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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. +6dB to +60dB






2. Stereo inputs of external stereo devices to the control room section via the control room monitor source switches in the master section.






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






4. Assigns console speakers to the studio loudspeakers.






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






6. 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.






7. 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.






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






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






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






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






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






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






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






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






16. +4db






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






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






19. Measures average voltage level of signal; Relatively slow response; Displayed level depends on amplitude and duration of signal.






20. 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






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






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






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






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






25. Tip-Ring-Sleeve connector; Common






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






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






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






29. Signal looses strength as it travels down the channel.






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






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






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






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






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






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






36. 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).






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






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






39. 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.






40. 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.






41. 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)






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






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






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






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






46. 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).






47. 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)






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






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






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