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






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






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






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






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






6. 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.






7. Tip-Ring-Sleeve connector; Common






8. 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.






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






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






11. 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.






12. 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.






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






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






15. 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






16. 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.






17. 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.






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






19. +6dB to +60dB






20. 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).






21. Assigns console signal to the headphone amps.






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






23. 14dB to +20dB






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






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






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






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






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






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






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






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






32. 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).






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






34. The positive electrode in an electrical circuit.






35. 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.






36. +4db






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






38. Wire that carries a signal.






39. 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.






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






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






42. 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.






43. 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.






44. 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.






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






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






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






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






49. 15dB to +15dB






50. The negative electrode in an electrical circuit.