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Recording Consoles

Subject : engineering
Instructions:
  • Answer 50 questions in 15 minutes.
  • If you are not ready to take this test, you can study here.
  • 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 input to the master fader; The place to patch a stereo compressor - should the need arise to compress the entire mix.






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






3. Vertical panel of controls on the audio mixer (another word for the I/O Module).






4. +6dB to +60dB






5. 14dB to +20dB






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






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






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






9. 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)






10. 15dB to +15dB






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






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






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






14. Assigns console speakers to the studio loudspeakers.






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






16. 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.






17. 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.






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






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






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






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






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






23. Wire that carries a signal.






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






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






26. 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.






27. 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






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






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






30. Assigns console signal to the headphone amps.






31. 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.






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






33. Shifts the proportion of sound from any point left to right between two output busses and the two loudspeakers necessary for reproducing a stereo sound.






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






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






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






37. 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






38. 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).






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






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






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






42. 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.






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






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






45. 10dB






46. 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.






47. Tip-Ring-Sleeve connector; Common






48. 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.






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






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