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Test your basic knowledge |
Digital Audio
Start Test
Study First
Subject
:
engineering
Instructions:
Answer 50 questions in 15 minutes.
If you are not ready to take this test, you can
study here
.
Match each statement with the correct term.
Don't refresh. All questions and answers are randomly picked and ordered every time you load a test.
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. Psychoacoustic model of data reduction used for general audio compression that aims to transmit only features perceptible to the human ear; Useful for mastering streaming media
Perceptual Coding
Buffering Locations
Cutoff Frequency
Harmonic Content
2. Six channel (five speakers and one subwoofer for bass) digital surround sound system by Dolby
Pad Head & Tail
SCMS
Buffering Locations
Dolby 5.1
3. Rate at which energy is drawn from a source that produces a flow of electricity in a circuit; Expressed in volts
Constant Bit Rate
Voltage
Glass Master
DVD-18
4. Overtones that contribute to the timbre of a sound and make up a complex waveform's physical characteristics
Harmonic Content
Zero-Latency Monitoring
DVD-Audio
Exponent
5. 12cm plastic disc; 1.2mm thick; One- sided; Red Laser; 1.6 microns between tracks; 125 nanometer pits
Bit Depth
Fletcher- Munson Curve
Ethernet
Red Book
6. 15.9 GB; DS/DL
Audio Engineering Society
Masking Analysis...
DVD-18
Pass Band
7. The difference in volume between the loudest and quietest sounds of a source
Dynamic Range
Normalizing
DVD-10
Acoustics
8. Digital and analog processing capability is combined on a single microchip allowing for 1- bit resolution at high sample rates
Delta-Sigma Modulation
Variable Bit Rate
Compression
Lossless Formats
9. ADAT Optcal; 8- in/8- out on two cables; Fiber- optic - TOSLINK connector
Sampling Theorem
Lightpipe
Storage Conversion Steps
A/D Conversion Signal Flow
10. Used when the reference pressure of a sound is 20 microPa (0.00002); Sound Pressure Level; Measure of amplitude
Sawtooth Wave
Threshold of Hearing
Joseph Fourier
dB/SPL
11. Measurement at regular intervals of the amplitude of a varying waveform (in order to convert it to digital form); There must be a minimum of 2 samples for each cycle in a waveform
Lightpipe
Resolution
Sampling (Samples)
Impulse Response
12. Circuit that interprets the meaning of the symbols as they were chosen and arranged by the encode
Masking Analysis...
Storage Conversion Steps
Decoder
Bit Depth Effect on Dynamic Range
13. Accuracy with which an electronic system reproduces the sound or image of its input signal
Voltage
Fidelity
Zero-Latency Monitoring
Threshold of Hearing
14. The elapsed time it takes for a packet of data to arrive at its destination; Lagging or pause of an audio signal as digital processing occurs; Can be managed utilizing several forms of 'audio monitoring'
Latency
Data Packing
Morse Code
Glass Master
15. A time regulator that makes all samples and bits to align when working with interconnected digital devices; Basically a signal that all of the digital devices refer to when operating.
A/D Conversion Signal Flow
Recording Levels
Entropy Coding
Word Clock
16. Industry Standards: -6 dB Peak = -20 RMS Meter
6 dB
Zero-Latency Monitoring
Average Bit Rate
Recording Levels
17. Softest sound that can be heard by the average human ear (0 dB)
Interpolation Filter
Threshold of Hearing
Blu-Ray
AES3
18. The loudest point of a Full Scale system
0 dB FS
DVD-14
Sawtooth Wave
Nyquist Frequency
19. Based on psychoacoustics - these are the basis of frequency analysis for a perceptual codec;
Pulse Code Modulation
Dynamic Range
Cutoff Frequency
Subbands
20. Leaving space at beginning and ending of song for data crunching during mastering; Last step in mastering process
Fletcher- Munson Curve
Pad Head & Tail
Claude Shannon
Effective Bit Depth
21. (AES/EBU); 110O - 2- channel balanced digital audio cable with an XLR connection; NOT a mic cable!!
Nyquist Frequency
AES3
Codec
Peak Level
22. Lossless Format; Can hold up to 25GB on a single- layer disc and 50GB on a dual- layer disc
Blu-Ray
Harry Nyquist
PCM
Glass Master
23. Number or variable that represents the number of times the base of a power is used as a factor; Defines magnitude
Exponent
Decimation Filter
Analog
CPU Buffering
24. Sample Rate x Bit Depth x # of Channels
6 dB
Lossy Formats
Non -Compressed Audio Data Rate Formula
Significand
25. Removes high frequency images and noise and smoothes the stair case output coming from of the sample and hold circuit; Also called a SMOOTHING FILTER
dB/SPL
MONO
A/D Conversion
Anti-Imaging Filter
26. Toshiba developed digital audio interface utilizes fiber optics as a transmission medium.
Multichannel Audio Digital Interface (MADI)
TOSLINK
Buffer Size
Morse Code
27. Smallest interval measurable by a scientific instrument; Defined by bit rate (sample rate x bit depth)
Resolution
Red Book
Conversion Buffering
Acoustics
28. 12.33 GB; DS/ML
Ethernet
DVD-14
Storage Conversion Steps
Tascam Digital Interface Format (TDIF)
29. More accuracy in low amplitudes and less in higher amplitudes
DVD-9
Amplitude Accuracy
Oscillation
Entropy Coding
30. Serial Copy Management System; main difference between AES3 & S/PIDF
SCMS
Nanometer
RMS
Sawtooth Wave
31. Defines the number of sample per second taken from a continuous signal to make a discrete signal; Governs the frequency response of digital audio
Sine Wave
Dolby 7.1
Sample Rate
Impulse Response
32. The amount of energy at each wavelength
Equal Loudness Contour
Optical Cable
Spectra
Footroom
33. AES
Gain Staging
Audio Engineering Society
Foldover
Amplitude Accuracy
34. Low Pressure; Part in a longitudinal wave where the particles are spread apart
Decoder
Nyquist Frequency
Tascam Digital Interface Format (TDIF)
Rarefaction
35. Circuit that seizes voltage values with each tick of an A/D device's internal clock
Quantizer
Interpolation Filter
Sample- and-Hold
Voltage
36. Represents the amplitude component of the digital sampling process; Technique of incrementing a continuous analog event into a discrete set of binary digits (bits)
Pulse Density Modulation
Interleaved
DVD-Audio
Quantization
37. Data reduction technique that does not effect quality of original audio; No effect on original quality; Typically around 50% reduction; Exact reconstruction of digital code for the audio signal
Lossless
Blu-Ray
CobraNet
Sample- and-Hold
38. Signal voltage is relayed to a register from sample- and - hold circuit; Holds reference frequencies in binary form that decrease in value; Finds approximated value & assigns binary number accordingly
Entropy Coding
Successive Approximation
Fidelity
PCM
39. Sum of all harmonics; Sum of sine and cosine waves which have frequencies f - 2f - 3f - 4f...
Fourier Series
DVD-10
Significand
Y-Axis Terminology
40. If a signal is sampled at a rate higher than twice the highest significant signal frequency and at evenly spaced intervals - then the samples contain all the information of the original signal
Redither
Motion Pictures Experts Group
Successive Approximation
Sampling Theorem
41. (Amplitude Based) Amplitude: Voltage; Quantization; Bit Depth; Quantization Intervals; Quantization Noise; [Signal:Quantization Noise Ratio]; Dither; Dynamic Range
Quantization
Playback Buffering
Y-Axis Terminology
Data Packing
42. Occurs as data is assembled into meaningful bits or information and as left & right channels are separated
Nanometer
I/O Connection Buffering
Sampling Rule
Overflow
43. Same as 'aliasing'
CPU Buffering
AES3
Foldover
Internal Resolution
44. The mathematics - algorithms - and the techniques used to manipulate signals after they have been converted to digital form
Decoder
Digital Signal Processing
Additive Synthesis...
Optical Cable
45. Perceptual coding technique that uses louder sounds of a similar frequency to decide what information is to be saved during data reduction
Normalizing
Zero-Latency Monitoring
A/D Conversion
Masking Analysis...
46. Contains all even and odd harmonics associated with a fundamental tone - making it a rich source for modeling other sounds; Amplitude of each overtone decreases exponentially as a ratio of the harmonic's frequency to that of the fundamental
Audio Engineering Society
dB/FS
Sawtooth Wave
Tascam Digital Interface Format (TDIF)
47. When recording you want the smallest buffer available; When mixing you want the largest buffer available
Oversampling
MONO
Buffering Locations
Buffer Size
48. Twice as many samples as the highest frequency at minimum; Sampling rate totally controls frequency response
Index of Reflectivity
Impulse Response
Audio Engineering Society
Sampling Rule
49. Level above which audible sounds are painful (125 - 130 db)
Fletcher- Munson Curve
Threshold of Pain
Frames
Physical Disc Format
50. Ultra low- latency - 512- channel (on a gigabit network) - less flexible AoE format; Routed like audio cables...not network cables
Sampling Rule
Decimal- to-Binary Conversion
Rarefaction
EtherSound