Edexcel A-Level Music Technology Mixing and production overview quiz quiz

Remove all the high frequencies that sit above its cut-off point

Boost the low bass frequencies to give the vocal more body and weight

Remove low-frequency rumble below its cut-off

Add a wash of reverb to place the vocal in a sense of space

A wide band affecting many frequencies

A filter that removes everything below it

A shelf

A narrow band affecting a small range

$1$ dB

$4$ dB

$8$ dB

$0$ dB

Very fast, so the compressor clamps the initial transient as soon as it arrives

Slow, to let the transient through before compressing the body

Switched off entirely so that no attack stage is applied to the signal at all

Set only to the maximum ratio, with the attack control left untouched

Reduces the level of any signals that rise above the set threshold

Adds extra harmonics to enrich and thicken the tone of the signal

Mutes or reduces signals below the threshold

Widens the apparent stereo image of the signal across the field

By hard-clipping the waveform so that its peaks are flattened and harmonics are added

By summing the left and right channels down to a single mono signal at the output

By feeding the signal into a very long reverb tail lasting several seconds

By mixing the signal with an LFO-modulated copy delayed by about $20$ to $40$ ms

Flanger

Chorus

Reverb

Compressor

Purely to save CPU, since one effect instance uses less processing than many inserts

So several tracks can share one space, keeping the mix coherent

To strip out the dry signal completely so that only the wet effect remains audible

To raise the overall bit depth of the recording and so improve its resolution

Removing all of the high frequencies from a track using a steep low-pass filter

Panning two competing sounds hard apart so that they sit on opposite sides

Two sounds in the same frequency region competing so one obscures the other

Adding deliberate distortion to a track in order to thicken and colour its tone

Backing vocals and percussion

All guitars

The reverb returns

The kick, bass and lead vocal

Because hard-panned parts lose level and out-of-phase content cancels when summed to mono

To raise the overall loudness of the finished master before it goes out for release

To change the tempo of the whole track without altering its pitch or the timing of the parts

To make room for adding extra overdubs and additional tracks later in the session

A complete bounced copy of all the audio in the session, ready for export

Changes to a mix parameter over time (an automation curve)

The sample rate and bit depth at which the project session was recorded

The choice of microphone and preamp used to capture each individual track