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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. Another term for Tiny Telephone (TT) connectors.






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






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






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






5. 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.






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






7. 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






8. 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.






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






10. 10dB






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






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






13. Vertical panel of controls on the audio mixer (another word for the I/O Module).






14. 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.






15. 60 ? -40 db (roughly -50 dB)






16. 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.






17. 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.






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






19. 14dB to +20dB






20. 15dB to +15dB






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






22. The positive electrode in an electrical circuit.






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






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






25. 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).






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






27. 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.






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






29. Assigns console speakers to the studio loudspeakers.






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






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






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






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






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






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






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






37. 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.






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






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






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






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






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






43. 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)






44. 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.






45. The negative electrode in an electrical circuit.






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






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






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






49. 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.






50. Wire that carries a signal.