Audio Post-Production 
             Center for Audio Recording Arts (CARA)
           School of Music, Georgia State University
                                
			MIDTERM EXAM - Part II

This examination covers the four webpages assigned for your reading
from this index: 
	CD Mastering Defined
	Level Practices
	How to Achieve Depth and Dimension
	Digi-Nary

Instructions:

Print out this page.  Using complete and reasonably detailed answers, respond
to the following questions.  Please type your answers.  Exams that are not
typed will not be graded.  You may turn this examination in via electronic
means - but, be sure to keep both a hard copy (paper) and an electronic copy
in case your data is lost.  Good luck!  

1. What techniques and qualifications should a mastering engineer have?
	Critique our program in terms of these objectives and mandates.
2. Often people get the CDR and Glass Master concepts mixed-up.  Explain
	the difference between these two things. Which is the mastering
	engineer responsibile for?
3. Many people think that when a song is mixed to DAT it is a master.  Why
	is this notion naive?
4. Why is further mastering, after the mixdown stage, often needed to 
	polish and complete musical recordings?
5. Why is repeated copying in the Analogue to Digital and Digital to
	Analogue conversion stream potentially harmful?
6. What does it mean to "keep the music in the digital domain"?
7. What are the pros and cons for analogue processing versus digital
	processing?
8. Discuss audio level practices in CD mastering.
9. What is dither?
10. What is PQ coding?  Why is this essentail to the CD mastering process?
11. Why do CD players today rarely have an "emphasis" circuit?
12. How does one control bass response between monitor systems?
13. What does CD Red Book mean?
14. What are the basic cost structures associated with producing CDs?