Live Sound

1. Why are dynamic cardioid microphones rather than condensers the usual microphone of choice when working live?

Because they are more expensive

Because they are less sensitive, more durable and offer good off-axis rejection

Because they don't need phantom powering

Because they are more sensitive and have a wider frequency response

None if the above

2. The Inverse Square Law indicates that for each doubling of the distance from the source, sound pressure will drop by _____ dB.

2

4

6

8

10

3. An isolation splitter snake is used to

Send 2 or more separate matched output signals from a single input.

Send mic/line signals from one mixer to another

Connect crossover points to different amps

Chain left and right speaker cabinets together

Send signals to fill speakers

4. Feedback will occur when the SPL of the loudspeaker to the mic is _____ to the SPL of the performer to the mic.

+2 dB

+6 dB

Equal

-3 dB

-6 dB

5. The power supply for all of the stage gear should come from:

A power point

A separate phase

A power distribution box

The amp rack

None of the above

6. Crossovers are used to

Separate low/mid/high frequencies to different speakers

Combine low/mid/high frequencies to one speaker

Make sound enjoyable to diverse groups of people

All of the above

None of the above

7. Generally a sound system should be operated _____dB below the onset of feedback.

3

6

10

12

24

8. When setting up the channel inputs for a live production console, if applicable, it is usually best to place which instrument in the 1st position (channel #1)?

The lead vocal

The lead guitar

The snare drum

The bass guitar

The kick drum

9. A direct box is used to

Provide phantom power

Convert a high impedance signal to a low impedance signal

Convert a low impedance signal to a high impedance signal

Provide phantom power and help prevent feedback

None of the above

10. In an outdoor venue, sound propagating into the wind

Will be refracted upward

Will be refracted to the left

Will be refracted to the right

Will be refracted downward

Sound is not affected by the wind

11. When mixing monitors from a FOH console, you should always use the

Aux sends in post fader mode

Aux sends in pre fader mode

Console's VCA's

Console's subgroup outputs

Console's matrix outputs

12. FOH amplifier racks should be placed _______ to the main speaker stacks.

Within 100'

Within 50'

Within 25'

As close as possible

Next to the FOH console, no matter where it's located

13. The best way to increase overall system gain is to

Increase the distance between the sound source and the mic

Decrease the distance between the sound source and the mic

Increase the distance between the loudspeaker and the mic

Decrease the distance between the loudspeaker and the mic

Decrease the distance between the sound source and the mic AND increase thedistance between the loudspeaker and the mic.

14. The person who is known as the _______ will provide a sound reinforcement company with a stage plot of a specific performance set-up.

FOH Engineer

Tour Manager

Foldback Engineer

Stage Technician

Lead Singer

15. For a mono PA system, the FOH console should always be placed

In front of the left or right main speaker stacks, between 30' and 90' from the stage

In the balcony, if there is one

In the center of the room, between 30' and 90' from the stage

On the stage, stage left

In front of the left or right main speaker stacks, between 40' and 100' from the stage

16. In a PA system for the maximum protection, a compressor/limiter should be placed:

Post desk, pre EQ

Post EQ, pre crossover

Post crossover, pre amp

Post amp, pre speaker

Post speaker, pre audience

17. In- ear monitor systems should always be used in conjunction with

EQ's

Digital Delay

Foldback Console

Limiters

Noise Gates

18. A loudspeaker array in a series connection that utilizes 4 speakers each with a spec of 100 watts (continuous) at 4 ohms will require an amplifier that is rated at:

100 watts (continuous) @ 16 ohms

25 watts (continuous) @ 8 ohms

50 watts (continuous) @ 16 ohms

100 watts (continuous) @ 8 ohms

50 watts (continuous) @ 4 ohms

19. What order should the FOH signal processing be wired for the main output bus of a console being used for live sound reinforcement?

Compressors, Eq, crossover, amps

Crossover, compressor, Eq, amps

Eq, compressor, crossover, amps

Gate, compressor, feedback eliminator, crossover

Feedback eliminator, crossover, amps

20. The part of the stage that is enclosed by walls or ceiling is known as _________?

The pit

The wing space

The apron

The proscenium

The green room

21. Maximum Acoustic Gain is defined as:

The maximum allowable level before the power amps clip.

The maximum allowable level before the loudspeakers overload.

The maximum allowable level before the pre-amps clip.

A L/R mix bus VU level of 0 (0VU)

The maximum allowable level before feedback occurs.

22. If delay towers are positioned 200' from the Mains, under perfect atmospheric conditions, how many milliseconds of delay are required to make them reinforce the Mains properly?

50

117

178

225

500

23. How many splits are required to feed a Recording, Foldback, FOH and Broadcast console for a single live performance?

1

2

3

4

It's not possible to split to more than 2 places

24. The headroom of a FOH system may be increased by

Turning down the amplifier's gain knobs

Turning up the output gain of the FOH compressor

Turning up the output gain of the FOH EQ

Adjusting the threshold and ratio of a compressor wired to the consoles main mix bus.

All of the above answers are correct

25. A 15 degree temperature variation will affect the speed of sound to approximately what extent?

2.2 feet per second

5.5 feet per second

10.1 feet per second

16.5 feet per second

20 feet per second

26. If a concert performance has a noise floor of 45dB-spl, a nominal program level of 110dB-spl and a 130dB-spl peak level, what is the dynamic range of this concert?

85 dB

85 dBu

85 dBv

85 dBm

85 dB-spl

27. You are asked to provide a sound system for an outdoor concert festival. The audience seating area is 200' long. You place a full range loudspeaker system that has a sensitivity rating of 110 dB SPL (1watt @ 1 meter) at the front of the seating area. The loudspeaker is capable of handling 500 watts continuous power. What will the maximum SPL be at the back of the seating area?

123 dBu

101dB-spl

94 dB

123 dB-spl

101 dB

28. A concert P.A. should be run with at least ____dB of headroom to be considered adequate.

3 dB

6 dB

9 dB

10 dB

12 dB

29. If a concert has a noise floor of 40dB-spl, a 100dB-spl nominal program level (the average performance level) and a 130dB-spl peak level (the peak level of the performance), what is the headroom requirement for this concert's PA system?

30 dB-spl

90 dB

90 dB-spl

30 dB

45 dBu

30. Using the measurements below, assuming all transducers are omnidirectional, how much available gain is allowed in this system before feedback begins? : Performer to Mic = 1ft (Ds) = 120dB-SPL Performer to Audience = 40ft (D0) Loudspeaker to Mic = 40ft (D1) Loudspeaker to Audience = 60ft (D2)

28.5 dB

35 dB

12.5 dB

88 dB

22.5 dB

Live Sound

1. Why are dynamic cardioid microphones rather than condensers the usual microphone of choice when working live?

2.

What first name or nickname would you like us to use?

2. The Inverse Square Law indicates that for each doubling of the distance from the source, sound pressure will drop by _____ dB.

3. An isolation splitter snake is used to

4. Feedback will occur when the SPL of the loudspeaker to the mic is _____ to the SPL of the performer to the mic.

5. The power supply for all of the stage gear should come from:

6. Crossovers are used to

7. Generally a sound system should be operated _____dB below the onset of feedback.

8. When setting up the channel inputs for a live production console, if applicable, it is usually best to place which instrument in the 1st position (channel #1)?

9. A direct box is used to

10. In an outdoor venue, sound propagating into the wind

11. When mixing monitors from a FOH console, you should always use the

12. FOH amplifier racks should be placed _______ to the main speaker stacks.

13. The best way to increase overall system gain is to

14. The person who is known as the _______ will provide a sound reinforcement company with a stage plot of a specific performance set-up.

15. For a mono PA system, the FOH console should always be placed

16. In a PA system for the maximum protection, a compressor/limiter should be placed:

17. In- ear monitor systems should always be used in conjunction with

18. A loudspeaker array in a series connection that utilizes 4 speakers each with a spec of 100 watts (continuous) at 4 ohms will require an amplifier that is rated at:

19. What order should the FOH signal processing be wired for the main output bus of a console being used for live sound reinforcement?

20. The part of the stage that is enclosed by walls or ceiling is known as _________?

21. Maximum Acoustic Gain is defined as:

22. If delay towers are positioned 200' from the Mains, under perfect atmospheric conditions, how many milliseconds of delay are required to make them reinforce the Mains properly?

23. How many splits are required to feed a Recording, Foldback, FOH and Broadcast console for a single live performance?

24. The headroom of a FOH system may be increased by

25. A 15 degree temperature variation will affect the speed of sound to approximately what extent?

26. If a concert performance has a noise floor of 45dB-spl, a nominal program level of 110dB-spl and a 130dB-spl peak level, what is the dynamic range of this concert?

28. A concert P.A. should be run with at least ____dB of headroom to be considered adequate.

29. If a concert has a noise floor of 40dB-spl, a 100dB-spl nominal program level (the average performance level) and a 130dB-spl peak level (the peak level of the performance), what is the headroom requirement for this concert's PA system?

30. Using the measurements below, assuming all transducers are omnidirectional, how much available gain is allowed in this system before feedback begins? : Performer to Mic = 1ft (Ds) = 120dB-SPL Performer to Audience = 40ft (D0) Loudspeaker to Mic = 40ft (D1) Loudspeaker to Audience = 60ft (D2)