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






2. 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.






3. 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).






4. The positive electrode in an electrical circuit.






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






6. +6dB to +60dB






7. 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.






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






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






10. 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.






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






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






13. 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.






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






15. 14dB to +20dB






16. Tip-Ring-Sleeve connector; Common






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






18. 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.






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






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






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






22. The operating level at which an electronic signal processing device is designed to operate.






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






24. The main stereo output of the console; Normalled to the inputs of two track recorders.






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






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






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. 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.






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






30. Assigns console speakers to the studio loudspeakers.






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






32. 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).






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






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






35. 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.






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






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






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






39. 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.






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






41. 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.






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






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






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






45. 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.






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






47. 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.






48. 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.






49. 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.






50. 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







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