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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. Boosts output gain of the sound recorded by a microphone to line level volume.
Anode
Channel Strip
Reason for 2 Multi-Track Returns
Pre-Amp
2. 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.
Bus Compression
Inline Console
Auxiliary Outputs
Professional Line Level
3. 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.
Anode
Record Mode (Record Status)
Mono
Oscillator
4. The inputs to each individual track on the MTR.
Auxiliary Outputs
Multi-Track Sends
Bus Compression
Master Section
5. 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.
Mono
Monitor Inputs
Channel Line Inputs
Phantom Power
6. 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
'Tiny Telephone' (TT) Connector
Cathode
Common Mode Rejection
Pan Pot (Panoramic Potentiometer)
7. 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.
Pan Pot (Panoramic Potentiometer)
Multi-Track Sends
Mic Input Range
Peak Program Meter (PPM)
8. Buttons at the top of each I/O that assign signal to the MTR; ACN ? 'Active Combining Network'; Made up of many summing amplifiers referred to as a buss or group.
Patching Across
Routing Matrix
Multi-Track Returns
Headroom Meter
9. A pair of summing amplifiers that are used to create the main stereo mix.
Reason for 2 Multi-Track Returns
Cathode
Stereo Bus
Mic Level
10. The stereo inputs to the cue system's amplifier.
Channel Path
TRS Connector
VCA Fader
Cue Amp Inputs
11. 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.
Multi-Track Returns
XLR
Mic Lines
Attenuation
12. Patch point where the stereo cue mix leaves the console.
Multi-Track Returns
DI Box
Channel Strip
Cue Outputs
13. Vertical panel of controls on the audio mixer (another word for the I/O Module).
Fold Back Section (FB)
Channel Strip
VU Meter
Half- Normalled
14. Three- pin plug for three- conductor 'balanced' audio cables employed with high- quality microphones - mixers - and other audio equipment.
DI Box
Mult
XLR
Line Input Range
15. The output of the stereo bus before the master fader; Normalled to the mix insert returns.
Mix Insert Sends
Fully- Normalled
Patch Points
Half- Normalled
16. Measures average voltage level of signal; Relatively slow response; Displayed level depends on amplitude and duration of signal.
Volume Unit Meter (VU)
Bantam Connector
Power Amplifier
Mix Mode (Mix Status)
17. A signal path specifically dedicated to sending audio signal to headphones.
Patching Across
VU Meter
Cue Send
Mix Insert Returns
18. Patching from one I/O module to another - or from one track on the MTR to another.
Cross Patching
Channel Mic Inputs
Gain Staging
XLR
19. Assigns console signal to the headphone amps.
Tape Input Control Range
Stereo
Line Level Signal
Fold Back Section (FB)
20. The ability of two ears to localize a sound source.
Gain Staging
Half- Normalled
Binaural Localization
XLR
21. 60 ? -40 db (roughly -50 dB)
Mic Level
Stereo Bus
Tielines
TRS Connector
22. The paths - or lines - on the motherboard on which data - instructions - and electrical power move from component to component.
Cathode
Bus
Power Amplifier
Signal Flow
23. Measures the peak levels of a signal; Quick response; Often displays a peak hold.
Peak Program Meter (PPM)
Monitor Inputs
Mix Mode (Mix Status)
Summing Amplifiers
24. Access to the signal flow of a channel or any jack providing access to a signal.
Group Outputs
Patch Points
Pre-Amp
External Source Inputs
25. Receives the two out of phase signals coming from the source (typically a mic) - inverts them before combining them - and 'balances' them.
Electronic Crossover (X-Over)
Consumer Line Level
Balancing Circuit
Mix Outputs
26. To add something to the signal path across an I/O - the stereo bus - etc.
Patching Across
Electronic Crossover (X-Over)
Summing Amplifiers
I/O Module
27. The outputs of each individual bus located in the routing matrix of the console; Half- normalled to the Multi-Track Sends.
Group Outputs
Multi-Track Returns
Impedance
Plasma Meter
28. 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.
Audient ASP8024
Multi-Track Returns
Split Console
VCA Fader
29. Cables that connect the control room to other rooms in the facility and back.
Buss
Group Outputs
Plasma Meter
Tielines
30. 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
Common Mode Rejection
Group Outputs
Electronic Crossover (X-Over)
31. Another term for Tiny Telephone (TT) connectors.
Channel Insert Sends
Bus
Bantam Connector
Stereo Bus
32. The negative electrode in an electrical circuit.
Monitor Path
Bus
Cathode
Nominal Level
33. 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).
Impedance
Reason for 2 Multi-Track Returns
Microphone Line
Patch
34. Signal looses strength as it travels down the channel.
Channel Path
Consumer Line Level
Professional Line Level
Attenuation
35. 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.
Cue Send
Tape Input Control Range
Consumer Line Level
Patchbay
36. The path an audio signal takes from source to output.
Signal Flow
Dead Patching
Fold Back Section (FB)
Cue Amp Inputs
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.
Summing Amplifiers
DI Box
Monitor Path
Mix Mode (Mix Status)
38. 14dB to +20dB
Line Input Range
Tape Input Control Range
Nominal Level
Cue Amp Inputs
39. The outputs of each track on the multi- track tape machine; Half- normalled to the Channel Line Inputs.
Consumer Line Level
Half- Normalled
Multi-Track Returns
Oscillator
40. The operating level at which an electronic signal processing device is designed to operate.
Speakers Section (SLS)
Nominal Level
Volume Unit Meter (VU)
Signal Flow
41. +4db
I/O Module
Professional Line Level
Bus Compression
Fold Back Section (FB)
42. Inputs that typically feed the Channel Fader; Choice location for inserting dynamics processors into the signal flow.
Attenuation
Channel Insert Returns
Patch
Bantam Connector
43. An exact duplicate of the Multi-Track Return that feeds the Channel Line Input - now half- normalled to the Monitor Path Inputs.
Binaural Localization
Cathode
Multi-Track Returns
Channel Mic Inputs
44. Little or no active circuitry; Often the 'small' or 'short' fader on large format consoles.
Conductive Plastic Fader
Cue Amp Inputs
Mix Insert Sends
Multi-Track Sends
45. 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).
Signal Flow
Cue Amp Inputs
I/O Module
Dead Patching
46. 10dB
Routing Matrix
Patch Points
Common Mode Rejection
Consumer Line Level
47. Tip-Ring-Sleeve connector; Common
Routing Matrix
Mic Input Range
TRS Connector
Monitor Path
48. Wire that carries a signal.
Group Outputs
Microphone Line
Gain Staging
Buss
49. The power for pre- amplification in a condenser microphone - supplied by the audio console rather than a battery.
Phantom Power
'Tiny Telephone' (TT) Connector
Pre-Amp
Monitor Path
50. 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
Buss
I/O Module
Electronic Crossover (X-Over)
Patchbay