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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. 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)






2. 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.






3. 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.






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






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






6. 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.






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






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

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






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






11. 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.






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






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






14. 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.






15. 60 ? -40 db (roughly -50 dB)






16. A string of jacks wired in parallel so that all the jacks will see the same signal.






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






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






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






20. Assigns console speakers to the studio loudspeakers.






21. 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.






22. 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






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






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






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






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






27. Boosts console's line level signal to a higher level to drive the speakers.






28. Wire that carries a signal.






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






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






31. Those parts of the console that address individual signals; Adjusts the routing and level of the signals passing through it (usually a single instrument or sound source).






32. 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.






33. 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






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






35. Tip-Ring-Sleeve connector; Common






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






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






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






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






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






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






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






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






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






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






46. 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.






47. 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)






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






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






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







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