Test your basic knowledge |

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. 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






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






3. The stereo inputs to the cue system's amplifier.






4. 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.






5. 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.






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






7. 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.






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






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






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






11. 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.






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






13. Little or no active circuitry; Often the 'small' or 'short' fader on large format consoles.






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






15. +4db






16. 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.






17. 60 ? -40 db (roughly -50 dB)






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






19. 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)






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






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






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






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






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






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






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






27. Assigns console speakers to the studio loudspeakers.






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






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






30. 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.






31. 10dB






32. 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)






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






34. The negative electrode in an electrical circuit.






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






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






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






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






39. 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.






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






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






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






43. The positive electrode in an electrical circuit.






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






45. Tip-Ring-Sleeve connector; Common






46. 14dB to +20dB






47. 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.






48. 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).






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






50. 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