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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.
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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 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.






2. Input to the microphone preamp; Fully normalled to prevent a microphone from being connected to two I/O's simultaneously when a cross patch is made.






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






4. 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






5. 15dB to +15dB






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






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






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






9. 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.






10. 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.






11. 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).






12. Wire that carries a signal.






13. 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.






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






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






16. The positive electrode in an electrical circuit.






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






18. 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.






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






20. The negative electrode in an electrical circuit.






21. Assigns console signal to the headphone amps.






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






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






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






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






26. 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.






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






28. 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).






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






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






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






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






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






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






35. 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.






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






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






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






40. 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






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






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






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






44. 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.






45. 14dB to +20dB






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






47. +4db






48. 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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49. 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)






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