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Test your basic knowledge |
Recording Consoles
Start Test
Study First
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. 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.
Peak Program Meter (PPM)
Auxiliary Outputs
Cue Send
Audient ASP8024
2. Voltage Controlled Amplifier; Amplifier determines output level; Can be remotely controlled for automated mixing; Often the 'large' or 'long' fader on large format consoles.
VCA Fader
Power Amplifier
Group Outputs
Cue Amp Inputs
3. Inputs that typically feed the Channel Fader; Choice location for inserting dynamics processors into the signal flow.
Multi-Track Returns
Channel Insert Returns
Channel Line Inputs
Peak Program Meter (PPM)
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.
Fully- Normalled
Bus Compression
DI Box
Mix Insert Returns
5. 14dB to +20dB
Line Input Range
Normalled
Pre-Amp
External Source Inputs
6. Access to the signal flow of a channel or any jack providing access to a signal.
I/O Module
Unity Gain
Patch Points
Line Level Signal
7. 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.
Attenuation
Routing Matrix
Reason for 2 Multi-Track Returns
Tape Input Control Range
8. Cables that connect the control room to other rooms in the facility and back.
Bus Compression
Tielines
Bantam Connector
Electronic Crossover (X-Over)
9. The output of the stereo bus before the master fader; Normalled to the mix insert returns.
Line Input Range
Mix Insert Sends
Channel Insert Returns
Signal Flow
10. 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.
Mic Level
Bus Compression
External Source Inputs
Auxiliary Outputs
11. +4db
Inline Console
Cathode
Mic Lines
Professional Line Level
12. A string of jacks wired in parallel so that all the jacks will see the same signal.
Cross Patching
Mix Mode (Mix Status)
Mult
Fold Back Section (FB)
13. To add something to the signal path across an I/O - the stereo bus - etc.
Channel Insert Sends
Patching Across
I/O Module
Reason for 2 Multi-Track Returns
14. Outputs from the I/O module after the filters - equalizer - gate - and compressor; Half- normalled to the Channel insert Returns.
Bus
Audient ASP8024
Channel Insert Sends
Mic Level
15. An audio connection point intended to be used for a limited time.
Stereo Bus
Microphone Line
Line Input Range
Patch
16. The negative electrode in an electrical circuit.
External Source Inputs
Attenuation
Multi-Track Sends
Cathode
17. The audio signal automatically flows between a vertical pair of patchbay jacks without the need for patch cables.
Normalled
Cue Send
Routing Matrix
Bantam Connector
18. 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.
Pan Pot (Panoramic Potentiometer)
Gain Staging
Master Section
Monitor Path
19. Boosts output gain of the sound recorded by a microphone to line level volume.
Mono
Pre-Amp
Cross Patching
Professional Line Level
20. Mechanical metering device where a needle moves to display average level. (VU = Volume Unit)
Multing
Mix Insert Returns
VU Meter
Multi-Track Sends
21. Measures average voltage level of signal; Relatively slow response; Displayed level depends on amplitude and duration of signal.
Volume Unit Meter (VU)
Mix Outputs
Audient ASP8024
Cross Patching
22. Wire that carries a signal.
Buss
Group Outputs
Signal Flow
Master Section
23. 'Standard' level at which the inputs and outputs of domestic and professional sound equipment operate.
Line Level Signal
Fully- Normalled
Tape Input Control Range
Unity Gain
24. 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).
Cue Outputs
Summing Amplifiers
Oscillator
Reason for 2 Multi-Track Returns
25. 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)
Monitor Path
Cue Amp Inputs
Multi-Track Sends
Record Mode (Record Status)
26. An audio signal that is mixed together and routed through a single audio channel.
Normalled
Mono
TRS Connector
Line Input Range
27. 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.
Common Mode Rejection
Normalled
Channel Mic Inputs
Reason for 2 Multi-Track Returns
28. 15dB to +15dB
Fully- Normalled
Gain Staging
Tape Input Control Range
Monitor Path
29. The power for pre- amplification in a condenser microphone - supplied by the audio console rather than a battery.
TRS Connector
Multi-Track Returns
Mix Insert Returns
Phantom Power
30. Inputs to the monitor fader/monitor path; Enables the monitoring of signals being recorded as well as those already recorded.
Tielines
Monitor Inputs
Multi-Track Returns
Auxiliary Outputs
31. 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
Binaural Localization
Balancing Circuit
Cue Send
Half- Normalled
32. 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.
Half- Normalled
Consumer Line Level
Auxiliary Outputs
Buss
33. 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
Pan Pot (Panoramic Potentiometer)
Mult
Conductive Plastic Fader
Common Mode Rejection
34. The inputs to each individual track on the MTR.
Half- Normalled
Audio Grouping
Multi-Track Returns
Multi-Track Sends
35. An input to the master fader; The place to patch a stereo compressor - should the need arise to compress the entire mix.
Monitor Inputs
Unity Gain
Line Input Range
Mix Insert Returns
36. A pair of summing amplifiers that are used to create the main stereo mix.
Stereo Bus
Pan Pot (Panoramic Potentiometer)
Mono
Balancing Circuit
37. 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).
Unity Gain
Multing
Cathode
Nominal Level
38. An op- amp configuration that mathematically adds (or sums) the voltage levels found at two or more inputs.
Electronic Crossover (X-Over)
Line Level Signal
Power Amplifier
Summing Amplifiers
39. 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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40. Patch point where the stereo cue mix leaves the console.
Gain Staging
Cue Outputs
Tielines
Cue Send
41. Assigns console speakers to the studio loudspeakers.
Electronic Crossover (X-Over)
Mix Outputs
Channel Strip
Speakers Section (SLS)
42. 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
Cross Patching
Electronic Crossover (X-Over)
Fold Back Section (FB)
Attenuation
43. 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.
Multi-Track Returns
Plasma Meter
Common Mode Rejection
Gain Staging
44. 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).
Bus
Channel Strip
Channel Mic Inputs
I/O Module
45. 10dB
Multi-Track Sends
XLR
Power Amplifier
Consumer Line Level
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.
Gain Staging
Speakers Section (SLS)
Cue Outputs
Summing Amplifiers
47. The ability of two ears to localize a sound source.
Record Mode (Record Status)
Headroom Meter
Anode
Binaural Localization
48. Tip-Ring-Sleeve connector; Common
Patch Points
Audient ASP8024
TRS Connector
Gain Staging
49. Compressing a group of signals together with a single processor.
Audio Grouping
Audient ASP8024
Mix Insert Returns
Mix Insert Sends
50. The outputs of each individual bus located in the routing matrix of the console; Half- normalled to the Multi-Track Sends.
Group Outputs
Bus Compression
Reason for 2 Multi-Track Returns
Attenuation