separate modules for mic inputs and playback returns

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17
Q

P.8 of this week’s PDF features a blue Neve signal processing module. It is a..

A

Mic pre/ Eq module

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18
Q

Inserts are used to

A

access outboard equipment

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19
Q

The low cut 75Hz 18db/octave switch on a Mackie mixer’s input is used for

A

Removing low frequency rumble

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20
Q

An omnidirectional microphone is

A

essentially equally sensitive to sound arriving from any direction

often used in a set of three in a Decca tree configuration in orchestral sessions

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21
Q

Ribbon microphones

A

were once very popular with vocalists in the 1940s

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22
Q

A cardioid mic pattern is essentially

A

heart-shaped

good at rejecting sound from the rear

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23
Q

Microphones that exhibit a figure of 8 response

A

useful for back up singers facing each other

are less sensitive to sounds arriving at the sides

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24
Q

The Shure SM 58

A

works like a speaker in reverse

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25
Q

An unbalanced connection

A

is used for guitars and other musical instruments to plug into an amplifier

uses two-wires only

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26
Q

Small diaphragm condenser mics like the Rode NT5

A

are best used on sound sources that contain significant high frequency components

exhibit superior transient response to dynamic mics

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27
Q

The Shure SM 52

A

is a large diaphragm dynamic, capable of withstanding high sound pressure levels

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28
Q

Coils of wire are used in guitar pickups in order to

A

allow a current to flow when a magnet is moved within the coil

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29
Q

Acoustic recordings required many aspects of performance to be adjusted - these included

A

tempo; in order to squeeze performances into the limited playing time

orchestration; since many instruments (such as bass) were simply incompatible with the recording process.

the use of specialized instruments to accommodate the recording system limitations

dynamic range limitation

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30
Q

Before the advent of recordings:

A

music was always performed live

Player pianos could be used to provide musical entertainment

Sheet music was the primary means of dissemination

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31
Q

German engineers were responsible for the development of what recording system during World War 2?

A

tape recording

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32
Q

Player piano rolls …

A

permitted the tempo of performance to be adjusted simply by winding them faster or slower.

when played in a player piano produced a sound which was sonically superior to acoustic recordings on cylinders

used rolls of paper in which holes had been punched corresponding to notes played.

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33
Q

Electrical recording revolutionized the making of records by …

A

increasing the frequency range that could be captured

improving the comfort of the musicians

making unnatural instrumental balances possible

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34
Q

In the 1930s and 40s which devices were responsible for increasing the popularity of records …

A

radio broadcasts

juke boxes

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35
Q

Recordings before 1930 were predominantly done:

A

without the benefit of electricity

by the entirely mechanical process of acoustic recording

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36
Q

MTV revolutionized the recording industry by:

A

prioritizing the visual aspects of performance over the sound

challenging touring as the most efficient means of marketing albums

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37
Q

Studer is a famous name in the recording industry. What are they best known for …

A

superior tape recorders

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38
Q

Acoustic recordings suffered as a result of the following issues:

A

They could not be mass produced

frequency range limitations

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39
Q

Guitar styles that exploited the distortion produced by overdriven amplifiers caused issues in the recording studio including

A

leakage into other microphones

the employment of excessive baffling and isolation

booths which reduced the interaction of the ensembles

hearing damage

difficulty in hearing the other players without using headphones

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40
Q

The Haas effect

A

uses phase difference and delay to produce various mix enhancements

exploits our hearing’s ability to localize sounds

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41
Q

The ear can be fooled into perceiving sounds emanating from locations where no speakers are located by

A

using a signal and an inverted polarity copy panned to opposite sides of a stereo soundfield

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42
Q

Guitar amplifiers of the 1950s

A

were generally low powered and compact

had a reputation for being unreliable

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43
Q

Power attenuators like the Altair model PW-5

A

converted a portion of the power amplifier’s output to heat before it was sent to the speakers

allowed guitarists to take advantage of the tonal characteristics of a guitar amp on 10 without the inconvenience of excessive volume levels.

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44
Q

Amp isolation boxes

A

isolate the guitar from the amplifier - thereby reducing the interaction of the strings and speaker

are designed to absorb the sound produced by an amplifier before it reaches microphones of other instruments nearby

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45
Q

The names Hiwatt and Marshall are associated with

A

high powered guitar amplifiers of the 1960s

British amplifier manufacturers

46
Q

The Fender Stringmaster from 1957

A

produced a pure clean sound that served as a model for mid 50s guitar tone

had more than 20 strings and multiple necks

47
Q

The ‘Pignose’ amp represented

A

a return to easily isolated small amplifiers that produced an acceptable distortion at greatly reduced volume

one of a number of devices from the late 1960s early 1970s aimed at prioritizing the requirements of engineers over guitarists

48
Q

Les Paul was

A

a famous American guitarist

an inveterate electronics tinkerer who was responsible for many recording innovations

49
Q

It is prudent to record and keep every vocal track for the following reasons

A

Why not? We have plenty of tracks and you never know when you might need an excerpt from an unsuccessful take

The earliest takes are often the best for vocalists

50
Q

In regard to the tuning of a vocalist’s performance

A

different musical styles exhibit a wide range of pitch tolerances in vocal performances

perfect intonation is not necessarily desirable

51
Q

Phasing issues when double tracking vocalists can be avoided by

A

moving the singer to a slightly different physical location for the double

singing the double at a different time of day

52
Q

Important points to remember when recording vocals include

A

place a cover over music stands to reduce reflections

Using two separate mics set at different gain levels is an effective way to ensure fewer technical issues arise

53
Q

When recording vocals - ideally the compressor should be patched

A

after the mic pre and channel EQ between the channel fader and the Protool input so you can manually ride the gain

54
Q

To avoid excessive headphone bleed when recording vocals

A

unplug any unused headphones in the studio

pan the mix to one side if the singer prefers to only use one earpiece

keep the control room monitors at a conservative level

55
Q

Headphone levels that are too loud can cause

A

ear fatigue

excessive bleed into the microphone

a vocalist to sing consistently flat

56
Q

When recording group vocals it is wise to

A

listen for multiple S and Ts occuring at the end of phrases

designate a group leader who will co-ordinate cut offs etc.

favor the lower voices as they are more likely to be lost in the mix

57
Q

Care must be taken whan using replacement drum programs to ensure that

A

regions are faded gently to avoid unnecessary clicks occuring

the phase relationship between the original drum and the replacement is non destructive

every hit falls within the sensitivity range of the replacement program

58
Q

It is customary to add high frequency EQ to tom mics in order to

A

increase the perception of the impact of the stick on the skin

add “air” to the recordings

counteract the proximity effect that close micing generates in directional mics

59
Q

In order to achieve a satisfactory rock drum sound it is necessary to

A

have them tuned properly

use a drummer who can perform the style in an authentic fashion

60
Q

Drumagog is -

A

an automatic sound replacement program

sensitive to playing dynamics

61
Q

Productions still use live drummers because

A

good ones bring valuable experience and knowledge to the recording session

they are interactive

62
Q

Pre-reverb delay

A

often adds a more natural dimension to artificial reverb devices

is the short delay that occurs before the onset of the multitude of reflections that are perceived as reverberation

63
Q

Technological advances that influenced the evolution of modern drum sounds included -

A

the multitrack tape recorder

digital reverb processors such as the AMS RMX 16

64
Q

Notch filters

A

can remove unwanted resonances from drums

involve EQ settings with an extremely high “Q” factor

65
Q

The modern engineer is well advised to gain the requisite skills to perform the following functions

A

tune drums

accurately record drums

drum programming

enhance drum sounds using drum replacement techniques

66
Q

The use of ProTools has influenced the production of jingles in the following ways

A

Video no longer has to be synchronized mechanically - QuickTime files can be imported

many versions can be edited from a single recording - reducing recording time.

67
Q

The advertising world is a significant source of engineering income because

A

corporate clients generally have larger budgets than band managers to spend on productions

there are opportunities to receive royalties and repeat fees

68
Q

Stripes or Stems are used to

A

facilitate remixes where the entire mix need not be recalled

allow video editors to make minor adjustments to the mix

69
Q

Superscripts are used in TV ads

A

to allow for any price increases to be reflected without recutting the entire video

they can be repositioned easily to emphasize musical hits

70
Q

Rough cut videos and storyboards provide the following functions

A

They often change dramatically before the final video is finished

the help establish the musical style to be used

the give composers a rough idea of the musical cuts necessary to emphasize significant changes in the action

71
Q

Engineers need to be extremely sensitive to the needs of the various people at the session?as a result

A

the engineer must be careful not to undermine the authority of the producer with anything he /she says

different people have different priorities and the engineer must take this into account

72
Q

Knowledge of American jingle production conventions is important because

A

The internet has allowed Australians to compete directly with their USA rivals

It permits you to negotiate the best deal for yourself

73
Q

American music production houses are keen to include gratuitous vocals on jingles for the following reasons

A

vocals are a particularly effective marketting device

vocal contracts in the USA generate significantly higher fees than musicans receive

It?s a way of compensating as many employees as possible -some of whom may have done unsuccessful demos

74
Q

The jingle production path involves many stages which may include

A

a search for appropriate library tracks

discussions which aim to match the product advertised with the type of music used

the commissioning of an original demo recording

the talents of advertising agency personnel who are involved in the development of an advertising campaign concept

75
Q

In relation to the Electric bass

A

it necessitated new recording procedures that affected the other instrumentalists - in particular drummers

it arguably changed the course of popular music

76
Q

The acoustic recording process

A

led to the development of specialized instruments such as the Stroh bass

could accommodate the brash sound of the Tuba-bass quite satisfactorily

effectively prohibited the use of the string bass in the studio

77
Q

Amplification of the string bass became an issue in the 1930 because

A

technique was limited by the awkward set-up necessary to produce the maximum volume of sound from the bass

bands grew larger and louder and venue size increased

radio and records had inured listeners to a more pronounced level of bass that artists wished to reproduce live

78
Q

The Western Electric system of recording

A

Permitted the string bass to be used more effectively on recordings

introduced the employment of microphones to recording

79
Q

In comparing the tuba, acoustic and electric bass the following features can be established

A

The acoustic bass has a more complex envelope than the electric bass

the string bass sound produces a more prominent fundamental than the tuba

the tuba’s envelope decays rapidly as soon as the player stops blowing

80
Q

The Tuba

A

was the preferred bass instrument in the early 1920s

was much louder and carried further than the string bass

Was impervious to inclement weather when used outdoors

81
Q

Tic tac bass

A

refers to a technique wherein the string bass part is doubled by a baritone guitar or electric bass played with a pick

fortified the low end of many country and surf records of the 1950s

82
Q

During the ascendency of early rock ‘n’ roll

A

recordings helped establish the bass as a more important instrument within the ensemble

The string bass proved increasingly ineffective in providing an adequate underpinning

string bass players such as Willie Dixon often disregarded the chord changes entirely since the bass could be only ?”felt but not heard”

the electric bass changed the nature of the bass part in the small ensemble

83
Q

The String bass

A

provided a highly desirable underpinning for early jazz musicians that the primitive acoustic recording process was unable to capture

was easily drowned out by other instruments

84
Q

If we backup our session to another hard drive we need to -

A

ensure we have selected “All Audio Files” in the “Items to Copy” menu under Save Session Copy

make sure we can open up the back-up copy before we shut down the session

85
Q

Most mix engineers advocate -

A

starting with the rhythm section and working through the instruments leaving the vocals until last

86
Q

Many seasoned mixing engineers still advocate referencing other seminal recordings. This is because..

A

It helps establish a sonic reference in the particular mixing environment you are in

styles change and engineers must remain competitive

87
Q

Modern recording often involves a great deal of track cleaning and track comping. This is because..

A

decisions are postponed until the last minute rather than made on the fly - generating many superfluous tracks

we now have unlimited tracks and tend to overuse them

Mixing is now routinely undertaken by everybody with access to a DAW - not just the highly specialized engineers of yesterday. As a result more mistakes are made.

88
Q

Auto Backup

A

may cause your screen to freeze momentarily on large sessions

is a great work saver if your system experiences a crash or power outage

can save a great deal of time and anxiety if you decide to retrace your steps

89
Q

Using an appropriate mix template -

A

increases efficiency

makes your mix layout more industry compatible

saves time

90
Q

The Fletcher -Munson curves suggest -

A

mixes that sound balanced at high levels have a tendency to be bass deficient at low levels

It’s prudent to listen to a mix at both elevated and low levels in order to get a good balance

if we mix at high levels we need to add more bass because it will be reduced disproportionately when we turn down the volume

91
Q

EQ presets are of limited value because -

A

there are so many other variables at play that no two situations will yield identical results

they discourage experimentation

they encourage us not to listen to the effect of adjusting Eqs as we go

92
Q

Setting all track faders to less than 0db before you start mixing -

A

is not a good idea if all of your tracks were recorded at low levels

helps to avoid your mix levels running into distortion as the song develops in complexity

gives you increased headroom

93
Q

Reverb density refers to -

A

how tightly packed the individual reflections are

94
Q

Slap Echo refers to:

A

a rhythmic delay technique popularized by Sam Phillips in the 1950s

a echo effect traditionally produced using a tape recorder

a single delay of traditionally 125 or 250 milliseconds

95
Q

The first creative use of an artificial reverb chamber on record occurred -

A

1947 in The Harmonicat’s recording of “Peg O’ My Heart”

when Bill Putnam Snr employed a speaker in the studio bathroom and mixed the results into a record he was producing

96
Q

Reverberation can be used

A

to create an artificial sonic environment

to simulate a real space

as a compositional device

97
Q

In the late 1920s the sound of the recording venue was considered

A

important enough to encourage major record companies to carefully select recording sites

a desirable enhancement to the quality of recordings

98
Q

An EMT 140 plate is a

A

large device employing a plate of sheet metal excited by a speaker driver. The resulting waves are then returned to the studio console via contact transducers

an artificial reverb device designed in Germany in the late 1950s

99
Q

The popularity of juke boxes

A

encouraged record producers to limit the reverberation on their recordings

helped the music industry withstand the Great Depression

100
Q

Abbey Road reverb chambers feature -

A

hard ceramic tiled walls and large cylindrical pipes to diffuse the sound waves

a speaker and at least one microphone

101
Q

Reverberant ambience was not featured on early wax recordings because -

A

poor dynamic range of wax discs meant that low level sounds were hidden beneath the noise floor

Recording rooms were generally small and the players were pressed up against the recording device

acoustic recording techniques were too unsophisticated to pickup that level of detail

102
Q

M-S processing

A

can produce changes in spatialization

103
Q

The pitch of the record refers to:

A

the distance between successive grooves in the spiral

104
Q

A lot of out-of-phase low bass on a stereo vinyl record:

A

will create problems with stylus tracking

105
Q

On a mono vinyl LP recording:

A

the stylus moved from side to side as it cut it’s way through the disc

106
Q

Which of the following are NOT the responsibility of the mastering engineer?

A

providing stems for future mixes

107
Q

Control-room monitors traditionally:

A

are placed in a disadvantageous position for sonic accuracy due to reflections from the console

108
Q

M-S techniques may be used in mastering to:

A

manipulate the tracks L+R and L-R information separately

109
Q

Details that might understandably escape the engineer’s attention in the recording studio might include

A

balance ratios between successive songs in a collection

Plosive noises that the mastering engineer’s more sophisticated monitor system might be expected to reveal

110
Q

Why were mastering sessions traditionally so expensive

A

The processes involved are time intensive to do properly

record companies had committed a great deal of money to the project once it had reached the mastering stage and they wanted to protect their investment

to do them properly required a large investment in equipment and the playback environment

111
Q

The term ‘Mastering’ refers to:

A

The term ‘Mastering’ refers to:

Assigned Listening (1 decks)

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