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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. 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






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






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






5. +4db






6. 10dB






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






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






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






10. 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).






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






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






13. 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.






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






16. Assigns console speakers to the studio loudspeakers.






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






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






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






20. 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.






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






22. 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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23. The inputs to each individual track on the MTR.






24. 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.






25. Tip-Ring-Sleeve connector; Common






26. 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.






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






28. 14dB to +20dB






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






30. 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.






31. 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






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






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






34. 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.






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






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






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






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






39. The negative electrode in an electrical circuit.






40. 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.






41. Outputs from the I/O module after the filters - equalizer - gate - and compressor; Half- normalled to the Channel insert Returns.






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






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






44. 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)






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






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






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






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






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






Can you answer 50 questions in 15 minutes?



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