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Recording Consoles

Subject : engineering
Instructions:
  • Answer 50 questions in 15 minutes.
  • If you are not ready to take this test, you can study here.
  • Match each statement with the correct term.
  • Don't refresh. All questions and answers are randomly picked and ordered every time you load a test.

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






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






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






5. Receives the two out of phase signals coming from the source (typically a mic) - inverts them before combining them - and 'balances' them.






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






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






8. 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


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






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






11. Tip-Ring-Sleeve connector; Common






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






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






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






15. 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.






16. The negative electrode in an electrical circuit.






17. Am electronic meter where signal level is displayed as a bar graph in a series of anodes and cathodes in a fluorescent gas discharge tube.






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






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






20. 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.






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






22. Inputs to the monitor fader/monitor path; Enables the monitoring of signals being recorded as well as those already recorded.






23. Wire that carries a signal.






24. 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






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






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






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






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






29. 10dB






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






31. Usually a PPM meter used to reference relative to 0dB for digital audio signals; Input is calibrated to a certain number of dB below the level where clipping will occur.






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






33. 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.






34. A signal generator that produces pure tones (sine waves) at selected frequencies; Used to calibrate the console with the recorders so their meters indicate the same levels and input reference to levels on recording.






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






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






37. 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.






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






39. 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.






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






41. 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.






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






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






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






45. Assigns console speakers to the studio loudspeakers.






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






47. 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).






48. 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






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






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






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