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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. 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).






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






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






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






5. 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.






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






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






8. Assigns console speakers to the studio loudspeakers.






9. +6dB to +60dB






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






11. 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.






12. Wire that carries a signal.






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






14. 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)






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






16. 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.






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






18. 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.






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






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






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






22. 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.






23. A signal path specifically dedicated to sending audio signal to headphones.






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






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






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






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






28. 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.






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






30. 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






31. Cables that connect the control room to other rooms in the facility and back.






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






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






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






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






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






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






38. 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.






39. 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.






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






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






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






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






44. 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.






45. Assigns console signal to the headphone amps.






46. 10dB






47. The positive electrode in an electrical circuit.






48. 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.






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






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