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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. Designating sound transmission from two sources through two channels.






2. 14dB to +20dB






3. 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).






4. 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.






5. 60 ? -40 db (roughly -50 dB)






6. 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.






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






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






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






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






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






13. 15dB to +15dB






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






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






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






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






18. 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).






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






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






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






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






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






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






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






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






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






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






29. 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.






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






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






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






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






34. 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.






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






36. Assigns console signal to the headphone amps.






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






38. Wire that carries a signal.






39. 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.






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






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






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






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






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






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






46. 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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47. 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)






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






49. The positive electrode in an electrical circuit.






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