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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 fader position where the fader does not boost or attenuate the level of the signal sent to it (found at zero on the fader).






2. 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)






3. 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.






4. 60 ? -40 db (roughly -50 dB)






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






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






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






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






9. 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.






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






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






12. 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.






13. 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.






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






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






16. 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.






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






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






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






20. 10dB






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






22. 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)






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






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






25. +6dB to +60dB






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






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






28. Assigns console speakers to the studio loudspeakers.






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






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






31. Tip-Ring-Sleeve connector; Common






32. Assigns console signal to the headphone amps.






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






34. 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.






35. The negative electrode in an electrical circuit.






36. 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).






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






38. 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.






39. 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






40. 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.






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






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






43. 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.






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






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. Designating sound transmission from two sources through two channels.






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






48. 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.






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






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







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