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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. 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.






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






3. Professional patchbay connectors allowing for more jacks in a single row - typically 48 jacks per row; The tip of the connector carries the in - phase signal - the ring of the connector carries the out- of- phase (low) half of the signal - and the sl


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






5. 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






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






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






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






9. Wire that carries a signal.






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






11. 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.






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






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






14. 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.






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






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






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






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






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






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






21. The positive electrode in an electrical circuit.






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






23. 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.






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






25. Usually a PPM meter used to reference relative to 0dB for digital audio signals; Input is calibrated to a certain number of dB below the level where clipping will occur.






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






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






28. 10dB






29. 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.






30. 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.






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






32. 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.






33. Designating sound transmission from two sources through two channels.






34. 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)






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






36. The negative electrode in an electrical circuit.






37. 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.






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






39. 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.






40. 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).






41. 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).






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






43. Assigns console speakers to the studio loudspeakers.






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






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






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






47. 14dB to +20dB






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






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






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