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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 path an audio signal takes from source to output.






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






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






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






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






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






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






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






9. 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).






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






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






12. 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).






13. The negative electrode in an electrical circuit.






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






15. 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)






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






17. Assigns console speakers to the studio loudspeakers.






18. Mechanical metering device where a needle moves to display average level. (VU = Volume Unit)






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






20. 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.






21. 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.






22. 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






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






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






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






26. 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






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






28. 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.






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






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






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






32. 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.






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






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






35. 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.






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






37. 14dB to +20dB






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






39. 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.






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






41. 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

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42. 60 ? -40 db (roughly -50 dB)






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






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






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






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






47. 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.






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






49. 10dB






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