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






2. 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).






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






4. 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).






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






6. 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.






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






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






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






11. 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.






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






13. 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.






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






15. 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.






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






17. +6dB to +60dB






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






19. Assigns console signal to the headphone amps.






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






21. 15dB to +15dB






22. Second part of the console audio chain. MTR (source) ? Speakers (output source)






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






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






25. 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.






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






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






28. 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.






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






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






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






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






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






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






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






36. 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.






37. 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.






38. Tip-Ring-Sleeve connector; Common






39. 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)






40. 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.






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






42. 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






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






44. 10dB






45. 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.






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






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






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






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






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