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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. 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.
Direct Stream Digital
Word Clock
Anti-Imaging Filter
SACD
2. 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
dB/FS
Square Wave
Perceptual Coding
Conversion Buffering
3. Amplitude meter that takes the square root of all instantaneous amplitudes and averages them to find a mean and squares that value; Useful with particularly complex waveforms
Anti-Aliasing Filter
RMS Meter
Floating Point
MONO
4. Measures the highest levels of a signal being recorded or mixed; Monitors for clipping - which occurs at 0dBFS); Does not always reflect perceived volume of signal
Significand
Peak Level
Sonogram
Conversion Buffering
5. Roughly around 1 -130 ft/s
Non -Compressed Audio Data Rate Formula
Oversampling
Speed of Sound
Adaptive Pulse Code Modulation
6. Series of dots and dashes representing the letters of the alphabet; Most common letters are represented by the shortest dots and dashes; Example of entropy coding
Inter-Channel Redundancy
Sampling Theorem
Morse Code
Direct Monitoring
7. The art of deciding where to place a processor in signal flow based on how that processor will be influenced by the other processors in the path
2 Dimensions of Sound
Gain Staging
Morse Code
Bit Rate
8. Cable used to transmit data; Inner cable is surrounded by a plastic insulator - which is surrounded by a wire mesh conductor that insulates the internal signal wire from external interference and an outer casing that functions as a ground
Coaxial
Quantization Intervals
Nyquist Frequency
Cutoff Frequency
9. 1.) Bit Rate x Sample Rate (you'll get b/sec) 2.) Multiply by 60 if converting seconds to minutes 3.) Divide by 8 to convert bits to Bytes and get B/min 4.) Divide by 1 -024 to get KB/min and keep doing it until you get desired bit rate specification
Amplitude Accuracy
Dynamic Range
Storage Conversion Steps
Threshold of Pain
10. Data reduction technique that selectively removes original information in order to significantly reduce the file size; Some data is lost; Files can be reduced up to 99% in size (90% with no perceived sound quality loss); Bit rate effects the perceive
Sonogram
SACD
Sinusoidal
Lossy
11. (Amplitude Based) Amplitude: Voltage; Quantization; Bit Depth; Quantization Intervals; Quantization Noise; [Signal:Quantization Noise Ratio]; Dither; Dynamic Range
Y-Axis Terminology
Morse Code
Lossless Formats
DVD-9
12. Apple Lossless; Windows Media Lossless; DTS HD Master Audio; Dolby True HD; FLAC
Optical Cable
Lossless Formats
Decoder
Coaxial
13. Subtract place values from the decimal number and place ones or zeros in the correct places
Latency
Pulse Width Modulation
Frames
Decimal- to-Binary Conversion
14. Describes acceptable data - performances both offered and essential for a disc player - and the complete user experience
RMS
Logical Format
Fourier Series
Digital Signal Processing
15. 16-Bit; 44.1 kHz; PCM; Stereo
Requirements for CD Audio
Algorithm
Zero-Latency Monitoring
PCM
16. Leaving space at beginning and ending of song for data crunching during mastering; Last step in mastering process
Harry Nyquist
Lossless
Pad Head & Tail
Lossy Formats
17. The frequency range that is allowed through a filter
Class - D Amplifier
Buffer Size
DVD-10
Pass Band
18. Method of representing an acoustic quantity with a series of binary numbers; Can have only specific individually distinct values
Dithering
Interpolation Filter
Digital
Lossless Formats
19. Each bit in the bit depth is equal to a _____ increase in dynamic range
A/D Conversion Signal Flow
Analog
6 dB
Noise Shaping
20. 12.33 GB; DS/ML
Y-Axis Terminology
DVD-14
Bit Depth Effect on Dynamic Range
Non -Compressed Audio Data Rate Formula
21. Reference voltage determined by summing the voltage values of a predetermined number of previous samples; Numbers of 1 in row = waveform peak; Numbers of 0 in row = waveform trough; Basis of Sony's Direct Stream Digital (DSD)
Pulse Density Modulation
Voltage
Storage Conversion Steps
Compression
22. 12cm plastic disc; 1.2mm thick; One- sided; Red Laser; 1.6 microns between tracks; 125 nanometer pits
Interleaved
Dolby 5.1
Red Book
Lossy Formats
23. AAC (Advanced Audio Coding); MP3; RA; WMA; OGG Vorbis; Dolby Digital/AC-3; DTS; ADPCM
Lossy Formats
DVD-Audio
Overflow
M-S Stereo
24. Specific set of instructions for carrying out a data reduction technique that determines how to 'save' binary data information efficiently
Sampling Rule
Harry Nyquist
MONO
Algorithm
25. Samples are duplicated and the playback sampling rate correspondingly increased; Significantly raises the Nyquist limit to a range well beyond human hearing; Processing 'pushes' the distortion resulting from quantization error into these higher frequ
Lossless Formats
Convolution
Sony-Philips Digital Interface Format (S/PDIF)
Noise Shaping
26. Stores only one copy of a stereo signal and assigns it to both channels in order to save 50% of original bandwidth
Masking Analysis...
Inter-Channel Redundancy
dB/FS
AES3
27. Low Pressure; Part in a longitudinal wave where the particles are spread apart
D/A Conversion
Rarefaction
Lossy Formats
Oversampling
28. Used when the reference pressure of a sound is 20 microPa (0.00002); Sound Pressure Level; Measure of amplitude
dB/SPL
Data Packing
Significand
Analog
29. MPEG; Standardizing body of audio coding
Decimal- to-Binary Conversion
Latency
Motion Pictures Experts Group
Analog
30. French mathematician that noted that any complex sound can be broken down into a series of component pure tones
Constant Bit Rate
Joseph Fourier
Joint Stereo
Tascam Digital Interface Format (TDIF)
31. Take up half as many bits (50%); Algorithm can keep same quality by lossing the stereo track
Oscillation
Intensity Stereo
MONO
Transfer Protocol
32. HD Audio format; Lossless Compression; 24- bit/96 kHz; 5.1 Surround or 24- bit / 192 kHz stereo sound
Frames
DVD-Audio
Storage Conversion Steps
Peak Level
33. Governs the frequency response of a digital system; The highest- frequency component that can be captured with a sampling rate; always 1/2 of sampling rate; Also called the limiting frequency
European Broadcasting Union
Nyquist Frequency
Frames
AoE Formats
34. Accuracy with which an electronic system reproduces the sound or image of its input signal
Blu-Ray
Fidelity
Lossless Formats
Pad Head & Tail
35. Deviation from a normal - steady pulse or tick of a clock that contributes to misrepresentation of a signal; Result of small timing irregularities that become magnified during the transmission of digital signals as the signals are passed from one dev
Quantizer
Sample Rate Effect on Anti-Aliasing
Intensity
Jitter
36. Industry Standards: -6 dB Peak = -20 RMS Meter
Intensity
Oversampling
Lossy
Recording Levels
37. Based on Full Scale (dB/FS); -6dB represents a loss of one bit so account for this when calculating
Decimal- to-Binary Conversion
Intensity
Effective Bit Depth
Anti-Imaging Filter
38. Softest sound that can be heard by the average human ear (0 dB)
Fidelity
Threshold of Hearing
Rarefaction
Requirements for CD Audio
39. A frequency specified for a filter (digital or electronic) the marks the point at which the frequency content of a signal is altered +/- 3dB
Cutoff Frequency
Anti-Aliasing Filter
Inter-Channel Redundancy
Frames
40. Number or variable that represents the number of times the base of a power is used as a factor; Defines magnitude
Data Packing
Interleaved
Exponent
Sonogram
41. 'Capturing' part of digital audio; Never captures a signal perfectly
CobraNet
Low-Latency Monitoring
Direct Stream Digital
A/D Conversion
42. (AES/EBU); 110O - 2- channel balanced digital audio cable with an XLR connection; NOT a mic cable!!
AES3
Nyquist Frequency
DVD-14
Peak Level
43. Eight channel digital surround sound system by Dolby
Buffering Locations
Dolby 7.1
Joint Stereo
Joseph Fourier
44. Data transmission protocol over which computer network traffic travels; Poorly suited to real- time transmission but numerous attempts have been made to harness the technology because of its flexible routing; Uses simple Cat5 cabling; Resists interfe
Pulse Code Modulation
X-Axis Terminology
Audio over Ethernet (AoE)
Inter-Channel Redundancy
45. How Loud (Y-Axis) & How Fast (X-Axis)
Claude Shannon
2 Dimensions of Sound
Rarefaction
Interpolation Filter
46. Mixing data and control characters in a single operation
Sawtooth Wave
Tascam Digital Interface Format (TDIF)
Interleaved
Motion Pictures Experts Group
47. Uses entropy coding as the basis; Computer data compression algorithm that packages files such as .ZIP & .RAR
Data Packing
Adaptive Pulse Code Modulation
Amplitude Accuracy
Sampling (Samples)
48. The number of compressions or rarefactions in one second; The higher the frequency the more compressions & rarefactions per second; Measured in Hertz
Requirements for A/D Conversion
Red Book
Morse Code
Frequency
49. The continuous loss of signal strengths as a signal travels through a medium
Latency
Attenuation
Recording Levels
Bit Rate
50. More aggressive lossy data reduction techniques that require further manipulation of the stereo field; Examples are 'Intensity' & 'M-S'
Multichannel Audio Digital Interface (MADI)
Sawtooth Wave
Joint Stereo
Compression