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






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






3. Assigns console speakers to the studio loudspeakers.






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






5. 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.






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






7. 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).






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






9. +4db






10. 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).






11. 60 ? -40 db (roughly -50 dB)






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






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






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






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






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






17. +6dB to +60dB






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






19. 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.






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






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






22. 14dB to +20dB






23. 10dB






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






25. The negative electrode in an electrical circuit.






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






27. Wire that carries a signal.






28. 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.






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






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






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






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






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






36. Tip-Ring-Sleeve connector; Common






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






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






39. 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.






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






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






42. 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.






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






44. 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.






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






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






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






48. 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.






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






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