SUBJECTS
|
BROWSE
|
CAREER CENTER
|
POPULAR
|
JOIN
|
LOGIN
Business Skills
|
Soft Skills
|
Basic Literacy
|
Certifications
About
|
Help
|
Privacy
|
Terms
|
Email
Search
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 situation where a calculated value cannot fit into the number of digits reserved for it
Overflow
TOSLINK
Pass Band
Dynamic Range
2. MPEG; Standardizing body of audio coding
Codec
Motion Pictures Experts Group
Direct Monitoring
Bit Rate
3. Lossless Format; Can hold up to 25GB on a single- layer disc and 50GB on a dual- layer disc
Blu-Ray
Transfer Protocol
SACD
Oversampling
4. Roughly around 1 -130 ft/s
Dithering
Speed of Sound
Fourier Series
Anti-Aliasing Filter
5. More aggressive lossy data reduction techniques that require further manipulation of the stereo field; Examples are 'Intensity' & 'M-S'
A/D Conversion
Joint Stereo
Quantization
Sampling (Samples)
6. Process of building a complex tone by starting with the fundamental frequency and adding pure tone harmonics
Additive Synthesis...
DVD-9
Impulse Response
Stapedes Reflex
7. Based on psychoacoustics - these are the basis of frequency analysis for a perceptual codec;
Voltage
Joseph Fourier
Motion Pictures Experts Group
Subbands
8. 4.38 GB; SS/SL
Rarefaction
Amplitude Accuracy
DVD-5
Acoustics
9. 'Reconstructing' part of digital audio
Direct Monitoring
D/A Conversion
Sampling Rule
Decimation Filter
10. Sample Rate x Bit Depth x # of Channels
Digital Signal Processing
Non -Compressed Audio Data Rate Formula
SCMS
Equal Loudness Contour
11. (Amplitude Based) Amplitude: Voltage; Quantization; Bit Depth; Quantization Intervals; Quantization Noise; [Signal:Quantization Noise Ratio]; Dither; Dynamic Range
Oscillation
Y-Axis Terminology
Buffer Size
Analog
12. Used as the main disc from which other discs are made; Composed of ground glass with a very fine photoresistor layer; An imaging laser burns pit and land patterns in preparation for duplication
Glass Master
Convolution
Decimal- to-Binary Conversion
Lossless
13. Decibels Full Scale
Signal- to- Noise Ratio
RMS Meter
dBFS
Decimal- to-Binary Conversion
14. 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.
Normalizing
Compression
Word Clock
AoE Formats
15. A sample- by- sample operation on two signals
Buffering Locations
Oscillation
Convolution
Class - D Amplifier
16. 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
Average Bit Rate
DVD-14
SACD
Perceptual Coding
17. 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
CobraNet
Sonogram
DVD-5
Coaxial
18. The loudest point of a Full Scale system
Lossless Formats
Additive Synthesis...
0 dB FS
Rarefaction
19. Subtract place values from the decimal number and place ones or zeros in the correct places
Lightpipe
Buffering Locations
Decimal- to-Binary Conversion
Sample Rate Effect on Anti-Aliasing
20. Only 2 digits used; The value of each place (ones - hundreds - etc.) are as follows from greatest to least: 128 - 64 - 32 - 16 - 8 - 4 - 2 - 1
Pulse Width Modulation
Base 2 System
RMS
Physical Disc Format
21. Describes acceptable data - performances both offered and essential for a disc player - and the complete user experience
Dithering
Edit Decision List
Masking Analysis...
Logical Format
22. Method of sampling data at a higher resolution (higher sample rate) as a means of reducing harmonic content during D/A conversion; (x2) oversampling gets rid of all odd harmonic content
Low-Latency Monitoring
Variable Bit Rate
dBFS
Oversampling
23. Have odd numbered harmonics
Algorithm
Square Wave
Overflow
I/O Connection Buffering
24. Number of bits used to represent the smallest unit of information in an audio file; Greater bit depth = better quality audio
dB/SPL
Anti-Imaging Filter
Bit Depth
Quantization Intervals
25. Eliminates frequencies above the Nyquist limit from becoming samples; Occurs prior to quantization
Anti-Aliasing Filter
Oversampling
Attenuation
Optical Cable
26. Computer program or device capable of encoding and/or decoding a digital data stream with the end result being a reduced file size
Codec
M-S Stereo
Conversion Buffering
Internal Resolution
27. 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
TOSLINK
Gain Staging
CobraNet
Jitter
28. Measuring equipment in A/D conversion that processes voltage and provides a value for that voltage
Nanometer
Red Book
DVD-18
Quantizer
29. (Time Based) Frequency: Aliasing; Anti-Aliasing Filter; Sample Rate; Nyquist Limit
Constant Bit Rate
Compression
X-Axis Terminology
Oversampling
30. Defines the number of sample per second taken from a continuous signal to make a discrete signal; Governs the frequency response of digital audio
Sample Rate
Convolution
Word Clock
Pass Band
31. The ability of a digital system to perform complex DSP without running into problems with overflow or loss of resolution
Effective Bit Depth
Square Wave
dB/FS
Internal Resolution
32. A digital filter's time domain output sequence when the input is a single sample is input
Impulse Response
PCM
SCMS
Bit Depth
33. Unit of measurement that is equal to one billionth of a meter
Square Wave
Nanometer
Intensity Stereo
Sine Wave
34. The mathematics - algorithms - and the techniques used to manipulate signals after they have been converted to digital form
Aliasing
Digital Signal Processing
Fletcher- Munson Curve
Sampling Theorem
35. Level above which audible sounds are painful (125 - 130 db)
Adaptive Pulse Code Modulation
Threshold of Pain
Impulse Response
dB/FS
36. Uses entropy coding as the basis; Computer data compression algorithm that packages files such as .ZIP & .RAR
Stapedes Reflex
Sinusoidal
Data Packing
Perceptual Coding
37. Number of bits per second processed when sampling sound; (Sampling Rate x Bit Depth) = Resolution
Bit Rate
Direct Monitoring
Peak Level
Optical Cable
38. ADPCM; Pulse code modulation that produces a digital signal with a lower bit rate than standard PCM; Records only the difference between samples
Latency
Coaxial
Adaptive Pulse Code Modulation
Additive Synthesis...
39. Very selective method of lowering buffer levels by halting different levels of audio processing
Low-Latency Monitoring
Threshold of Hearing
Base 2 System
Subbands
40. Splits the input signal and mixes it with an analog copy so that no latency is present
Peak Level
A/D Conversion
Zero-Latency Monitoring
DVD-5
41. Industry Standards: -6 dB Peak = -20 RMS Meter
Digital
Recording Levels
Requirements for CD Audio
Jitter
42. Based on Full Scale (dB/FS); -6dB represents a loss of one bit so account for this when calculating
Effective Bit Depth
Morse Code
Jitter
Speed of Sound
43. (AES/EBU); 110O - 2- channel balanced digital audio cable with an XLR connection; NOT a mic cable!!
Pad Head & Tail
Additive Synthesis...
Rarefaction
AES3
44. Built into DAWs; Bits are added when signals are mixed together to avoid clipping
Nanometer
Sawtooth Wave
Headroom Bits
DVD-Audio
45. Father of modern information theory; Solidified the Nyquist Theory by adding the concept that bits per second (binary representation of audio signals) must be at equal intervals to accurately represent data
2 Dimensions of Sound
Claude Shannon
CPU Buffering
Sampling (Samples)
46. DAW's and software must buffer when converting or bouncing and this latency can add up if not monitored
Conversion Buffering
A/D Conversion
Decimal- to-Binary Conversion
Storage Conversion Steps
47. Very quiet digital amplifier that produces a series of output pulses with the audio signal coded the same as the width of the output pulses; Pulses are used to represent wave forms and are either on or off; Intense signals have long pulses with short
Coaxial
Class - D Amplifier
Ethernet
Anti-Aliasing Filter
48. French mathematician that noted that any complex sound can be broken down into a series of component pure tones
Joseph Fourier
Recording Levels
Claude Shannon
Fletcher- Munson Curve
49. Digital (binary) measurements of how long each pulse is either on or off; Width of increasing voltage or decreasing voltage is assigned a 1 or 0 respectively
Digital
Pulse Width Modulation
Requirements for CD Audio
Noise Shaping
50. 8- in/8- out on one cable; 25- pin D- sub connector
Adaptive Pulse Code Modulation
Jitter
Class - D Amplifier
Tascam Digital Interface Format (TDIF)