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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.
  • 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. 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.






2. 15dB to +15dB






3. 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).






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






5. 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






6. 60 ? -40 db (roughly -50 dB)






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






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






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






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






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






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






13. 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)






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






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






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






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






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






19. The positive electrode in an electrical circuit.






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






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






22. 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


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






24. 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.






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






26. 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.






27. 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.






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






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






30. The negative electrode in an electrical circuit.






31. +4db






32. 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.






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






34. 10dB






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






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






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






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






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






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






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






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






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






44. 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).






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






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






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






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






49. 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.






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