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Test your basic knowledge |
Recording Consoles
Start Test
Study First
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. 15dB to +15dB
Tape Input Control Range
Group Outputs
Microphone Line
Multi-Track Returns
2. An exact duplicate of the Multi-Track Return that feeds the Channel Line Input - now half- normalled to the Monitor Path Inputs.
Cathode
Multi-Track Returns
Mix Insert Sends
Cue Send
3. Console where all paths are contained on one board.
Inline Console
Pan Pot (Panoramic Potentiometer)
Cathode
Gain Staging
4. Measures average voltage level of signal; Relatively slow response; Displayed level depends on amplitude and duration of signal.
Volume Unit Meter (VU)
Signal Flow
Group Outputs
Auxiliary Outputs
5. 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.
Nominal Level
Gain Staging
Anode
Headroom Meter
6. The path an audio signal takes from source to output.
Patch
Signal Flow
Conductive Plastic Fader
Mult
7. 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
I/O Module
Summing Amplifiers
Half- Normalled
Headroom Meter
8. 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).
Stereo
Reason for 2 Multi-Track Returns
Headroom Meter
DI Box
9. Voltage Controlled Amplifier; Amplifier determines output level; Can be remotely controlled for automated mixing; Often the 'large' or 'long' fader on large format consoles.
Volume Unit Meter (VU)
Tielines
VCA Fader
Summing Amplifiers
10. Another term for Tiny Telephone (TT) connectors.
Channel Line Inputs
Patch Points
Bantam Connector
Channel Insert Returns
11. 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)
Bus
Common Mode Rejection
Channel Mic Inputs
Record Mode (Record Status)
12. 60 ? -40 db (roughly -50 dB)
Tape Input Control Range
Mic Level
Nominal Level
Group Outputs
13. 14dB to +20dB
Cue Outputs
Line Input Range
Tape Input Control Range
Normalled
14. Measures the peak levels of a signal; Quick response; Often displays a peak hold.
Pan Pot (Panoramic Potentiometer)
Peak Program Meter (PPM)
Speakers Section (SLS)
Bantam Connector
15. 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.
Plasma Meter
Attenuation
Nominal Level
Professional Line Level
16. First and most important path of the console audio chain; Mic input (source) ? MTR (destination);
Channel Path
Fold Back Section (FB)
Patching Across
Normalled
17. The operating level at which an electronic signal processing device is designed to operate.
Nominal Level
Mix Insert Sends
Buss
Stereo Bus
18. Wire that carries a signal.
VCA Fader
Buss
Mult
Channel Line Inputs
19. Console that has two separate sections for the channel paths and the monitor paths.
Summing Amplifiers
Split Console
Conductive Plastic Fader
VCA Fader
20. The audio signal automatically flows between a vertical pair of patchbay jacks without the need for patch cables.
Microphone Line
Binaural Localization
Multi-Track Sends
Normalled
21. 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.
Pan Pot (Panoramic Potentiometer)
Mic Lines
Channel Strip
Headroom Meter
22. The stereo inputs to the cue system's amplifier.
Tielines
Cue Amp Inputs
DI Box
Gain Staging
23. 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
Phantom Power
Reason for 2 Multi-Track Returns
Half- Normalled
Electronic Crossover (X-Over)
24. Designating sound transmission from two sources through two channels.
Line Input Range
Stereo
Multing
Patch
25. A cable in either row breaks the connection and the signal now flows through the cord; Signal can be MOVED to a different input.
Fully- Normalled
Binaural Localization
Channel Path
Stereo Bus
26. Tip-Ring-Sleeve connector; Common
Split Console
TRS Connector
Channel Insert Returns
Channel Path
27. 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.
Balancing Circuit
'Tiny Telephone' (TT) Connector
Buss
DI Box
28. An audio connection point intended to be used for a limited time.
Cathode
Cross Patching
Patch
Split Console
29. The output of the stereo bus before the master fader; Normalled to the mix insert returns.
Mix Insert Sends
DI Box
Stereo
Bus Compression
30. 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.
Routing Matrix
Inline Console
Professional Line Level
Cathode
31. 'Standard' level at which the inputs and outputs of domestic and professional sound equipment operate.
Attenuation
Patching Across
Line Level Signal
Patch
32. Second part of the console audio chain. MTR (source) ? Speakers (output source)
Stereo Bus
Split Console
Monitor Path
Common Mode Rejection
33. 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.
'Tiny Telephone' (TT) Connector
Bus Compression
Normalled
Audio Grouping
34. 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).
Unity Gain
Monitor Inputs
Channel Strip
Attenuation
35. 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.
Channel Insert Sends
Multi-Track Sends
Mix Insert Returns
Channel Line Inputs
36. 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.
Fold Back Section (FB)
Audient ASP8024
Universal Law of Patching
Professional Line Level
37. +4db
Channel Insert Returns
Professional Line Level
Fully- Normalled
Plasma Meter
38. The ability of two ears to localize a sound source.
Unity Gain
Binaural Localization
Balancing Circuit
Speakers Section (SLS)
39. Three- pin plug for three- conductor 'balanced' audio cables employed with high- quality microphones - mixers - and other audio equipment.
Mic Input Range
Microphone Line
Split Console
XLR
40. The outputs of each track on the multi- track tape machine; Half- normalled to the Channel Line Inputs.
Multi-Track Returns
Inline Console
Master Section
Consumer Line Level
41. Compressing a group of signals together with a single processor.
Phantom Power
Anode
Tape Input Control Range
Audio Grouping
42. The power for pre- amplification in a condenser microphone - supplied by the audio console rather than a battery.
Power Amplifier
Phantom Power
Audio Grouping
Bus
43. Assigns console speakers to the studio loudspeakers.
Electronic Crossover (X-Over)
Record Mode (Record Status)
Attenuation
Speakers Section (SLS)
44. 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.
Summing Amplifiers
Oscillator
Anode
Audient ASP8024
45. 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)
Mix Outputs
Mono
Anode
Mix Mode (Mix Status)
46. A signal path specifically dedicated to sending audio signal to headphones.
Mix Outputs
Bantam Connector
Routing Matrix
Cue Send
47. 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.
Channel Insert Returns
Patchbay
Mic Lines
Common Mode Rejection
48. Signal looses strength as it travels down the channel.
Monitor Inputs
Bus Compression
Attenuation
Cathode
49. 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).
Cue Send
I/O Module
Bantam Connector
VCA Fader
50. Cables that connect the control room to other rooms in the facility and back.
Tielines
Mic Level
Patching Across
Line Level Signal