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






2. 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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3. 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).






4. 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.






5. Tip-Ring-Sleeve connector; Common






6. 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.






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. The positive electrode in an electrical circuit.






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






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






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






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






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






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






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






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






17. 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).






18. 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.






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






20. 14dB to +20dB






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






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






23. 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.






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






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. 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.






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






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






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






30. The negative electrode in an electrical circuit.






31. 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.






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






33. Assigns console speakers to the studio loudspeakers.






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






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






36. 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.






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






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






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






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






41. 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






42. Wire that carries a signal.






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






44. Second part of the console audio chain. MTR (source) ? Speakers (output source)






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






46. 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.






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






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






49. 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)






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







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