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






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






3. 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).






4. 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.






5. 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.






6. 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.






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






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. Console where all paths are contained on one board.






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






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






12. 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).






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






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






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






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






17. 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.






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






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






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






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






22. 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.






23. Second part of the console audio chain. MTR (source) ? Speakers (output source)






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






25. Wire that carries a signal.






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






27. 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.






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






29. 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






30. 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






31. Three- pin plug for three- conductor 'balanced' audio cables employed with high- quality microphones - mixers - and other audio equipment.






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






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






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






36. 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.






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






38. Tip-Ring-Sleeve connector; Common






39. 15dB to +15dB






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






41. 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.






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






43. The negative electrode in an electrical circuit.






44. 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.






45. 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.






46. 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.






47. 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)






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






49. Assigns console speakers to the studio loudspeakers.






50. +4db