Conditional Logic Quiz

An internal training quiz for new recording-studio interns, with separate sections covering studio cleanliness, services, client communication, recording, mixing, and mastering.

Use this template

Page 1

Name

Nombre

Apellido

Date

Select the quiz you would like to take.

Onboarding & Studio Basics Services & Pricing Client Communication Session Prep & Recording Mixing & Mastering Billing & Delivery

Page 2

1. List 5 tasks that happen on a regular basis that contribute to keeping the studio clean:

2. If you don't know where to put something or where something goes, how would you find out where it belongs?

3. If you're not sure what you should be doing when you come in, how would you find your assigned tasks?

4. If you do not complete everything assigned, how would you report this back to the team?

5. How many weeks will your internship be (minimum)?

6. If you do not know how something is done, who/how could you ask for help?

7. How much time should we spend cleaning up each day we come in?

8. What is the Pass/Fail requirement for your internship?

9. How many personal days do you get as an intern (excused absences)?

10. If you are in for a regular internship day, what are some ways you could spend down time that will be productive?

Page 3

1. What are the 5 main branches of Studio 117's services?

2. What is our standard rate for Audio Production services?

3. What are 2 things we provide for someone doing a project that they wouldn't get from paying session-by-session?

4. What is the rate for someone looking for professional mastering?

5. How many sets of revisions are available to a client who has recorded and paid for mixing?

6. If someone is looking for individual, tailored, and specialized education what service would they be inquiring about?

7. What is the name of the external mixing service run by the Studio and who is the target market?

8. What is the key difference between a basic license, a premium license, and an exclusive license?

9. A client asks if we do custom beats. What is your response? How expensive is this? What is the process?

10. If a customer calls with questions about a service and you're not sure about the answer, what would be the best course of action?

Page 4

1. What are some common ways that we communicate with customers?

2. What is the Studio's Email address?

3. How can you ensure you are logged on to the correct email when sending emails?

4. What is the general course of action if someone reaches out to your personal accounts with questions about Studio 117?

5. What is the name of the service Studio 117 uses to book clients and what is the link for booking?

6. If a client is asking a ton of questions about our general procedure or perhaps wants help with distribution, which section of our website would you recommend them?

7. What are a few questions you would ask a client who is curious but unsure about booking a session?

8. What are a few pieces of client information that are very important to have when booking a session? Why are both of these so important?

9. If a client is looking to work with a specific engineer, what would you tell the client?

10. If you are on a call with someone and they ask how Studio 117 stands out from other studios, how would you respond?

Page 5

1. If you have a session at 3:00, what time should you arrive at the studio?

2. List 5 things you would do to ensure the studio space is clean and presentable to the client

3. If you come into the studio and it is ridiculously hot how could you combat this?

4. What is the name of the programs that need to be open to start a session?

5. What channel do we use for vocals? What about guitars or other instruments?

6. What are the steps to set up the microphone for recording? [Step one - Launch UAD Console mixer.]

7. How do you set up the headphone preamp for a session?

8. What is the main goal of the recording engineer? How does this relate to customer service?

9. What should you do once the client walks through the door?

10. What is the first few things you would ask a client in relation to the session?

Page 6

1. What is the first thing you should ask the client to start the session?

2. If a client does not have a beat file, what are the two things you could offer to do for them?

3. A client wants to use a beat from youtube. How would you get this file and load it into the DAW?

4. Explain the process of finding the BPM and placing the beat on grid

5. How do you make sure that the beginning of the beat doesn't click when bounced (this step is done after placing the beat on the grid)?

6. When setting the client up in the booth, name one thing to ask their preference for and one thing to communicate with them.

7. Once the client is set up in the booth and you are back in the control room, how do you communicate with them?

8. What is the point of the headphone mix? What constitutes a good headphone mix?

9. If an artist wants to hear more of themselves and less of the beat, how would you do this?

10. If an artist wants to hear more beat but the level of their voice is ok, how would you do this?

Page 7

1. When doing a practice take for the headphone mix, what is another thing to be paying attention to as you record?

2. If a client says they hear too much 'echo' on their voice, what could this be caused by?

3. If a client asks to record with autotune on their vocal, how do you set this up in the console?

4. What is the quickest way to find the key of the beat they are recording on?

5. When recording with a client, how many takes do we generally do of any given section? Why do we do this?

6. What is the best way to record a song? Section by section? Straight through takes?

7. In what scenarios is setting a recording loop helpful? What is crucial to keep in mind when using a loop?

8. When doing punch ins, what is important to communicate with the artist about the process?

9. What is the difference between Ad Libs and Ins and Outs

10. Why is track organization and labeling important?

Page 8

1. What is the point of leveling, and why do we level throughout the whole mixing process?

2. What are the two different pitch correction plugins we use?

3. What is the difference in their application?

4. Why don't we offer pitch correction to all of our clients?

5. What do we charge for in-depth pitch correction?

6. What do we call the process of splicing together multiple takes?

7. How does this process relate to the way we record takes and punch-ins?

8. What are a few important things to listen and check for when combining takes together?

10. What is important to keep in mind in terms of time-editing in post?

Page 9

1. What is a signal chain? What is important to remember about your signal chain?

2. What is compression used for? What is the max gain reduction you should see on a vocal?

3. Why does the Fabfilter Pro MB plugin allow more control than the UAD 1176?

4. What is a De-Esser used for? Utilize the term for the frequencies it is applied to combat.

5. What is EQ used for? What method of EQ is used most commonly, especially when beginning a mix?

6. Why do we cut low end out of vocals? What type of EQ curve do we use for this?

7. What are some common time-based effects we use to fill empty space in a piece of audio?

8. what is the audio routing technique we use to blend a signal with specific processing with the 'dry' signal

9. what is a common technique used to group tracks for processing? what is the benefit of doing this?

10. what should you continually be paying attention to as you add plugins and mix (certain plugins will change this)

Page 10

1. List two optional master bus plugins

2. What would their application be? (Plugins listed in question one)

3. List two mandatory master bus plugins as well as their manufacturer

4. What is their application? Why are they mandatory?

5. How much gain reduction should you see on the master bus (maximum)?

6. When bouncing for professional mastering, what file format should you use?

7. How loud should the meter read when bouncing for professional mastering? What about for a standard session?

8. Why do we allow so much headroom for our mastering engineer?

9. In a brief paragraph explain the process of bouncing stems in Logic for external mixing/mastering

Page 11

1. What app do we use for checkout? What color is the app's icon?

2. How can a customer receive $5 off the session they just had? How can they receive $5 off their NEXT session?

3. If a customer pays in cash, where do you leave this money?

4. If a client wants us to continue mixing the song after they leave, how will you communicate this to the team? What is important to communicate about the amount of work left to complete?

5. How do clients pay for out of session work?

6. If a client is looking to do a project but does not want to pay up front for this service, list two alternatives you could provide to them that would allow them to still reap the benefits of a project rather than paying per-session?

7. When delivering session files to the client, what is the most seamless process of doing so? What is in the email system that makes this easy?

8. If a client wants to work with you again, how could they go about doing this?

9. When bouncing a session file to send to the client, decipher the criterium for each of these different file labels: (No Mix) / (Rough Mix) / (Mix 1)

10. Why do we send clients a link to the 'Bounces' folder rather than a link to the file?