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






2. 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).






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






4. +4db






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






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






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






8. 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






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. 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.






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






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






13. 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)






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






15. 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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16. 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.






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






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






19. 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.






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






21. 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.






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






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






24. Assigns console speakers to the studio loudspeakers.






25. Tip-Ring-Sleeve connector; Common






26. Wire that carries a signal.






27. The negative electrode in an electrical circuit.






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






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






30. The connection from the upper row to the lower row is ALWAYS broken when a patch cord is inserted into the lower jack (or input) of the pair.






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






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






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






34. 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.






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






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






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






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






39. 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.






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






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






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






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






44. 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






45. Assigns console signal to the headphone amps.






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






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






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






49. 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.






50. 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)