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






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






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






4. 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.






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






6. 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).






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






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






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






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






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






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






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






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






15. 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).






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






17. Tip-Ring-Sleeve connector; Common






18. Assigns console speakers to the studio loudspeakers.






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






20. 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.






21. 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.






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






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






24. 10dB






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






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






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






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






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






30. Patching one end of the cable into a input so there is no signal.






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






32. 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.






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






34. 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.






35. 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.






36. 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.






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






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






39. 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






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






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






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






43. Assigns console signal to the headphone amps.






44. 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.






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






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






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






49. 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.






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







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