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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. 14dB to +20dB






2. Tip-Ring-Sleeve connector; Common






3. 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.






4. 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.






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






6. The positive electrode in an electrical circuit.






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






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






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






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






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






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






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






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






15. The negative electrode in an electrical circuit.






16. 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.






17. 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






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






19. 10dB






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






21. 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).






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






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






24. 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.






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






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






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






28. +6dB to +60dB






29. 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.






30. Patching one end of the cable into a input so there is no signal.






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






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






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






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






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






37. 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.






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






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






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






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






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






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






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






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






47. 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.






48. 60 ? -40 db (roughly -50 dB)






49. +4db






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