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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. +4db






2. 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.






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






4. 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)






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






6. The negative electrode in an electrical circuit.






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






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






9. 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.






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






11. 15dB to +15dB






12. Tip-Ring-Sleeve connector; Common






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






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






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






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






17. +6dB to +60dB






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






19. 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.






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






21. 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).






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






23. 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.






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






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






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






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






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






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






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






31. Wire that carries a signal.






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






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






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






35. 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)






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






37. 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).






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






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






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






41. 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.






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






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






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






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






47. 14dB to +20dB






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






49. 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.






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