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






2. +6dB to +60dB






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






4. 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.






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






6. 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.






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






8. 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.






9. 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)






10. 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






11. Tip-Ring-Sleeve connector; Common






12. 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.






13. 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.






14. 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.






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






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






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






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






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






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






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






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






23. 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.






24. 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.






25. 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.






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






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






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






29. 10dB






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






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






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






33. Assigns console speakers to the studio loudspeakers.






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






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






36. 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).






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






38. 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.






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






40. 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.






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






42. 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).






43. 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.






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






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






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






47. Wire that carries a signal.






48. 15dB to +15dB






49. The outputs of each individual bus located in the routing matrix of the console; Half- normalled to the Multi-Track Sends.






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