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






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






3. 14dB to +20dB






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






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






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






7. 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






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






9. 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.






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






11. 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.






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






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






14. 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






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






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






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






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






20. 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)






21. Assigns console speakers to the studio loudspeakers.






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






23. 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.






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






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






26. Tip-Ring-Sleeve connector; Common






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






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






29. 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).






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






31. 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.






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






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






34. 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






35. +4db






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






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






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






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






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






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






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






43. 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.






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






45. Assigns console signal to the headphone amps.






46. +6dB to +60dB






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






48. 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).






49. 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).






50. 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.