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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. 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






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






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






4. 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.






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






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






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






8. 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.






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






10. 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






11. 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.






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






13. 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.






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






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






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






17. Assigns console signal to the headphone amps.






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






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






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






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






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






23. Tip-Ring-Sleeve connector; Common






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






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






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






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






28. 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.






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






30. 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).






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






32. 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






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






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






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






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






37. 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.






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






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






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






42. 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.






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






44. 14dB to +20dB






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






46. 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).






47. 15dB to +15dB






48. 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.






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






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