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






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






4. Wire that carries a signal.






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






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






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






8. 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)






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






10. The negative electrode in an electrical circuit.






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






12. 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.






13. +4db






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






15. Tip-Ring-Sleeve connector; Common






16. 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.






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






18. 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).






19. 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






20. +6dB to +60dB






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






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






23. 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.






24. 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.






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






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






27. 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)






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






29. 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.






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






31. Vertical panel of controls on the audio mixer (another word for the I/O Module).






32. 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






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






34. 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).






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






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






37. 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.






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






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






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






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






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






43. Access to the signal flow of a channel or any jack providing access to a signal.






44. Assigns console signal to the headphone amps.






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






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






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






48. 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.






49. The positive electrode in an electrical circuit.






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