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






2. 10dB






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






4. Wire that carries a signal.






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






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






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






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






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






10. 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


11. 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.






12. 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.






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






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






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






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






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






18. 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.






19. 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.






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






21. 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.






22. 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.






23. 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.






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






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






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






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






28. 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).






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






30. 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.






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






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






33. 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)






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






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






36. 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.






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






38. 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






39. 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).






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






41. The negative electrode in an electrical circuit.






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






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






44. Assigns console signal to the headphone amps.






45. An input to the master fader; The place to patch a stereo compressor - should the need arise to compress the entire mix.






46. 60 ? -40 db (roughly -50 dB)






47. 15dB to +15dB






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






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






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






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