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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. The loudest point of a Full Scale system
Red Book
SCMS
Analog
0 dB FS
2. Joint-Stereo Technique; Since the human brain is unable to localize sounds at high frequencies well sounds above 9 kHz threshold are encoded in mono
Threshold of Hearing
Intensity Stereo
Sample- and-Hold
Bit Depth Effect on Dynamic Range
3. 8.75 GB; DS/SL
Pulse Density Modulation
Lossless Formats
DVD-10
Audio Engineering Society
4. 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
Foldover
Intensity Stereo
European Broadcasting Union
Glass Master
5. Most significant lossless coding technique in current use; Measure of disorder in which long strings of data are represented by short symbols and uses the shortest symbols to represent the most common repetitive audio data maximizing data reduction
Dolby 7.1
Digital
Quantization
Entropy Coding
6. Roughly around 1 -130 ft/s
Sony-Philips Digital Interface Format (S/PDIF)
Index of Reflectivity
Y-Axis Terminology
Speed of Sound
7. RAM holds in memory audio data before it is transferred to the memory controller; Certain amount of data is processed before large amounts of data are streamed to prevent latency
Normalizing
Storage Conversion Steps
Digital Signal Processing
Buffering
8. 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
DVD-14
2 Dimensions of Sound
Claude Shannon
Dithering
9. 16-Bit; 44.1 kHz; PCM; Stereo
M-S Stereo
Class - D Amplifier
RMS Meter
Requirements for CD Audio
10. Based on Full Scale (dB/FS); -6dB represents a loss of one bit so account for this when calculating
Average Bit Rate
Effective Bit Depth
Adaptive Pulse Code Modulation
Amplitude Accuracy
11. 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
Threshold of Pain
Buffering Locations
Joint Stereo
Sampling Theorem
12. Fractional part of a floating- point number; Also called the mantissa; Defines precision
Impulse Response
Logical Format
Significand
Oversampling
13. Accuracy with which an electronic system reproduces the sound or image of its input signal
Physical Disc Format
Fidelity
Variable Bit Rate
Amplitude Accuracy
14. 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
Successive Approximation
Bit Depth Effect on Dynamic Range
SACD
Zero-Latency Monitoring
15. 1.) Taking a series of evenly- spaced measurements 2.) Signal contains no frequency components higher than half the sample rate
RMS Meter
Equal Loudness Contour
dBFS
Requirements for A/D Conversion
16. 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
Nanometer
Zero-Latency Monitoring
Noise Shaping
Interleaved
17. Unit of measurement that is equal to one millionth of a meter
Micron
Sample- and-Hold
Optical Cable
Requirements for A/D Conversion
18. 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
Y-Axis Terminology
Storage Conversion Steps
Sonogram
Sampling Rule
19. Found that aliasing was always a problem no matter how fast you sample; Less data recorded but more accurate; 2 samples per wave length.
Variable Bit Rate
Stapedes Reflex
Harry Nyquist
Adaptive Pulse Code Modulation
20. 12.33 GB; DS/ML
DVD-14
Constant Bit Rate
Bit Rate
Motion Pictures Experts Group
21. The frequency above or below which attenuation begins in a filter circuit
Fletcher- Munson Curve
Cutoff Frequency
Threshold of Hearing
Fidelity
22. Six channel (five speakers and one subwoofer for bass) digital surround sound system by Dolby
Pulse Code Modulation
Dolby 5.1
Spectra
MONO
23. High Pressure - Part of a longitudinal wave where the particles of the medium are close together
Threshold of Hearing
Overflow
Compression
Normalizing
24. Process that begins with a fast FFT analysis of the spectra of two input signals - then the multiplication of like frequencies - and IFFT to finalize the process
Compression
Spectrum Multiplication
Direct Monitoring
Pad Head & Tail
25. 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
Oversampling
dB/SPL
Quantization Error
Aliasing
26. Softest sound that can be heard by the average human ear (0 dB)
Sample Rate
Coaxial
Word Clock
Threshold of Hearing
27. Low Pressure; Part in a longitudinal wave where the particles are spread apart
Rarefaction
Class - D Amplifier
Morse Code
SCMS
28. Unit of measurement that is equal to one billionth of a meter
Buffer Size
Nanometer
Intensity
Fourier Series
29. (Amplitude Based) Amplitude: Voltage; Quantization; Bit Depth; Quantization Intervals; Quantization Noise; [Signal:Quantization Noise Ratio]; Dither; Dynamic Range
Y-Axis Terminology
CobraNet
Floating Point
Zero-Latency Monitoring
30. Each bit in the bit depth is equal to a _____ increase in dynamic range
6 dB
Sample- and-Hold
Low-Latency Monitoring
DVD-5
31. Pertaining to hearing or sound; Combination of the intensity of air pressure molecules with amplitude
Noise Shaping
X-Axis Terminology
AoE Formats
Acoustics
32. Digital and analog processing capability is combined on a single microchip allowing for 1- bit resolution at high sample rates
Delta-Sigma Modulation
Square Wave
0 dB FS
dB/FS
33. Measure of sound pressure over the frequency spectrum - for which a listener perceives a constant loudness when presented with pure steady tones
Intensity
Equal Loudness Contour
AoE Formats
Data Packing
34. 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
Multichannel Audio Digital Interface (MADI)
A/D Conversion Signal Flow
Class - D Amplifier
Fidelity
35. 4.38 GB; SS/SL
DVD-5
I/O Connection Buffering
Morse Code
Amplitude Accuracy
36. A drive that can read and write on optical media that hold up to 50 GB on two layers; 24- bit/96 kHz for 8-Channel; 24- bit/192 kHz for 6-Channel
Quantization Error
Blu-Ray
Joint Stereo
CPU Buffering
37. Built into DAWs; Bits are added when signals are mixed together to avoid clipping
Pulse Code Modulation
Headroom Bits
Direct Monitoring
Motion Pictures Experts Group
38. How Loud (Y-Axis) & How Fast (X-Axis)
Harmonic Content
2 Dimensions of Sound
Resolution
Red Book
39. Occurs as data is assembled into meaningful bits or information and as left & right channels are separated
Harmonic Content
Exponent
European Broadcasting Union
I/O Connection Buffering
40. Method of representing an acoustic quantity with a series of binary numbers; Can have only specific individually distinct values
Joint Stereo
I/O Connection Buffering
Inter-Channel Redundancy
Digital
41. Playback; I/O Connections; CPU (Streaming); Conversion from DAW or Software
Buffering Locations
Signal- to- Noise Ratio
Multichannel Audio Digital Interface (MADI)
Pulse Width Modulation
42. 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
Anti-Imaging Filter
Sonogram
Latency
Word Clock
43. Describes various optical disc characteristics including the size and shape of the disc - the size of pits - the speed at which the disc spins - and a multitude of aspects regarding the specifications of the player itself
Analog
RMS
Physical Disc Format
Lossy Formats
44. Toshiba developed digital audio interface utilizes fiber optics as a transmission medium.
Rarefaction
Edit Decision List
TOSLINK
Perceptual Coding
45. The process of reducing the space required to store data by efficiently encoding the content.
Direct Stream Digital
Exponent
Dolby 7.1
Compression
46. Anytime bit depth is reduced the gap gets bigger so more dithering is required
SACD
Redither
Oversampling
Constant Bit Rate
47. Branch of psychology concerned with the subjective perception of sound
Frequency
Ethernet
Psychoacoustics
RMS Meter
48. ABR; Codecs that encode data by determining how dense or sparse areas of the audio are while also keeping bit rate within specified limits to avoid rebuffering
Requirements for A/D Conversion
Motion Pictures Experts Group
Average Bit Rate
Storage Conversion Steps
49. Very selective method of lowering buffer levels by halting different levels of audio processing
Foldover
Additive Synthesis...
Low-Latency Monitoring
Dithering
50. Signal conversions are mixed with playback tracks resulting in near-zero latency
Significand
Analog
Direct Monitoring
Physical Disc Format