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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. Tip-Ring-Sleeve connector; Common






3. 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)






4. 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.






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






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






7. 60 ? -40 db (roughly -50 dB)






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






9. Signals are routed to the multitrack recorder (MTR) using the channel path and signals are monitored from the MTR through the monitor path. (Channel Path ? Routing Matrix ? MTR)






10. 'Standard' level at which the inputs and outputs of domestic and professional sound equipment operate.






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






12. The outputs of each track on the multi- track tape machine; Half- normalled to the Channel Line Inputs.






13. Wire that carries a signal.






14. 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.






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






16. Signal looses strength as it travels down the channel.






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






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






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






20. To patch the signal into a 'Mult' in order to split it and route it to several destinations.






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






22. Shifts the proportion of sound from any point left to right between two output busses and the two loudspeakers necessary for reproducing a stereo sound.






23. 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.






24. 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).






25. The negative electrode in an electrical circuit.






26. Mechanical metering device where a needle moves to display average level. (VU = Volume Unit)






27. Assigns console signal to the headphone amps.






28. 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).






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






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






31. The positive electrode in an electrical circuit.






32. The art of deciding where to place a processor in signal flow based on how that processor will be influenced by the other processors in the path.






33. The total amount of opposition to the flow of current.






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






35. Takes the audio spectrum and divides it into a number of separate bands of frequencies called bandpasses. Each separate bandpass is then amplified independently in order to drive separate loudspeaker components - each of which reproduce a band of fre






36. Where the global controls for the console are located; Contains master controls for mixing bus outputs - reverb send and return - master fader - and multiple other functions.






37. A set of input and output jack connectors (jacks) that allow direct connectivity between all and any of the audio signals with every piece of equipment in the room.






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






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






40. The audio signal automatically flows between a vertical pair of patchbay jacks without the need for patch cables.






41. Patching one end of the cable into a input so there is no signal.






42. 10dB






43. Where the microphone signal enters the control room; Commonly fully normalled to the Channel Mic Inputs; Could also be viewed as tielines between tracking rooms and control room.






44. Measures average voltage level of signal; Relatively slow response; Displayed level depends on amplitude and duration of signal.






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






46. To add something to the signal path across an I/O - the stereo bus - etc.






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






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






49. Patch point where the stereo cue mix leaves the console.






50. Professional patchbay connectors allowing for more jacks in a single row - typically 48 jacks per row; The tip of the connector carries the in - phase signal - the ring of the connector carries the out- of- phase (low) half of the signal - and the sl

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