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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. Signal looses strength as it travels down the channel.






2. 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).






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






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






5. The positive electrode in an electrical circuit.






6. 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.






7. 10dB






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






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






10. 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.






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






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






13. 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


14. Assigns console signal to the headphone amps.






15. 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






16. 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)






17. 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.






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






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






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






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






22. 60 ? -40 db (roughly -50 dB)






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






24. 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.






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






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






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






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






29. Assigns console speakers to the studio loudspeakers.






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






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






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






33. 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.






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






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






36. 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.






37. +6dB to +60dB






38. 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






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






40. 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.






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






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






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






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. 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)






46. 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).






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






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






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






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