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to switch from ipod to cd
hold down left button and hit source select
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industry standard audio
wheatstone
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audio console/mixing board
accepts output signals from sound sources, feeds intro separate input channels on the board, operator can then amplify, mix and route them to air, recording device, studio or talent
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input
channels that get signals from various sources and sends them to output. mics have one channel. stereo line sources has two channels.
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peak light
red, when illuminated, a signal is too loud in the channel and needs to be lowered using gain/trim pot
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+48V
phantom power switch to activate external power supply for phantom power capable condenser microphones
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phase
reverses phase of input signal by 180°
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gain/trim potentiometer
controls input level with a pre-amplifier before it goes through the rest of the board. allows for a balance in the slide faders
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EQualiser section (red)
alter the channel's frequency response by boosting or cutting the volume of specific signal frequencies. Treble/high frequencies, high middle, low middle, and bass/low frequencies. left pots adjust the volume of the frequencies in the range, middle pots select specific frequencies, right pots allow Q (width) adjustment of specific frequencies.
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humans hear
frequencies from 20-16,000 Hz
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high pass filter
bass roll-off filter, cuts off the volume of frequencies below a certain frequency. we use 63 Hz for surface noise and appliance hum. 120 V is electrical system.
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output assignment switchers
routes input signals to specific output sections. LR for master L and R fader and MONO
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mix minus
when you send everything out to studio except miss
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panoramic potentiometer
shifts balance of sound between two master output channels (L and R), center for mics.
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slide fader
should always be set at the reference line -10 for 100% modulation when used with the gain/trim pot
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solo (orange)
cue, prefader line, allows speaker in audio to monitor individual channels without affecting the program output.
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L&R fader
collects the LR output signals sent from all the input channels in one place before moving from the board to air and/or a recording device
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mono/sel
collects the MONO output signals sent from all the input channels in one place, before moving from the board to the studio
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monitor
meters and speakers. samples various signals in the other sections, visually watch meters, neither metering nor monitoring will affect the signal being broadcast or recorded
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meters
visually measure signal flow thru a console or audio device. 1. soundcraft board peak program meters: LR and MONO. 2. Dorrough loudness meter (VU Meter), combo unit
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speakers
mon level pot to adjust speaker volume in the audio control room only
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Volume Unit meters
measure signal flow thru a console or audio device, average sound intensity (amplitude) in dBs (-20 to 3) and percentage of modulation (0-100%). reference point is 0dB=100%
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slate/talkback
mic mounted on or inside board. slate verbally identifying takes on a recorded tape, talkback allows for communication with performers
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oscillator
pure tone at specific frequency (1kHz), calibrates recording or playback levels on tape machines using VU meters, slating takes or for engineering alignment. channels 29 and 30
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patch bays
access to audio source outputs and audio board inputs. top row are outputs, bottom row are inputs. jacks without a line between them indicate the normal connection, the # of ins and outs determines flexibility.
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hit
faders at proper full level
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fade up
keep fade up time to a minimum (2 seconds or less)
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cross-fade
fade one source out as another is faded in for 2 seconds
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modern surround sound
5.1 channels
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matrices
group of buses and faders
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numbers in digicart
first is hard drive, next is directory , next is cut within directory
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digicart audio resolution
48,000 samples per second
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normalize the board
load the cue list "rtvf normal"
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play digicart file continuously
LOOP
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mic access panels
two in each studio, one has 12 inputs, the other has 1-9. never plug 2 mics into the same channel at different access panels.
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