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






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






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






4. 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






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






6. 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.






7. +4db






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






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






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






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






12. 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






13. 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.






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






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






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






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






18. 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.






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






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






21. 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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22. 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.






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






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






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






26. Patching from one I/O module to another - or from one track on the MTR to another.






27. 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)






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






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






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






31. 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.






32. 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.






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






34. 60 ? -40 db (roughly -50 dB)






35. 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.






36. 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).






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






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






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






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






41. 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.






42. 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.






43. The positive electrode in an electrical circuit.






44. 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).






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






46. 15dB to +15dB






47. 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.






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






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






50. 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.