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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. 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.






2. 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.






3. 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






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






5. Patch point where the stereo cue mix leaves the console.






6. Measures the peak levels of a signal; Quick response; Often displays a peak hold.






7. Wire that carries a signal.






8. Assigns console signal to the headphone amps.






9. 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.






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






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






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






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






14. The outputs of each individual bus located in the routing matrix of the console; Half- normalled to the Multi-Track Sends.






15. 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.






16. 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.






17. 10dB






18. 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






19. 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.






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






21. Tip-Ring-Sleeve connector; Common






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






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






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






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






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






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






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






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






30. 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.






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






32. 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.






33. 15dB to +15dB






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






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






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






37. 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.






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






39. +4db






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






41. 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.






42. 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)






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






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






45. A pair of summing amplifiers that are used to create the main stereo mix.






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






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






48. 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.






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






50. 14dB to +20dB







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