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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. 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.






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






3. 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.






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






5. 15dB to +15dB






6. 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.






7. 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.






8. 14dB to +20dB






9. Assigns console speakers to the studio loudspeakers.






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






11. 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.






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






13. The negative electrode in an electrical circuit.






14. 10dB






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






16. 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.






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






18. Wire that carries a signal.






19. Mechanical metering device where a needle moves to display average level. (VU = Volume Unit)






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






21. 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






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






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






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






25. 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.






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






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






28. 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.






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






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






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






32. 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


33. 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.






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






35. 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)






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






37. 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






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






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






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






41. +6dB to +60dB






42. 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.






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






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






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).






46. The art of deciding where to place a processor in signal flow based on how that processor will be influenced by the other processors in the path.






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






48. 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






49. 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.






50. 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.