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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 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.






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






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






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






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






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






7. Assigns console signal to the headphone amps.






8. +4db






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






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






11. 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.






12. 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)






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






14. 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.






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






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






18. 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.






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






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






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






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






23. 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






24. The negative electrode in an electrical circuit.






25. The positive electrode in an electrical circuit.






26. Assigns console speakers to the studio loudspeakers.






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






28. 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.






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






30. Tip-Ring-Sleeve connector; Common






31. 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.






32. 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.






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






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






36. 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)






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






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






39. 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.






40. 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.






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






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






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






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






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






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






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






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






49. 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






50. 14dB to +20dB