Audio Fundamentals RIM 3010 CERTIFICATION EXAM *Q&A* (100% Correct) 2025/2026 |VERIFIED|

Audio Fundamentals RIM 3010 CERTIFICATION EXAM *Q&A* (100% Correct) 2025/2026 |VERIFIED| What is the main responsibility of a music producer during a recording project? A producer manages the overall process, including song selection, arranging, and guiding the artists and musicians during the recording sessions. What role does a music engineer play in the audio production process? A music engineer works on recording, manipulating sound using equalization and electronic effects, and mixing and reproducing audio. Who is primarily responsible for controlling what the audience hears during a live performance? The front-of-house (FOH) engineer has the most influence over the audience's sound experience during a live performance. What is the key responsibility of a monitor engineer during a live show? A monitor engineer ensures that the band and FOH engineer are satisfied with the sound by managing in-ear monitors, microphones, and audio gear. What does a wireless RF system manager do in a live event? The wireless RF system manager oversees all aspects of communication for wireless audio equipment, from planning to installation and testing. Which member of the film crew is in charge of capturing sound on set? The location sound recordist is responsible for recording all sound during filming or television production. What is the purpose of Automated Dialogue Replacement (ADR) in film production? 1 ADR is used to re-record dialogue after filming to improve sound quality or make changes to the script. How does a Foley engineer contribute to the sound of a film? A Foley engineer creates specific audio effects using physical props, such as footsteps or rustling clothing, to enhance the realism of a film. Which stage of production is handled by a post-production engineer? The post-production engineer manages sound design, editing, and audio mixing after the recording process to finalize the audio for release. What type of work does a sound effects engineer typically do? A sound effects engineer creates electronic noises or sounds to emphasize content in musical shows, TV productions, or theatrical performances. What is the role of a radio-broadcast-streaming engineer? A radio-broadcast-streaming engineer works with broadcast systems to manage live broadcasts and sound relay during radio or TV productions. What is the field of study of an acoustician? An acoustician specializes in the science of sound and its properties, including how sound behaves in different environments. Which professional is involved in selling audio equipment and software to customers? Audio equipment sales representatives and manufacturers handle the distribution of audio hardware, software, virtual instruments, and related products. What does the term "acoustics" refer to? Acoustics refers to the properties of a room or building that influence how sound travels and is perceived within it. 2 What does perception of sound entail? Perception is the ability to identify and interpret sounds, assigning meaning to them based on context and experience. In the first stage of sound system setup, what does the microphone do? The microphone acts as a transducer, converting acoustic sound waves into electrical signals. What is the function of a preamplifier in the first stage of sound processing? A preamplifier boosts the weak electrical signal from the microphone to prepare it for further amplification. What happens during the second stage of sound processing? In the second stage, the electrical signal is processed, often converted to digital, and altered with audio effects or processing tools. What is signal processing in the context of audio? Signal processing involves modifying an audio signal, often using effects, to change its properties in either digital or analog form. What does a power amplifier do in the third stage of audio processing? A power amplifier strengthens the audio signal, measured in watts, to drive the speakers and produce sound. How does a speaker system work in the third stage of audio processing? A speaker system converts the amplified electrical signal into acoustical sound, allowing the audience to hear the audio output. What is SPL (Sound Pressure Level)? SPL measures the intensity of sound, expressed in decibels (dB), comparing sound pressure to a reference level, typically the threshold of hearing. 3 What is the typical voltage range for microphone level audio? Microphone level audio typically has a voltage range of -70 dBu to -50 dBu. What is the decibel unit (dBu) used for in audio? The dBu is a unit used to measure sound levels, representing the ratio of a signal's power relative to a reference voltage. What is the typical voltage for line-level audio? Line-level audio typically has a voltage of +4 dBu. Speaker level +30 dBu 25 VAC Intelligibility (ch 1) In speech communication, intelligibility is a measure of how comprehensible speech is in given conditions. ... The concept of speech intelligibility is relevant to several fields, including phonetics, human factors, acoustical engineering, and audiometry. Tonal Balance (ch 1) s how the various frequencies of the music relate to one another. You're not concerned with how each instrument sounds in the mix (that's the job for the mixing stage); instead, you're looking for an overall balance of frequencies within the hearing spectrum. Definition (ch 1) the degree of distinctness in outline of an object, image, or sound, especially of an image in a photograph or on a screen. Dynamic Range(ch 1) -the range of acceptable or possible volumes of sound occurring in the course of a piece of music or a performance. -the ratio of the largest to the smallest intensity of sound that can be reliably transmitted or reproduced by a particular sound system, measured in decibels. Acoustical Appropriateness (ch 1) 4 Source quality (ch 1) the intended change of an audio signal by an audio system should satisfy either the expected or the preferred change in the hearing sensation of an individual listener with a given source sound. sound waves (ch 2) waves elasticity (ch 2) - vibrations will be transmitted into surrounding medium (air) as pressure The property by virtue of which a material deformed under the load can regain its original dimensions when unloaded. The sensitivity of changes in a quantity with respect to changes in another quantity.. The quality of being elastic compression (ch 2) rarefaction (ch 2) frequency (ch 2) an increase in atmospheric pressure a decrease in atmospheric pressure the rate at which something occurs or is repeated over a particular period of t ime or in a given sample. cycles per second (CPS) (ch 2) as a once-common English name for the unit of frequency now known as the hertz. The plural form was typically used, often written cycles per second, cycles/second, c.p.s., c/s, ~, or, ambiguously, just cycles. hertz (hz) (ch 2) Kilohertz (kHz) (ch 2) low end (ch 2) infrasonic (ch 2) human audibility the SI unit of frequency, equal to one cycle per second. 1 k Hz = 1000 Hz low end is the bass relating to or denoting sound waves with a frequency below the lower limit of 5 high end (ch 2) ultrasonic (ch 2) hearing. pitch (ch 2) dealing with brightness of the sound and treble tones of or involving sound waves with a frequency above the upper limit of human the quality of a sound governed by the rate of vibrations producing it; the degree of highness or lowness of a tone. fundamental frequency (ch 2) he lowest frequency produced by the oscillation of the whole of an object, as distinct from the harmonics of higher frequency. sound frequency spectrum (ch 2) octave (ch 2) * look at Power point* a series of eight notes occupying the interval between (and including) two notes, one having twice or half the frequency of vibration of the other. bass (ch 2) -low in pitch; of the lowest pitch or range: -of or relating to the lowest part in harmonic music. low base (ch 2) upper base (ch 2) midrange (ch 2) upper midrange (ch 2) 1st and 2nd octaves (20 Hz- 80 Hz) 3rd and 4th octaves ( 80 Hz- 320 Hz) 5th, 6th and 7th octaves (320 Hz- 2560 Hz) 8th octave ( 2560 Hz to 5120 Hz) 6 treble (ch 2) 9th and 10th octave ( 5120 Hz- 20,000Hz) amplitude (ch 2) is the objective measurement of the degree of change( positive or negative) in atmospheric pressure (rarefaction of air molecules) caused by sound waves. threshold of hearing (Ch 2) threshold of pain (ch 2) dynamic range (ch 2) .0002 Dyne/Sq. cm between 120-130 dB SPL -the range of acceptable or possible volumes of sound occurring in the course of a piece of music or a performance. -the ratio of the largest to the smallest intensity of sound that can be reliably transmitted or reproduced by a particular sound system, measured in decibels. equal loudness principle (ch 2) is a measure of sound pressure (dB SPL), over the frequency spectrum, for which a listener perceives a constant loudness when presented with pure steady tones. The unit of measurement for loudness levels is the phon, and is arrived at by reference to equal loudness contours. phon (ch 2) masking (ch 2) a unit of the perceived loudness of sounds. - alouder sound will cover a softer sound -in order to mask the louder sound music must be in frequency to the softer sound - the frequency are masked by the louder sound is called the masking shadow . *masking graph on Powerpoint * 7 - masking phenomena is used in digital audio data reduction (compression) programs such as MP3 wavelength (ch 2) lamda = v/f ex 1 k Hz has a wavelength of 1.13 ft. 1130 ft/s divided by 1000 Hz = 1.13 ft acoustical phase cancellation (ch 2) the arrival of time differences for the signal at the two microphones results in a boost at certain frequencies and cancellation at other frequencies which will change the timbre or tonal quality of the instrument. constructive interference (ch 2) the interference of two or more waves of equal frequency and phase, resulting in their mutual reinforcement and producing a single amplitude equal to the sum of the amplitudes of the individual waves. destructive interference (ch 2) the interference of two waves of equal frequency and opposite phase, resulting in their cancellation where the negative displacement of one always coincides with the positive displacement of the other. sine wave (pure tone) (ch 2) A pure tone is a tone with a sinusoidal waveform, e.g. a sine or cosine wave. This means that regardless of other characteristic properties such as amplitude or phase, the wave consists of a single frequency. waveform (ch 2) t imbre (ch 2) a curve showing the shape of a wave at a given time. sound "quality" or timbre describes those characteristics of sound which allow the ear to distinguish sounds which have the same pitch and loudness. inharmonic overtone (ch 2) is the degree to which the frequencies of overtones (also known as partials or partial tones) depart from whole multiples of the fundamental frequency (harmonic series). 8 sound envelope (ch 2) attack (ch 2) Attack Decay Sustain Release initial sound of the note initial decay (ch 2) sustain (ch 2) release (ch 2) f irst drop of the note stays the same drops again and fades out pulse code modulation (PCM) (ch 2) a pulse modulation technique in which the amplitude of an analog signal is converted to a binary value represented as a series of pulses. Analog-digital converter (ADC) (ch 2) is a device that converts analog signals into digital signals. Analog information is transmitted by modulating a continuous transmission signal by amplifying a signal's strength or varying its frequency to add or take away data. Digital-to-Analog converter (DAC) (ch 2) an electronic device for converting digital signals to analog form. outer ear (ch 2) Includes 1. Pinna- catch and focus the acoustic waves into the ear canal 2. Auditory canal ( external ear canal)- 1-1.5 in long and has a resonate frequency of about 3 Hz. middle ear (ch 2) Includes 9 1. eardrum- ear drum vibrates as acoustic waves strike it 2. ossicles- vibrations of the ear drum are carried by three bones called the ossicles . the hammer (malleus) anvil ( inches) and stirrup (stapes) they act as a mechanical amplifier ( increased by a factor of about 30) 3. eustachian tubes -an air filled chamber connects to the outside by the eustachian tube, which runs to the back of the mouth. the air pressure between the outside and the middle ear are balanced out by the tube. if tube closes bc of cold/ something else there can be a difference in air pressure between the inside and the outside of the eardrum. This can interfere with hearing and cause damage to the eardrum . inner ear (ch 2) Includes 1. Cochlea- start with the stirrup rests on the oval window( a membrane that is part of the cochlea) is f luid filled. movement of stirrup and membrane cause waves in the fluid. Hydraulic wave passes along the basilar membrane. Nerve firing and carries both amplitude and frequency info to the auditory nerve 2. semicircular canals- temporary threshold shift (TTS) (ch 2) is a temporary shift in the auditory threshold. It may occur suddenly after exposure to a high level of noise, a situation in which most people experience reduced hearing. A temporary threshold shift results in temporary hearing loss. t innitus (ch 2) ringing or buzzing in the ears. psychoacosutics (ch 3) factors sound perception is influenced by physical, biological, and psychological interaural time difference (ITD) (ch 3) - sound arrives at the closer ear first -the time dif between ears for a source at 90 degrees from the faints is about .6 milliseconds (8.5) inches 10 -this equals a 180 degree phase shift between the ears at about 830 Hz. interaural intensity difference (IID) (ch 3) the reason that we can localize the source of a sound accurately is that we have two ears. At each ear, a slightly different signal will be perceived and by analyzing these differences, the brain can determine where the sound originated. binaural hearing ( ch 3) erally means "having or relating to two ears." Binaural hearing, along with frequency cues, lets humans and other animals determine the direction and origin of sounds. Similar to diotic which is used in psychophysics to describe an auditory stimulus presented to both ears. reflected sound (ch 3) follows the law "angle of incidence equals angle of reflection", sometimes called the law of reflection. The same behavior is observed with light and other waves, and by the bounce of a billiard ball off the bank of a table. echo threshold ( ch 3) here as the minimum level at which it was possible to detect that an echo. was present, and masked threshold, defined as the minimum level at which it was possible to detect. that a lagging sound was present at all. Haas Effect (ch 3) did. temporal fusion (ch 3) feeling when you think that you heard something but are not sure if you actually When the distinctive formant transition of a synthetic. syllable is presented to one ear while the remainder (the "base") is. presented to the opposite ear, listeners report hearing the original. syllable in the ear receiving the base—ma phenomenon called "spec-= tral/temporal fusion" precedence effect (ch 3) is a well-studied phenomenon in spatial hearing that is related to how we localize sounds accurately in everyday settings. ... As a result, this late- arriving sound distorts the spatial information conveyed by the direct sound, degrading the spatial cues in the total signal. stereo (ch 3) sound that is directed through two or more speakers so that it seems to surround the listener and to come from more than one source; stereophonic sound. 11 direct sound (ch 3) receiving point. indirect sound (ch 3) Direct sound is that sound which is directly traveling from the source to the ndirect sound means that it is not going directly means say from my mouth to your ear. ... Speaker's sound before it reaches you gets reflected from the wall. early sound (ch 3) early reflections (ch 3) They arrive later than the direct sound, often in a range from 5 to 100 milliseconds, but can arrive before the onset of full reverberation. The early reflections give your brain the information about the size of a room, and for the sense of distance of sounds in a room. reverberation (ch 3) reverberation (decay) time (ch 3) prolongation of a sound; resonance a continuing effect; a repercussion. f lutter echoes (ch 3) It is a series of rapid, repeated reflections caused by soundwaves bouncing around between parallel reflective surfaces. ... I used compression on this sample to bring out the sound of the echo. It sounds like a metallic ringing. noise (ch 3) is generally any unpleasant sound and, more technically, any unwanted sound that is unintentionally added to a desired sound. ... In recording sound, noise is often present on analog tape or low-fidelity digital recordings. The standard audio cassette includes a layer of hiss on every recording. system noise (ch 3) recording, and broadcast systems, audio noise refers to the residual low-level sound (four major types: hiss, rumble, crackle, and hum) that is heard in quiet periods of program. ... Noise is often generated deliberately and used as a test signal for audio recording and reproduction equipment. 12 noise criteria (NC) (ch 3) is a single numerical index commonly used to define design goals for the maximum allowable noise in a given space. They primarily apply to the noise produced by a ventilation system, but they may be applied to other noise sources. transmission loss (TL) (ch 3) represents the amount of sound, in decibels (dB), that is isolated by a material or partition in a particular octave or 1/3 octave frequency band. sound transmission class (STC) (ch 3) is an integer rating of how well a building partition attenuates airborne sound. In the USA, it is widely used to rate interior partitions, ceilings/floors, doors, windows and exterior wall configurations (see ASTM International Classification E413 and E90) decoupling (ch 3) is to separate objects. Decoupling to isolate sound is most commonly done with resilient sound clips, resilient channel, or specialty framing like double stud or staggered stud walls. resonance (ch 3) the reinforcement or prolongation of sound by reflection from a surface or by the synchronous vibration of a neighboring object. eigentones (room modes) (ch 3) system. -a tone or one of several tones produced by and characteristic of a vibrating body or -are the collection of resonances that exist in a room when the room is excited by an acoustic source such as a loudspeaker. ... These resonances affect the low-frequency low-mid-frequency response of a sound system in the room and are one of the biggest obstacles to accurate sound reproduction. sound absorption coefficient (ch 3) is a common quantity used for measuring the sound absorption of a material and is known to be the function of the frequency of the incident wave. It is defined as the ratio of energy absorbed by a material to the energy incident upon its surface. 13 porous absorbers (ch 3) This is a model of acoustic absorption by a porous acoustic open cell foam. In porous materials the sound propagates in a network of small interconnected pores. diaphragmatic absorbers (ch 3) Perforated panel absorbers are a type of hybrid absorber. They are a cross between a membrane absorber and a diaphragmatic absorber. ... By definition perforated panel absorbers have perforations on the front panel, that allow for air movement through them into the cabinet insides Helmholtz absorber (ch 3) the sound waves are generated by a uniform stream of air flowing across the open top of an enclosed volume of air. diffraction (ch 3) It is defined as the bending of light around the corners of an obstacle or aperture into the region of geometrical shadow of the obstacle. ... occurs with all waves, including sound waves, water waves, and electromagnetic waves such as visible light, X-rays and radio waves. diffusion (ch 3) , in acoustics and architectural engineering, is the efficacy by which sound energy is spread evenly in a given environment. A perfectly diffusive sound space is one that has certain key acoustic properties which are the same anywhere in the space. ergonomics (ch 3) room size (ch 3) he study of people's efficiency in their working environment. golden ration 1.2:2:3.2 position of equipment (ch 3) furniture. (Ch 3) f loor covering (ch 3) color coding (ch 3) 14 digitAL Audio workstations (DAWs) (ch 3) s an electronic device or application software for recording, editing and producing audio f iles such as musical pieces, songs, speech or sound effects. Resonant Frequency - vibrations will be at the resonant frequency - is the preferred or natural frequency of vibration for that object - overtones of the resonate frequency will also be present Speed of sound harmonic content 1130 ft/ sec in a average humidity at 70. F. t imbre is mainly determined by the harmonic content of a sound such as a vibrato and the ADSR or envelope of the sound. 15