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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. 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.






2. 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.






3. Tip-Ring-Sleeve connector; Common






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






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






6. 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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7. 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.






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






9. 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






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






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






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






13. 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






14. +6dB to +60dB






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






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






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






18. Outputs from the I/O module after the filters - equalizer - gate - and compressor; Half- normalled to the Channel insert Returns.






19. 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.






20. Another term for Tiny Telephone (TT) connectors.






21. Measures the peak levels of a signal; Quick response; Often displays a peak hold.






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






23. Wire that carries a signal.






24. The output of the stereo bus before the master fader; Normalled to the mix insert returns.






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






26. The line level inputs to the Channel Path; Receive signal from the Multi-Track Returns; Accessed through the board's mic/line switch - allowing line level signals to enter the I/O.






27. 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.






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






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






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






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






32. The main stereo output of the console; Normalled to the inputs of two track recorders.






33. Assigns console speakers to the studio loudspeakers.






34. An exact duplicate of the Multi-Track Return that feeds the Channel Line Input - now half- normalled to the Monitor Path Inputs.






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






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






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






38. 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






39. 14dB to +20dB






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






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






42. 60 ? -40 db (roughly -50 dB)






43. 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.






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






45. 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.






46. 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.






47. 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).






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






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






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