Term
| What is the difference between Digital Consoles and Audio Workstations? |
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Definition
Digital consoles do not store audio internally, do not allow any kind of audio editing,
but they include a comprehensive control surface. Digital Audio Workstations
(DAWs) allow the internal recording, editing, mixing, and mastering of audio in the
same environment. DAWs do not include a control surface (user interface), but one
can be purchased separately. |
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Term
Describe the differences in signal flow between an Analog Console and a Digital
Console? |
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Definition
Analog signal flow involves discrete electrical components in the audio signal path
that inherently posses noise. Digital signal flow is the manipulation of the digital
word to modify level and other parameters through a user interface. Digital signal
flow always has an analog part to it, before the A/D converter, which is the ‘analog
head’ which can include a mic and/or line preamplifier. |
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Term
What format do most Large Format Digital Consoles use to connect to an MTR?
How many channels of audio are transmitted through this connection? |
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Definition
M.A.D.I., which allows the connection of up to 56 channels of digital audio per
conductor. |
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Term
| What are the two main layouts of Large Format Digital Consoles? |
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Definition
The two main layouts are Analog Style and Digital Style layout. Analog style layout
is characterized by an approach called ‘knob-per-function’ in which each parameter
has its own dedicated controller. Digital Layout refers to those consoles in which the
controls perform different functions, called multifunctional encoders. |
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Term
| What are the main advantages of Digital Consoles? |
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Definition
a. Zeroing out
b. Instant Recall
c. Completely automatable parameters |
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Term
| How many total mic inputs and line inputs does the Sony DMX R-100 have? |
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Definition
| It has a total of 12 mic inputs and 24 line level inputs. |
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Term
Describe all the different digital cards available for the Sony. How many inputs
and outputs does the user get per card? |
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Definition
The TDIF card allows eight signals per card to be transmitted using the TDIF
protocol, proprietary of Tascam. The ADAT card allows eight signals to be
transmitted to and from the card using the ADAT lightpipe protocol, proprietary of
Alesis Corp. |
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Term
Describe the function of each Page in detail. What are we using Page 1-24 for on
our Sony Labs? |
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Definition
a. Page 1-24: This page sends signal to MTR (record).
b. Page 25-48: This page receives signal from the MTR (mix).
c. Page Masters: This page contains the buss masters, aux masters, and
aux returns
In our specific situation in the Digimix Labs, the output of the time-based
processors is being returned to Page 1-24 on line inputs (input B) 1-8. |
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Term
| Describe the connections to and from the EFX processors in the Sony Lab. |
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Definition
Our labs use stereo effect sends to the different time-based processors. Auxes 1 & 2
are connected to the respective left and right input of the first processor. The left
and right outputs of the processor return back to the Sony on Page 1-24, line inputs
(input B) 1 & 2. Same for the rest of the processors. |
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Term
| Describe the process of linking on the Sony DMX R-100. |
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Definition
It is only possible to link odd numbered inputs to even numbered ones, from left to
right (e.g.: 13????14, but not 13????12 or 12????13). To do so, hit the access button on the
odd numbered I/O and change the channel from MONO to STEREO. |
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Term
In your own words please provide a basic description of channel output and 2
situations in which you might choose to use it. |
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Definition
Channel output allows the small fader of an I/O to act as an automatable EFX send.
It is used if you need to automate the send level going to an EFX processor, or if all
of the I/O’s aux sends are used up and you need one more EFX send. |
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Term
When using channel output what patchpoint is used to take signal out of the
console and plugged into the time based processor? |
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Definition
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Term
| Which fader is typically used as the channel output level control? |
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Definition
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Term
| Will the channel output fader be pre or post channel fader? |
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Definition
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Term
We can assign the large and/or the small faders both to the same stereo bus. How
do we do this on the 9000J and the AMEK 9098i? |
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Definition
SSL 9000J = Press LF MIX and SF MIX to send large and small fader
AMEK 9098i = Press LCRS for both the large and small fader |
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Term
Please explain why we would want to assign the small fader to the stereo bus in
Mix mode. |
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Definition
To allow more signals to be added to the mix by sending the monitor path to the
stereo buss simultaneously with the channel path. |
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Term
| On the SSL 9000 J during record mode which fader is typically the channel fader? |
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Definition
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Term
On some occasions we might want to re-record a blend of tracks to an open track
on tape, what is this called? |
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Definition
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Term
Please provide a basic step by step procedure for doing a track bounce on the
AMEK 9098i and for the 9000J (don’t forget to include which buttons you would
choose). Don’t forget the MTR too! |
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Definition
AMEL 9098i = 1. Press LCRS off by the small faders to take each of the sources
I/O’s out of the stereo buss, 2. Hit Mon to 48tk on each of the source I/O’s to send
the monitor fader signal to the corresponding routing matrix, 3. Send all I/O’s
across the same busses (one buss= mono, two busses = stereo), 4. Arm the same
tracks on the tape machine, 5. Bring up the small faders to monitor the returns
from the tape machine, 6. Pan returns if necessary, 7. Hit play and record to bounce
tracks on MTR.
SSL 9000J = 1. Turn off LF MIX for each of the sources I/O’s to take them out of
the stereo buss, 2. Hit LF by the routing matrix to accept signal from the large
faders, 3. Route each signal out of the same busses (one buss = mono, two busses =
stereo), 4. If mono, pan large faders to the left if sent to an odd buss and pan to the
right if sent to an even buss, 4. Arm the corresponding tracks on the tape machine 5.
Bring up the large faders to monitor the returns from the tape machine, 6. Pan
returns if necessary, 7. Hit play and record to bounce tracks on MTR. |
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Term
In your own words please explain what an audio subgroup is and under what
circumstances you may choose to use it. |
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Definition
An audio subgroup involves combining signals to the same set of busses in order to
‘group’ them there. It is mainly used to process many signals through one processor,
normally a dynamic one. |
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Term
What button do we press on the Amek 9098i and SSL 9000J to allow the buss
signal to be returned to the corresponding module and become the audio subgroup
master? |
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Definition
AMEK 9098i = BUSS
SSL 9000J = SUBGP |
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Term
Please explain the difference between Fully normalled and Half normalled patch
points. |
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Definition
Fully normalled patch points break their normalling when used. Half normalled
patch points keep the signal normalled while also sending signal through the patch
cable. |
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Term
In your own words please provide a definition for the following terms.
a. Cross patching
b. Dead patching
c. Multing
d.“Patch across” |
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Definition
a. To move or copy an output to another input using a patch cable
b. To kill an input by only patching one side of the cable in order to defeat a
normalled connection
c. Mults make up to 3 copies of the original input signal
d. To insert an audio device into the path of your signal |
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Term
| Name in order the ten basic patchpoints found on most patchbays. |
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Definition
a. Mic Lines
b. Channel Mic Inputs
c. Multitrack Returns
d. Channel Line Inputs
e. Channel Insert Sends
f. Channel Insert Returns
g. Group Outputs
h. Multitrack Sends
i. Multitrack Returns
j. Tape Monitor Inputs |
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Term
How many mono FX masters does the SSL 9000J have? How many Stereo FX
Returns does the SSL have? |
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Definition
| The SSL 9000J has 6 mono FX masters and 4 stereo FX returns |
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Term
How many dedicated Foldback sends to headphone amps does the SSL 9000J
give you? What are they called? |
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Definition
The SSL 9000J has 3 sends to headphone amps named Foldback A,B, and C,
situated in the ‘Studio Headphones’ section of the master section. |
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Term
How would you record the Oscillator’s output to the multitrack recorder? How
would you record the Oscillator’s output to the 2 track recorder? |
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Definition
Hit BUSS 1-48 to send the oscillator to the MTR. Hit MIX to send the oscillator to
the 2 track recorder. |
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Term
What does the Slate button in the Communications section of the console allow
you to do? |
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Definition
The SLATE button sends the communications talkback microphone to the 48 buss
routing matrix to be recorded on all tracks of the tape machine. The same signal is
also sent out the stereo buss to be recorded on the 2 track master. |
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Term
| List and describe what the Channel Meters can monitor. |
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Definition
The channel meters can display either peak or VU dB level. It displays either
Channel path or Monitor path signal depending on the status of the ‘Meter Input’
switch. |
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Term
What is the difference between the PFL solo mode and the AFL solo mode on the
SSL 9000J? |
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Definition
PFL stands for ‘Pre Fader Listening’, and it means the signal is fed to the solo buss
right after the Channel Input section. AFL stands for ‘After Fader Listening’, and it
places the signal in the solo buss post fader and pan. Both of them are non-
destructive types of solo. |
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Term
On the Amek 9098i, what switch allows us to record the Oscillator to the
multitrack recorder? To the 2-track recorder? |
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Definition
To send the oscillator signal to all 48 busses in the routing matrix, press 48TK. To
assign the signal to the stereo buss press MIX. |
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Term
How many aux masters are located in the master section? How many Studio Cue
masters? |
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Definition
There are 16 aux masters located in the master section, one for each of the aux send
busses. There are two Stereo Cue masters, Stereo Cue1 and Stereo Cue2. |
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Term
| Where does the output of these Studio Cue masters feed into? |
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Definition
| The output of these sections feed the inputs of Cue amps. |
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Term
On the Amek 9098i, what buttons allows the Talkback Communications
Microphone to be sent to the multitrack recorder and the 2-track recorder? |
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Definition
SLATE sends the talkback microphone to the routing matrix, which feeds the
multitrack recorder. MIX sends the talkback microphone to the stereo buss, which
feeds the 2-track recorder. |
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