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






2. 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.






3. 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.






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






5. 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.






6. 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






7. 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.






8. 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.






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






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






11. 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.






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






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






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






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






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






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






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






19. Assigns console signal to the headphone amps.






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






21. 60 ? -40 db (roughly -50 dB)






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






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






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






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






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






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






28. 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.






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






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






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






32. The negative electrode in an electrical circuit.






33. 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).






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






35. 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.






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






37. 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.






38. 14dB to +20dB






39. The outputs of each track on the multi- track tape machine; Half- normalled to the Channel Line Inputs.






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






41. +4db






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






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






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






45. 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).






46. 10dB






47. Tip-Ring-Sleeve connector; Common






48. Wire that carries a signal.






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






50. 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