C4 Markscheme

Question 1

When programming MIDI drums, state why the length of the notes makes no
difference to the sound. (1)

Answer 1

One shot samples (1).
Note off ignored (in drum samples) (1).
The length is governed by the envelope not the MIDI data (1).

Question 2

Note velocity has a range of 0–127. State how many bits MIDI uses to
represent these values.

Answer 2

7 bits (accept 8).

Question 3

All drum sounds have note velocity of 98. Calculate the value of 98 in binary.

Answer 3

1100010 (1)
01100010 (1)

Question 4

Describe how this bass part would translate when playing back on an internal
mobile phone speaker. (3)

Answer 4

It would sound tinny/thin/quiet (1)
Bass/low frequencies wouldn’t be reproduced (1)
Below 100Hz-800Hz (1)
Extra distortion could be introduced (1)
No woofer / small speaker (1)
Designed for human voice (1)
The distortion on the original track creates mid/high
frequencies (1)
There are some mid/high frequencies that could be
reproduced (1)
Allow: Mono (1)

Question 5

Explain why the envelope settings cab cause a click (2).

Answer 5

Release too short / 0ms (1)
Cuts waveform mid-cycle / cuts waveform when it’s not at 0 displacement / credit a diagram showing waveform cut mid-
cycle (1)

Question 6

An insert increases a piano’s sustain. Identify the processor.

Answer 6

Compressor

Question 7

An insert detunes the piano and gives a mono piano stereo width.
Identify the processor.

Answer 7

Chorus

Question 8

A compressor reduces dynamic range. Give a reason why a recording
engineer would compress a rap vocal.

Answer 8

Control the peaks (1)
Keep volume consistent (1)
Increase average/RMS level (1)
Help vocal sit in the mix (1)

Question 9

State a disadvantage of compressing a rap vocal.

Answer 9

Increase noise (1)
Increase volume of breaths (1) NOT plosives
More reverb (1)
Increases sibilance (1)

Question 10

Hand held microphone (A03)

Answer 10

Dynamic microphone
(because handheld) (1)
Some vocal performers
prefer handheld
microphone / suits rap style
(1)
Working the mic / closer and
further away to control
dynamics (1)
[A04]

Question 11

Cardioid (1)

Answer 11

Rejects reverb / noise (1)

Question 12

Low frequency noise (1) [A03]

Answer 12

Cable movement/vibration
noise (1)
LF cut on EQ would remove
this vibration (1)
Use a cradle (1)

Question 13

Plosives [A03]

Answer 13

Microphone too close / right
up against mouth (1)
No pop shield (1)
SM58 built in pop shield (1)
less effective because close
to diaphragm (1)
LF cut would reduce plosives
(1) [A04]

Question 14

Low frequency heavy [A03]

Answer 14

Microphone too close / right
up against mouth (1)
Proximity effect (1)
LF cut would reduce proximity
effect (1)

Question 15

Headphone spill [A03]

Answer 15

Increased with high shelf EQ
boost (1)
Turn down headphone volume (1) [A04]

Question 16

High shelf EQ boost [A03]

Answer 16

Compensates for lack of
high frequencies in dynamic
microphone (1)
Brighter/clearer/air (1)
Cuts through mix (1)
More sibilance / lip smacks
(1) could be reduced by de-
esser (1)

Question 17

The file was downloaded from iTunes using AAC, and then converted to wav.
State how the conversion from AAC to wav affects the file.

Answer 17

There is no significant difference in sound quality. The file size increases.

Question 18

Identify the processor that could have been used to decrease the tempo.

Answer 18

Time stretch.

Question 19

Pitch Correction

Answer 19

Used to tune parts.

Question 20

Compressor is first
in the chain.

Answer 20

Reduces dynamic
range.
Prevents clipping of EQ pedal.
One compressor knob gives easy application of
compression.
One compressor knob controls ratio / threshold / make-up gain.
Adds sustain.
Compression for slap bass.

Question 21

Graphic EQ.

Answer 21

7 bands.
Affects volume of
different
frequencies.
In a performance situation, a good visual representation of
the EQ curve.

Question 22

Low frequencies
boosted (EQ).

Answer 22

Could make the bass boomy/muddy.
Large (overall) level increase. Could cause distortion.
Could mask kick drum.

Question 23

High frequencies
cut (EQ).

Answer 23

Removes hiss. Hiss would be increased by the distortion.
Removes attack/pluck.
Removes fret noise.
The bass will sound dull/muffled/warm.
If slap technique used, timbre would be adversely affected.

Question 24

Level (EQ)

Answer 24

Unity gain.
Level should be reduced to compensate (for increase in
bass level). Compressor after EQ would control level
increase.

Question 25

Overdrive Gain

Answer 25

Gain adds distortion. (High gain) = very distorted. Adds harmonics. Adds higher frequencies / brighter. Gritty / grungy / dirty / harsher. Restores brightness/HF removed by EQ. (High gain) distortion unusual in funk.

Question 26

Balance controls, wet/dry mix (bass overdrive).

Answer 26

There will be unprocessed/dry signal present alongside the distorted signal. Dry signal helps clarity of low frequencies. Common in bass guitar pedals to have both dry and distorted signal present while this would be unusual in electric guitar pedals

Question 27

Two band EQ (bass).

Answer 27

EQ affects volume of different frequencies. Flat / EQ makes no difference. EQ shapes the signal after distortion. Reduction of high frequencies could reduce harshness of distortion. Reduction of high frequencies could emulate a speaker cabinet.

Question 28

Level/ Output (Overdrive).

Answer 28

(High gain) very distorted. Adds harmonics. Adds higher frequencies / brighter. Gritty / grungy / dirty / harsher. Restores brightness/HF removed by EQ. (High gain) distortion unusual in funk.

Question 29

Band pass filter / low pass filter (wah)

Answer 29

Wah is common in funk.

Question 30

Attack (wah).

Answer 30

Attack is the time taken for the cut off frequency to rise. Gradual wah effect on each note. Rising of cut off frequency / sweeping filter.

Question 31

Freq is the cut off =frequency (wah).

Answer 31

The starting cut off frequency before the filter opens. A medium setting means the starting cut off frequency will be in the range of most bass notes. Beginnings of notes won’t be so heavily filtered that they don’t sound.

Question 32

Sens is the sensitivity to volume (wah).

Answer 32

A medium setting means that most notes will have wah effect. Quiet notes may not trigger the wah. Depends on how hard the player hits strings

Question 33

Incorrectly plugged in to guitar socket (wah).

Answer 33

Not suited to bass guitar. Affects frequency response. Affects the frequency range of the wah effect. Could be deliberate to process more mid-high frequencies. Suitable for slap/funk.

Question 34

Auto wah effect (Nothing plugged into the expression pedal socket)

Answer 34

Nothing plugged into the expression pedal socket so there will be no manual control of the frequency.

Question 35

Broad frequency range (wah).

Answer 35

Broad frequency range so wah filter has greater effect. Allow: EQ mids cut so wah less effective.

Question 36

Wah after distortion in chain

Answer 36

Wah after distortion in chain so wah filter works on distorted signal.

Question 37

Jack / TS. 1/4inch.

Answer 37

Unbalanced Prone to hum/noise.

Question 38

Unbalanced cables (short)

Answer 38

Reduces hum/noise.

Question 39

Overdrive/EQ bypassed.

Answer 39

Pedals may be engaged or bypassed at any point in the performance. Signal flow starts with processing, then effects.