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






2. 14dB to +20dB






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






4. +6dB to +60dB






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






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






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






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






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






10. 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






11. 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).






12. 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.






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






14. Wire that carries a signal.






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






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






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






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






19. 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)






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






21. 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






22. 60 ? -40 db (roughly -50 dB)






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






24. 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)






25. 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






26. Assigns console speakers to the studio loudspeakers.






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






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






29. 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.






30. 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.






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






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






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






34. 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.






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






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






37. 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.






38. 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.






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






40. 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.






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






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






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






44. 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.






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






46. The positive electrode in an electrical circuit.






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






48. 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.






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






50. 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.