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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.
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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.






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.






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






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.






5. 14dB to +20dB






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






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






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






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.






11. +4db






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






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






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






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






16. The negative electrode in an electrical circuit.






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






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.






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






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






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






22. Wire that carries a signal.






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






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).






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)






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






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.






28. 15dB to +15dB






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






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






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






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.






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






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






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






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






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).






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






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.






41. Assigns console speakers to the studio loudspeakers.






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






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.






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).






45. 10dB






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.






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






48. Tip-Ring-Sleeve connector; Common






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






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