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






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






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






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






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






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. 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.






8. 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






9. 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).






10. 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.






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






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






13. Assigns console speakers to the studio loudspeakers.






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






15. 14dB to +20dB






16. 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)






17. 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.






18. Assigns console signal to the headphone amps.






19. 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)






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






22. 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.






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






24. 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.






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






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






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






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






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






30. 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.






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






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






33. 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.






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






35. 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).






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






37. 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






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






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






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






41. 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.






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






43. +6dB to +60dB






44. +4db






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






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






47. A signal path specifically dedicated to sending audio signal to headphones.






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






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






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