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






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






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






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






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






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






7. Assigns console signal to the headphone amps.






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






9. Assigns console speakers to the studio loudspeakers.






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






11. 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.






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






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






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






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






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






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






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






19. 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.






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






21. 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.






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






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






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






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






26. 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.






27. 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.






28. +6dB to +60dB






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






30. 14dB to +20dB






31. 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)






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






33. 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.






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






35. 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.






36. 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)






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






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






39. Patching one end of the cable into a input so there is no signal.






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






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






42. 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).






43. 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






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






45. 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.






46. 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


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






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






49. 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.






50. 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.