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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. 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.






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






3. Assigns console signal to the headphone amps.






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






5. 10dB






6. Input to the microphone preamp; Fully normalled to prevent a microphone from being connected to two I/O's simultaneously when a cross patch is made.






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






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






9. 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.






10. +6dB to +60dB






11. 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






12. 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).






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






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






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






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






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






18. 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.






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






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






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






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






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






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






25. 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)






26. 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






27. 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)






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






29. 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.






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






31. 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).






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






33. The negative electrode in an electrical circuit.






34. 15dB to +15dB






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






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






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






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






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






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






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






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






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






45. 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).






46. 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.






47. 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.






48. 60 ? -40 db (roughly -50 dB)






49. 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.






50. 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.