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Recording Consoles

Subject : engineering
Instructions:
  • Answer 50 questions in 15 minutes.
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  • Match each statement with the correct term.
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This is a study tool. The 3 wrong answers for each question are randomly chosen from answers to other questions. So, you might find at times the answers obvious, but you will see it re-enforces your understanding as you take the test each time.
1. Bus compression refers to compression of the stereo (or multichannel) mix; Can be done with stereo units or linked mono units; The most famous bus compressor is the SSL.






2. Assigns console speakers to the studio loudspeakers.






3. The in - line console used in RCO labs at Full Sail University; Short fader is the Channel Fader feeding the routing matrix and the long fader is the Monitor Fader feeding the stereo bus.






4. Stereo inputs of external stereo devices to the control room section via the control room monitor source switches in the master section.






5. 10dB






6. The path an audio signal takes from source to output.






7. An audio connection point intended to be used for a limited time.






8. The operating level at which an electronic signal processing device is designed to operate.






9. A pair of summing amplifiers that are used to create the main stereo mix.






10. The outputs of each individual bus located in the routing matrix of the console; Half- normalled to the Multi-Track Sends.






11. Three- pin plug for three- conductor 'balanced' audio cables employed with high- quality microphones - mixers - and other audio equipment.






12. First and most important path of the console audio chain; Mic input (source) ? MTR (destination);






13. Wire that carries a signal.






14. Buttons at the top of each I/O that assign signal to the MTR; ACN ? 'Active Combining Network'; Made up of many summing amplifiers referred to as a buss or group.






15. Second part of the console audio chain. MTR (source) ? Speakers (output source)






16. Voltage Controlled Amplifier; Amplifier determines output level; Can be remotely controlled for automated mixing; Often the 'large' or 'long' fader on large format consoles.






17. Signals come back from the MTR using the channel path with the option of using the monitor path to bring more signals into the mix. (Channel Path ? Stereo Bus ? 2-Track (L/R) Recorder)






18. Common mode signals (signals appearing in phase in a differential circuit) are canceled at the input of the destination gear when the differential signal is combined; RFI (Radio Frequency Interference) or EMI (Electro- Magnetic Interference) picked u






19. Designating sound transmission from two sources through two channels.






20. Plugging into the upper front- panel jack does not break the connection between the upper and lower rear- panel jacks - while plugging into the lower front panel jack breaks the connection; Signal can be COPIED to a different input; Preferred in the






21. Tip-Ring-Sleeve connector; Common






22. Input to the microphone preamp; Fully normalled to prevent a microphone from being connected to two I/O's simultaneously when a cross patch is made.






23. The upper return feeds the Channel Path for Mix Status (when mixing a project); The lower return feeds the monitor input during Record Status (when tracking the project).






24. +4db






25. Direct Injection Box; Used to take signals from gear and instruments that are typically unbalanced and making the necessary adjustments to connect them to consoles; Balances the signal - and corrects the impedance.






26. Compressing a group of signals together with a single processor.






27. The stereo inputs to the cue system's amplifier.






28. A direct transfer of the audible sound to the mixing console; Microphones work as transducers and convert the audio into an electrical current.






29. An input to the master fader; The place to patch a stereo compressor - should the need arise to compress the entire mix.






30. Patching from one I/O module to another - or from one track on the MTR to another.






31. The inputs to each individual track on the MTR.






32. The paths - or lines - on the motherboard on which data - instructions - and electrical power move from component to component.






33. The connection from the upper row to the lower row is ALWAYS broken when a patch cord is inserted into the lower jack (or input) of the pair.






34. +6dB to +60dB






35. The fader position where the fader does not boost or attenuate the level of the signal sent to it (found at zero on the fader).






36. Console that has two separate sections for the channel paths and the monitor paths.






37. Cables that connect the control room to other rooms in the facility and back.






38. The output of each auxiliary master - of each auxiliary (aux) bus; Used for feeding such things as artificial effects - reverberation devices and loudspeakers used for audiences.






39. Inputs that typically feed the Channel Fader; Choice location for inserting dynamics processors into the signal flow.






40. An op- amp configuration that mathematically adds (or sums) the voltage levels found at two or more inputs.






41. An audio signal that is mixed together and routed through a single audio channel.






42. Console where all paths are contained on one board.






43. A cable in either row breaks the connection and the signal now flows through the cord; Signal can be MOVED to a different input.






44. The negative electrode in an electrical circuit.






45. Little or no active circuitry; Often the 'small' or 'short' fader on large format consoles.






46. The ability of two ears to localize a sound source.






47. The power for pre- amplification in a condenser microphone - supplied by the audio console rather than a battery.






48. A signal path specifically dedicated to sending audio signal to headphones.






49. The positive electrode in an electrical circuit.






50. Boosts output gain of the sound recorded by a microphone to line level volume.







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