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






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






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






5. 14dB to +20dB






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






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






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






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






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






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






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






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






14. 60 ? -40 db (roughly -50 dB)






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. Assigns console speakers to the studio loudspeakers.






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






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






19. 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.






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






21. 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.






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






23. The positive electrode in an electrical circuit.






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






25. Wire that carries a signal.






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






27. Assigns console signal to the headphone amps.






28. 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






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






30. 15dB to +15dB






31. 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.






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






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






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






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






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






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






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






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






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






41. The negative electrode in an electrical circuit.






42. 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.






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






44. An audio connection point intended to be used for a limited time.






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






46. 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).






47. 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).






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






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






50. +4db