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






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






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






4. 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.






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






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






7. 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)






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






9. 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.






10. 60 ? -40 db (roughly -50 dB)






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






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






13. The paths - or lines - on the motherboard on which data - instructions - and electrical power move from component to component.






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






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






16. 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






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






18. +6dB to +60dB






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






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






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






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






23. 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.






24. 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.






25. 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.






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






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. The inputs to each individual track on the MTR.






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






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






31. 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.






32. 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






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






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






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






36. 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






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






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






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






40. 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


41. 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.






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






43. 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.






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






45. 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).






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






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






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






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






50. 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.