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Test your basic knowledge |
Recording Consoles
Start Test
Study First
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. 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.
Multi-Track Returns
Multing
Normalled
Patchbay
2. Boosts output gain of the sound recorded by a microphone to line level volume.
Routing Matrix
Pre-Amp
Oscillator
Cross Patching
3. Assigns console signal to the headphone amps.
VCA Fader
Fold Back Section (FB)
Peak Program Meter (PPM)
Bus Compression
4. Outputs from the I/O module after the filters - equalizer - gate - and compressor; Half- normalled to the Channel insert Returns.
Plasma Meter
Channel Insert Sends
Audio Grouping
Monitor Inputs
5. 10dB
Consumer Line Level
Speakers Section (SLS)
Master Section
Mono
6. 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.
Channel Mic Inputs
Impedance
Tielines
Audio Grouping
7. The ability of two ears to localize a sound source.
Patch
Inline Console
Binaural Localization
Cue Outputs
8. The output of the stereo bus before the master fader; Normalled to the mix insert returns.
Mix Insert Sends
Conductive Plastic Fader
Dead Patching
Electronic Crossover (X-Over)
9. 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.
Audient ASP8024
Universal Law of Patching
Channel Mic Inputs
'Tiny Telephone' (TT) Connector
10. +6dB to +60dB
Fully- Normalled
Multi-Track Sends
Mic Input Range
Speakers Section (SLS)
11. 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
Bus
Channel Insert Sends
Normalled
Common Mode Rejection
12. 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).
Professional Line Level
Stereo Bus
Line Level Signal
I/O Module
13. Compressing a group of signals together with a single processor.
Patchbay
Tape Input Control Range
Peak Program Meter (PPM)
Audio Grouping
14. Little or no active circuitry; Often the 'small' or 'short' fader on large format consoles.
Bus
Signal Flow
Conductive Plastic Fader
Anode
15. A direct transfer of the audible sound to the mixing console; Microphones work as transducers and convert the audio into an electrical current.
Nominal Level
Microphone Line
Anode
Channel Insert Returns
16. Measures average voltage level of signal; Relatively slow response; Displayed level depends on amplitude and duration of signal.
Power Amplifier
Volume Unit Meter (VU)
Peak Program Meter (PPM)
VU Meter
17. The power for pre- amplification in a condenser microphone - supplied by the audio console rather than a battery.
Patchbay
Phantom Power
Impedance
Mic Input Range
18. 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.
Oscillator
Signal Flow
Mic Lines
Cathode
19. A string of jacks wired in parallel so that all the jacks will see the same signal.
Monitor Inputs
Common Mode Rejection
Mult
Split Console
20. 'Standard' level at which the inputs and outputs of domestic and professional sound equipment operate.
Cue Send
'Tiny Telephone' (TT) Connector
Inline Console
Line Level Signal
21. Inputs to the monitor fader/monitor path; Enables the monitoring of signals being recorded as well as those already recorded.
Monitor Inputs
Pre-Amp
Professional Line Level
Bus
22. Receives the two out of phase signals coming from the source (typically a mic) - inverts them before combining them - and 'balances' them.
Mix Outputs
Multing
Conductive Plastic Fader
Balancing Circuit
23. The outputs of each track on the multi- track tape machine; Half- normalled to the Channel Line Inputs.
Power Amplifier
Multi-Track Returns
Channel Path
Multing
24. An exact duplicate of the Multi-Track Return that feeds the Channel Line Input - now half- normalled to the Monitor Path Inputs.
Speakers Section (SLS)
Bantam Connector
XLR
Multi-Track Returns
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)
Record Mode (Record Status)
Audient ASP8024
Microphone Line
Cue Outputs
26. 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
Half- Normalled
Volume Unit Meter (VU)
Oscillator
Pre-Amp
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)
Bantam Connector
Unity Gain
Anode
Mix Mode (Mix Status)
28. The stereo inputs to the cue system's amplifier.
Consumer Line Level
Group Outputs
Tape Input Control Range
Cue Amp Inputs
29. 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.
Multi-Track Returns
Audio Grouping
Speakers Section (SLS)
Master Section
30. The path an audio signal takes from source to output.
Speakers Section (SLS)
Signal Flow
Cross Patching
Mic Level
31. 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).
Mic Level
Reason for 2 Multi-Track Returns
Channel Line Inputs
Normalled
32. An op- amp configuration that mathematically adds (or sums) the voltage levels found at two or more inputs.
Mix Outputs
Summing Amplifiers
DI Box
Patching Across
33. The negative electrode in an electrical circuit.
'Tiny Telephone' (TT) Connector
Tielines
Peak Program Meter (PPM)
Cathode
34. 15dB to +15dB
Microphone Line
Tape Input Control Range
Multing
Bus
35. An input to the master fader; The place to patch a stereo compressor - should the need arise to compress the entire mix.
Mix Insert Returns
Balancing Circuit
Pan Pot (Panoramic Potentiometer)
Electronic Crossover (X-Over)
36. Designating sound transmission from two sources through two channels.
Line Input Range
Cue Send
Stereo
Audio Grouping
37. Stereo inputs of external stereo devices to the control room section via the control room monitor source switches in the master section.
Pre-Amp
Cross Patching
VU Meter
External Source Inputs
38. An audio signal that is mixed together and routed through a single audio channel.
Channel Line Inputs
Reason for 2 Multi-Track Returns
Mono
Monitor Path
39. Boosts console's line level signal to a higher level to drive the speakers.
Channel Insert Sends
Power Amplifier
Plasma Meter
Monitor Inputs
40. The paths - or lines - on the motherboard on which data - instructions - and electrical power move from component to component.
Bus
Audio Grouping
Monitor Path
Signal Flow
41. 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.
Pre-Amp
Audient ASP8024
Mix Insert Returns
Gain Staging
42. A pair of summing amplifiers that are used to create the main stereo mix.
I/O Module
Balancing Circuit
Stereo Bus
Reason for 2 Multi-Track Returns
43. Three- pin plug for three- conductor 'balanced' audio cables employed with high- quality microphones - mixers - and other audio equipment.
Cue Amp Inputs
Split Console
Dead Patching
XLR
44. Console where all paths are contained on one board.
Inline Console
Multing
Electronic Crossover (X-Over)
Peak Program Meter (PPM)
45. 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).
Unity Gain
Peak Program Meter (PPM)
Monitor Path
Power Amplifier
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.
Stereo Bus
Signal Flow
Channel Insert Sends
Channel Line Inputs
47. 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.
Attenuation
Channel Insert Sends
Mic Level
Gain Staging
48. 60 ? -40 db (roughly -50 dB)
Tielines
Mic Level
Consumer Line Level
Half- Normalled
49. 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.
Channel Mic Inputs
Common Mode Rejection
Plasma Meter
Channel Path
50. 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.
Power Amplifier
TRS Connector
Mult
Auxiliary Outputs