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






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






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






4. 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.






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






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






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






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






9. 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.






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






11. 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






12. 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.






13. 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)






14. 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






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






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






17. 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).






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. Signal looses strength as it travels down the channel.






20. The positive electrode in an electrical circuit.






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






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






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






24. 10dB






25. Wire that carries a signal.






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






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






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






29. 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.






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






31. 15dB to +15dB






32. +4db






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






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






35. 14dB to +20dB






36. 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.






37. 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.






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






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






40. 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.






41. 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.






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






43. 60 ? -40 db (roughly -50 dB)






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






45. 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.






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






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






48. 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.






49. +6dB to +60dB






50. 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.