rtvf eq quiz 1

lens/glass

2-way, 2 channel intercom. hofstra only uses channel 1. studio a uses system 1 studio b uses system 2. 

right-most equipment rack in Studio Control. Studio A RTS positions are blue and usually to the left, B RTS positions are yellow and usually to the right. positions used by either studio are white.

activate mic by quickly tapping the MIC ON and PANEL MIC buttons (they latch), select channel 1 by pressing TALK 1 and LISTEN 1 or hold down TALK 1 for push-to-talk, turn speaker on by SPKR ON and use PGM 1 to turn volume

4 pin XLR into jack at user station, keep mic on

no speaker AD TD VT CG

Video Control, Audio, push to talk, SPKR ON

belt packs, 3 pin XLR mic cable to 3 pin jack, 2 RTS jacks on each panel, all four jacks can be used. 

Ikegami HK-388W, use left side PROD monitor/mic system instead of right side ENG system (channel 2). flip white switch on zoom stalk to bottom to push to talk

studio address system is 2 channel system that allows the producer/director to communicate with the entire studio

one way, 8 channel voice communication system for use in television broadcast allowing a person in the control room to interrupt audio (program) being fed to talent. At Hof: 2 director control room stations (A & B), 4 portable user stations with interconnecting cables, and talent ear speakers

buttons 1-4 are for A and buttons 5-8 are for B, IFB all is to access all channels at once

small belt pack package used by newscasters, gets audio signals from control room by way of the studio bulkhead connections, has the electronics to provide a binaural audio signal to the user, allowing them to hear uninterrupted program and interrupted signals.

3 pin XLR mic cable into belt pack jack INPUT and then into one of the IFB jacks on the main studio panel. put earpiece speaker jack into belt pack HEADPHONES labeled STEREO. 

1. put on headset, turn up PROD volume and deal with mic 2. adjust ped 3. unlock pan and tilt 4. adjust pan, tilt and ped frictions

5. uncoil triax camera cable from green hangers and steer camera into position 6. stand by until camera is electronically uncapped by Video Engineer, TD, Production Manager or TA 7. flip VF POWER switch in access panel to turn on 8. adjust monitor controls; activate and adjust the CURSOR Box if presetting a graphic

1. remove RTS headset and place it on handle of camera, turn left PROD volume down to 0 and make sure mic is OFF 2. move camera to wall, wheels pointing to the sides 3. lock pan and tilt 4. raise ped 

5. coil the camera cables in figure 8 around hangers with slack 6. stand by camera until it is electronically capped by VE, TD, PM, or TA 7. flip VF POWER switch in access panel to turn it off

RET-1 (return) for previewing special effects or RET-2 (program), though 2 buttons on bottom of zoom stalk work better 

individual channels that receive signals from various sources, process them and send to output

when illuminated, an excessively loud signal is entering channel and needs to be lowered using gain/trim pot

phantom power switch to activate external power supply for phantom power capable condenser microphones

reverses phase of input signal by 180, only when you have mis-wired buildings, positive to negative

input level must be controlled with a pre-amplifier before it goes through the reest of the board, boosts or cuts input levels to prevent overload or under modulation, regulates input level to allow the operator to create a balance in the slide faders, regardless of original signal strength 

for mics-to the right, for line-to the left. taking levels is to have every mic on -10

allows operators to alter the channel's frequency response by boosting or cutting the volume of specific signal frequencies (tone/pitch), contains pots for 4 tonal ranges: treble/high frequencies, high mid, lo mid, and bass/low frequencies. 

boost/cut the volume of the frequencies in the range, the middle frequency selects pots select specific frequencies in each range, Q allows width adjustments of the specific frequencies selected by mid pots

cuts off the volume of frequencies below a certain frequency, we use 63 Hz

if a signal source should be sent to the studio for monitoring 

mix minus

shifts balance of sound between the two master output channels, L and R. for mics keep it center. for line level it depends

to activate/deactivate the input channel

to vary strength of signal leaving channel, should always be set at the reference line (-10) for 100% modulation when used in conjunction with the gain/trim pot

sometimes called cue, prefader line or prefader lister (PFL), allows speaker in audio control monitoring channels without affecting program, don't bring faders up!

gets signals sent from input channels, combines and routes them through master output channels to line out for recording or broadcast

to collect 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, set to 0

collects the MONO output signals sent from all the input channels in one place, before moving from the board to the studio, -25

vary the strength of the signals leaving the channels, should always be set at the reference line (-10)

neither metering nor monitoring will affect the signal being broadcast or recorded

visually measure the signal flow through a console or audio device. Soundcraft board Peak Program Meters (PPMs): MONO and L&R. Dorrough loudness meter combines PPM and VU meter to measure both peak and average sound intensity (amplitude)

MON LEVEL pot adjusts speaker volume in the audio control room, Video Control Rooms have own monitoring speakers

average sound intensity (amplitude) in dBs (from -20 to 3) and % of modulation, have slow response of 300 milliseconds, 0 dB=100% modulation

responds very quickly to program peak levels

mic mounted on or inside board, used to verbally identify takes on a recorded tape, talkback allows communication with studio

pure tone at specific frequency (1 kHz) to calibrate recording levels on tape machines, slating takes or for alignment. 

allow easy access to audio source outputs and audio board inputs, top row are outputs, bottom are inputs, top and bottom without a line indicate the normal connection, the # of ins and outs determines flexibility, reassigns inputs so they are grouped more efficiently

faders at proper, full level

keep fade up time to a minimum 

fade one source out as another is faded in, mix for about 2 seconds

one source immediately followed by another source (with as little gap as possible), used with a video cut

jacks 1-8 from bulkhead access panels in B

DigiCart

Tascam Solid State Recorder

Tascam CD Player

XClyps 1

XClyps 2

VT 14 Profile Channel A

VT 18 Profile Channel B

B aud in A

BAUD INB

BAUD INC

BAUD IN D tone

Denon cassette deck

ipod interface cable

DAW

lexicon effects

load student configuration using password Hofstra and normalize the board by loading the Cue List "RTVF Normal"

stopped Digicart is cued, use only pause to cue a file in a different spot than beginning

Select drives by pressing left POSITION arrow the select drive number (1 for hard drive), select directories by pressing right POSITION arrow from drive layer or left POSITION arrow for files layer (were in 2), next is cut within directory

press LOOP to activate continuous playback from head to tail, press loop again to end continuous playback 

use find process or POSITION and SELECT to locate a file, press ASSIGN PRESENT, desired white "hot" key, repeat as needed, exit assign presents, pressing the preset will make them start to play