Test your basic knowledge |

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






4. 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.






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






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






7. 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.






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






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






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






11. 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.






12. 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).






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






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






15. 10dB






16. 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.






17. Boosts console's line level signal to a higher level to drive the speakers.






18. 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






19. 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.






20. 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)






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






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






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






24. 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.






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






26. 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






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






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






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






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






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






32. Assigns console speakers to the studio loudspeakers.






33. 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.






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






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






36. 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)






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






38. 60 ? -40 db (roughly -50 dB)






39. 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).






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






41. 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.






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






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






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






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






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






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






48. Assigns console signal to the headphone amps.






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






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