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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.
  • 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. 15dB to +15dB






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






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






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






5. 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.






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






7. 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






8. 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).






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






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






11. 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)






12. 60 ? -40 db (roughly -50 dB)






13. 14dB to +20dB






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






15. 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.






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






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






18. Wire that carries a signal.






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






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






21. 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.






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






23. 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






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






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






26. Tip-Ring-Sleeve connector; Common






27. 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.






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






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






30. 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.






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






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






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. 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).






35. 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.






36. 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.






37. +4db






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






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






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






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






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






43. Assigns console speakers to the studio loudspeakers.






44. 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.






45. 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)






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






47. 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.






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






49. 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).






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