Question 1

The sound of an on-location recording of classical music is determined mainly by ______________.&#10;A) the mic preamps.&#10;B) the microphones and their placement.&#10;C) the quality of the digital recorder.&#10;D) the EQ

Accepted Answer

The sound of an on-location recording of classical music is primarily determined by the microphones and their placement. Mic preamps and digital recorders can affect the sound to some extent, but the choice and placement of microphones is key to capturing the desired sound of the instruments and their acoustic environment. EQ can be used in post-production editing to further shape the sound, but it is not the primary factor in determining the initial recording quality.

Question 2

To record an orchestra, you need ______________.&#10;A) two or three microphones, or a stereo microphone raised up high.&#10;B) a microphone on every instrument.&#10;C) a stereo microphone near the back of the audience.&#10;D) a stereo microphone at ear height.

Accepted Answer

Two or three microphones, or a stereo microphone raised up high, is the best choice for recording an orchestra. Placing a microphone on every instrument or using a stereo microphone near the back of the audience may result in an unbalanced or distant sound. A stereo microphone at ear height may also not capture the full range and depth of the orchestra.

Question 3

If you need to record deep low frequencies such as a pipe organ, a good microphone choice is ____________.&#10;A) a hypercardioid condenser microphone.&#10;B) an omnidirectional dynamic microphone.&#10;C) a cardioid ribbon microphone.&#10;D) an omnidirectional condenser microphone.

Accepted Answer

Omnidirectional condenser microphones are able to capture low frequencies more accurately and evenly compared to directional microphones. This is because they pick up sound from all directions, allowing for a more natural and balanced sound. Additionally, condenser microphones have a thinner diaphragm compared to dynamic microphones, which allows them to respond to and capture low frequencies more effectively.

Question 4

If the recording venue sounds &#34;dead&#34; or lacks reverberation, __________________.&#10;A) leave it alone -- that is the true sound of the venue.&#10;B) add artificial reverb.&#10;C) add extra microphones.&#10;D) add acoustic absorption to the walls.

Accepted Answer

Adding artificial reverb can help add depth and dimension to the recording by simulating the sound of a different environment without changing the natural acoustics of the venue. The other options are unlikely to improve the overall sound quality in this case.

Question 5

The purpose of raising the microphones is ________________.&#10;A) to prevent theft.&#10;B) pick up the violins from above.&#10;C) prevent overly loud pickup of the ensemble's front row relative to the back row.&#10;D) prevent feedback if your mics are also being used for PA.

Accepted Answer

Raising the microphones helps to prevent overly loud pickup of the ensemble's front row relative to the back row. This helps to create a more balanced sound and prevent certain instruments or sections from overpowering others.

Question 6

If you are recording an orchestra concert and the mics must be inconspicuous, ______________.&#10;A) hang them on fishing lines.&#10;B) put them on the stage floor.&#10;C) put them in an audience seat.&#10;D) use a mini mic clipped onto each instrument.

Accepted Answer

Hanging microphones on fishing lines allows them to be placed above the orchestra inconspicuously, capturing the sound without being visually obtrusive.

Question 7

To get a &#34;ballpark&#34; recording level before a concert, _______________.&#10;A) set the level to peak around -20 dBFS as the orchestra is tuning up.&#10;B) set the level on the first composition.&#10;C) set the level to -20 dB.&#10;D) let a compressor control the recording level.

Accepted Answer

Setting the level to peak around -20 dBFS as the orchestra is tuning up will give a good starting point for recording levels before the concert. This allows enough headroom to prevent clipping while also ensuring a decent recording level.

Question 8

Microphones should generally be placed __________________.&#10;A) near the back of the hall to pick up room acoustics.&#10;B) closer to the ensemble than a good live listening position.&#10;C) farther from the ensemble than a good live listening position.&#10;D) the same distance as a good live listening position.

Accepted Answer

Microphones are typically placed closer to the ensemble than a good live listening position to ensure clear pickup of the sound source, minimizing room acoustics and external noise.

Question 9

An advantage of using a close mic pair and a distant mic pair is _____________.&#10;A) more mics create a bigger sound.&#10;B) phase cancellations are prevented.&#10;C) the direct/reverb ratio can be adjusted after the concert.&#10;D) redundancy.

Accepted Answer

By using a close mic pair and a distant mic pair, the engineer can adjust the direct/reverb ratio after the concert. This allows for greater control over the overall sound and balance of the mix. Redundancy can be achieved with fewer mics, and using more mics does not necessarily create a bigger sound. While using multiple mics can help prevent phase cancellations, this is not the primary advantage of using a close/distant mic setup.

Question 10

An advantage of mid-side recording is ________________.&#10;A) deeper low-frequency response.&#10;B) the sides of the room are picked up.&#10;C) the stereo width can be adjusted after the concert.&#10;D) no hole-in-the-middle.

Accepted Answer

Mid-side recording allows for adjustment of stereo width during post-production, which is a significant advantage for sound engineers.

Question 11

The purpose of spot microphones is to __________________.&#10;A) turn down a section of an orchestra if needed.&#10;B) enhance detail and improve the balance.&#10;C) amplify certain instruments.&#10;D) focus on one instrumental section.

Accepted Answer

The answer of The purpose of spot microphones is to...

Question 12

When editing a concert recording, _______________.&#10;A) consider using room tone.&#10;B) delete sounds before each composition.&#10;C) apply EQ if needed.&#10;D) shorten the applause if it is too long.&#10;E) all of the above.

Accepted Answer

The answer of When editing a concert recording, _______________.&#10;A) consider...

Deck 20: On-Location Recording of Classical Music