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






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






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






4. 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.






5. 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.






6. 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






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






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






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






10. 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.






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






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






13. 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.






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






15. +6dB to +60dB






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






17. 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).






18. 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)






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






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






21. 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.






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






23. 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.






24. 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.






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






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






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






28. Tip-Ring-Sleeve connector; Common






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






30. 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.






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






32. Assigns console speakers to the studio loudspeakers.






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






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






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






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






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






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






40. 14dB to +20dB






41. 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.






42. 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.






43. The positive electrode in an electrical circuit.






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






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






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






47. 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.






48. 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.






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






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