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Recording Consoles

Subject : engineering
Instructions:
  • Answer 50 questions in 15 minutes.
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  • Match each statement with the correct term.
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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. Stereo inputs of external stereo devices to the control room section via the control room monitor source switches in the master section.






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






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






4. 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.






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






6. 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






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






8. 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).






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






10. 14dB to +20dB






11. +4db






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






13. The negative electrode in an electrical circuit.






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






15. 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.






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






17. 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.






18. 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.






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






20. 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.






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






22. 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.






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






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






25. 10dB






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






27. 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.






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






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






30. 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.






31. Assigns console speakers to the studio loudspeakers.






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






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






35. 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






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






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






38. Assigns console signal to the headphone amps.






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






40. The positive electrode in an electrical circuit.






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






42. 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






43. 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.






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.






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






46. An audio connection point intended to be used for a limited time.






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






48. 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.






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






50. 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).







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