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API Flashcards

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1
Q

At CRAS, the 212L Mic Pre modules are found in which slot

A

Upper 200

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2
Q

At CRAS, the 215L Sweep Filters, 225L Compressors, and 235L Gate modules are found in which slot?

A

Lower 200

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3
Q

API circuitry type

A

Discrete

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4
Q

Discrete circuitry

A

Composed of individual electronic components which allows customisation, upgrades, easier to fix broken parts

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5
Q

Discrete vs Integrate circuitry

A

Integrated circuitry has many components embedded in 1 circuit - this cannot be customised. If it breaks, the whole thing needs to be replaced

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6
Q

Button to globally change inputs of all large & small faders

A

INP FLIP

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7
Q

Button in Master Section to monitor external sources

A

C/R PLAY

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8
Q

Button in Master Section to monitor internal sources

A

C/R PGM

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9
Q

What is normalled to the input of the MTR

A

MTB 1-24

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10
Q

How many total stereo input sources can be assigned to the GM fader?

A

5 = STA, STB, STC, GM aux, and Aux 11/12

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11
Q

At CRAS, which input defaults to the Large Fader path

A

Tape

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12
Q

At CRAS, which input defaults to the Small Fader path

A

Mic

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13
Q

Input that the Grand Master Fader is normalled to

A

Masterlink MDR

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14
Q

Button to globally restore all channel inputs to default

A

INP CLR

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15
Q

BAM meaning

A

Bus Assignment Module

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16
Q

Modular console

A

Modules are small, independent processors with patchable I/O; this allows us to move modules around, add, remove, completely customise. If a section of the I/O breaks, the entire channel won’t break. Signal also does not travel down the entire I/O. Signal will only go through a module if you turn it on.

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17
Q

In default mode, the 212L is normalled to which input patch

A

Small channel input

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18
Q

In default mode, the multi-track output is normalled to which input patch

A

Large channel input

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19
Q

At CRAS, do modules in the lower 200 need to be patched?

A

Yes

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20
Q

API patch bay

A

Majority of things need to be patched, but you can patch just about anything. API patch bays also include “active” relay switching, so you will literally hear the patch bay switch things on if you switch them on on the console

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21
Q

GM

A

Grand Master

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22
Q

DIR

A

Routes the Small Fader path to the direct out

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23
Q

24

A

Routes the Small Fader path to the MTB (BAM)

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24
Q

What are the outputs of the MTB normalled to?

A

Otari MTR-90 & ProTools

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25
Q

Where can you find the Pan on/off buttons

A

In the BAM

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26
Q

Which console output must be patched into the MTR?

A

Direct out

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27
Q

215L

A

API Legacy Plus Sweep Filter

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28
Q

235L

A

API Legacy Plus Gate/Expander

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29
Q

212L

A

API Legacy Plus Mic Pre

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30
Q

205L

A

API Legacy Plus Direct Input (DI)

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31
Q

225L

A

API Legacy Plus Compressor/Limiter

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32
Q

Which EQ bands offer option to switch between peaking and shelving

A

1 & 4, high & low

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33
Q

550L

A

API Legacy Plus 4 Band Selectable EQ

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34
Q

560L

A

API Legacy Plus 10 Band Graphic EQ

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35
Q

VU LRG

A

Displays Large Fader path input levels; directly after the Large Fader channel input patch point

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36
Q

-6

A

PAD the Tape return input

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37
Q

Meters above the Master section

A

PGM Meters (program meters)

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38
Q

L/R PEAK

A

Changes the PGM meters to display peak amplitude rather than RMS

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39
Q

EQ default path

A

Large fader path

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40
Q

Stereo Mix Busses

A

A, B, C

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41
Q

VU SM

A

Displays Small Fader path input levels; directly after the Small Fader channel input patch point

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42
Q

BUS TO VU

A

Displays the multi-track summing bus outputs across meters 1-24

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43
Q

VU DIR

A

Displays the direct output levels

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44
Q

550L 4 Band EQ

A

4 bands = each band offers 7 selectable frequencies with proportional Q
12 dB boost/cut
Bands 1 & 4 can switch between peak/shelf
Top blue pot chooses frequency
Bottom gray pot boosts/cuts dB

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45
Q

Button to accept signal returning from an insert patch

A

INS

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46
Q

Two physical types of meters on the console

A
  1. VU

2. LED

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47
Q

Specific stereo source that can be view on the PGM

A

GM

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48
Q

API module with sweep control for threshold, depth, release, hold

A

235L

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49
Q

API module with three sweep controls for threshold, ratio, release

A

225L

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50
Q

Which fader offers a dedicated HPF

A

Large fader

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51
Q

560L 10 Band Graphic EQ

A

Channels 41-48
Pre-determined frequencies per octave
12 dB boost/cut
Proportional Q

52
Q

215L Sweep Filter

A

Lo-pass: 500 Hz - 20 kHz at 6 dB per octave

Hi-pass: 20 Hz - 600 Hz at 12 dB per octave

53
Q

225L Compressor/Limiter

A 
Threshold: +10 to -20 dBu
Attack time: Slow, Medium, Fast (slow is normal)
Meter: amount of compression
Ratio: 0 to infinity
Knee: Hard, soft, new, old
54
Q

Feed-forward compression

A

New “VCA” style of compression

55
Q

Feed-back compression

A

Classic type of compression

56
Q

235L Gate/Expander

A 
Threshold: +25 to -45 dBu
Attack time: Fast, normal
Meter: Shows amount of noise reduction
Depth: 0 to -80 dB
Release: release time
Expander: 2:1, up to the threshold
Gate: Gate mode activates at threshold
Hold: Knob for hold time
Release: Knob for gate decay time
57
Q

205L Direct Input

A

Gain: input level control
Tone: Thin to fat (fat is flat - normal level), reduces muddy sound
Hi-Z input: Brings instrument level to line level
Bright: brightens high end, adds clarity
Meter: Output level, VU
-20 PAD
LOAD: Adds a 100k load for changing the tone of guitar/bas pick up - makes it feel like you’re playing through an amp

58
Q

BAM section

A 
MTB: Odd is on left, even is on right
1/25 to 23/47 (left)
2/26 to 24/48 (right)
Stereo Mix Busses:
STA, STB, STC
Pan buttons (SM and LRG)
59
Q

Which fader feeds the MTB by default?

A

Large fader

60
Q

Which fader feeds the Direct Out by default?

A

Large fader

61
Q

Total amount of auxes

A

12

62
Q

How many auxes can be used simultaneously?

A

10

63
Q

Mono auxes

A

Aux 1-6 (6 total)

64
Q

Stereo auxes

A

Aux 7-12(3 total)

65
Q

Aux sends default

A

Post-fader from the Large fader paths

66
Q

Which aux sends can switch to pre-fader?

A

All aux sends

67
Q

Which aux sends can switch to Small fader path?

A

Aux 9-12

68
Q

Aux sends 1-6 primary use

A

Effects sends during recording and mixing

69
Q

Aux sends 7/8, 9/10, and 11/12 primary use

A

Cue sends during recording and stereo Effects sends during mixing

70
Q

Mono aux sends pots

A

Top pot controls odd numbered aux

Bottom pot controls even numbered aux

71
Q

Stereo aux sends pots

A

Top pot controls level

Bottom pot controls pan

72
Q

At CRAS, when turning on speakers, what must be turned on first and why?

A

The sub must be turned on first because it acts as a crossover for the KRKs/Tannoy

73
Q

Channel I/O track mute location (before applying/removing +48v)

A

Yellow button with I/O channel number below the Small fader

74
Q

Channel I/O mute post-fader on the monitor path

A

Yellow button with I/O channel number below the Large fader

75
Q

How to patch a Direct Out

A

Press DIR on channel. Patch out from Direct Out (same channel) into the Multi-Tape Input (same channel)

76
Q

API Lunchbox

A

They’re like metal lunchboxes, with cartridge slots where you can connect modules

77
Q

How many stereo aux busses can be used simultaneously?

A

2: 7/8 and 9/10 or 11/12 since 9/10 and 11/12 cannot be used at the same time

78
Q

Which auxes will always (cannot be changed) split off the Large Fader path?

A

Aux 1-8

79
Q

Which auxes can be assigned to split off the Small Fader path by pressing SM in the aux section?

A

Aux 9-12

80
Q

Which auxes feed the Cue 1 L/R masters?

A

Aux 7-8

81
Q

Which auxes feed the Cue 2 L/R masters?

A

Aux 9-10

82
Q

Which auxes feed Cue masters 1-3?

A

Aux 7-12

83
Q

Which Cue masters normal to the headphone amps?

A

Cues 1 and 2

84
Q

How many STEREO headphone mixes can be made SIMULTANEOUSLY?

A

2

85
Q

Steps to create a headphone mix using Cue 1

A
  1. Set up HP box
  2. Set Cue master to nominal level
  3. Route TB Mic to Cue
  4. On Channel - Press PF and ON for Aux 7-8
  5. Put on headphones
  6. On Channel - Set aux level and pan
86
Q

Button that assigns TB mic to each individual cue master

A

T/B

87
Q

Button that must be pressed to assign the console TB mic to ALL cues

A

T/B Cue

88
Q

In master section, what dedicated mic pre can be used for the artist’s TB mic?

A

Listen Mic

89
Q

Default solo mode

A

AFL - non-destructive

90
Q

Which solo mode monitors through the solo bus?

A

PFL and AFL

91
Q

What solo mode monitors through the stereo bus?

A

SIP - destructive

92
Q

SIP

A

Solo in place

93
Q

AFL solo includes panning while a PFL will always be mono. T/F

A

True

94
Q

When is it safe to use a destructive solo (SIP)?

A

During mixing

95
Q

When a fader is soloed, its level can be seen on which meter?

A

PGM meters

96
Q

When engaged, which button protects a fader from a destructive solo?

A

SAFE

97
Q

Top or bottom pot controls level for auxes 1, 3, 5

A

Top pot

98
Q

Top or bottom pot controls level for auxes 2, 4, 6

A

Bottom pot

99
Q

Top or bottom pot controls level for stereo auxes 7-12

A

Top pot

100
Q

Top or bottom pot controls pan for stereo auxes 7-12

A

Bottom pot

101
Q

In addition to aux sends, what other STEREO source is assignable to Cues 1-3?

A

GM

102
Q

Channels normalled to the MTR-90

A

1-24

103
Q

Channels normalled to Pro Tools

A

25-48

104
Q

Redundant bussing

A

Channels 25-48 that feed Pro Tools are literal copies of channels 1-24

105
Q

What normals to the MDR Masterlink

A

GM

106
Q

Functions that meter incoming signal (inputs)

A

VU LG

VU SM

107
Q

Functions that meter outgoing signal (outputs)

A

BUS TO VU

VU DIR

108
Q

L/R PEAK function

A

Affects PGM meters, and switches metering between VU (RMS) & peak (peak amp)

109
Q

Non-destructive vs destructive solo

A

Non-destructive: take the signal to the solo bus and is not affecting signals going to the GM
Destructive: when soloing, it essentially MUTES all the other tracks going to the GM

110
Q

AFL & fader effects

A

Any changes made with the fader will be heard in the solo bus because the fader is affecting signal being fed to the solo

111
Q

PFL & fader effects

A

Any changes made with the fader will NOT be heard in the solo bus, because signal is splitting to the solo bus before reaching the fader

112
Q

LRG SIP

A

Mutes all signal on large faders other than what has been soloed

113
Q

SM SIP

A

Mutes all signal on small faders other than what was been soloed

114
Q

SIP LINK

A

Links LRG and SM

115
Q

If you switch aux 1 & 2 to PF, what happens to aux 3 & 4?

A

They also change to PF because they are linked to the same PF switch

116
Q

Which auxes can be assigned to the small fader?

A

9/10 or 11/12

117
Q

Which channels have 550Ls?

A

Channels 1-40

118
Q

Which channels have 560Ls?

A

Channels 41-48

119
Q

Module definition

A

Independent signal processor with a patchable I/O

120
Q

Large channel in v. Large fader in

A

Large channel in: normal routing that has access to whole channel (EQ, inserts, etc.)
Large fader in: enters right at the fader trim and fader, skipping everything coming before it in signal flow

121
Q

Bus grouping

A

Grouping multiple channels to one bus on one channel using the BAM

122
Q

Accepting a Bus grouping

A

There is no ‘bus’ button to accept this signal on a channel, therefore it must be accepted by patching from ‘Bus Out #’ to ‘LG channel in #’ on the number channel you bussed to

123
Q

Patching outboard TBP and setting up the return channel

A

Patching: Stereo aux sends > TBP > LG channel in #s

Return channel: Pan, send to SB, bring up fader

124
Q

Patching reroute GM to Pro Tools for printing (MDR)

A

GM BSTR L/R > Multi-tape in 47/48

125
Q

After patching GM to Pro Tools, what additional patch must be made? Why

A

Dead patch Large channel out 47/48 - this helps avoid feedback loops

Music Production (16 decks)

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