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. 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
Sawtooth Wave
Lossy
Quantization Intervals
Physical Disc Format
2. Sony sigma- delta modulation based technology that bypasses the decimation and interpolation steps found in PCM converters
CobraNet
Equal Loudness Contour
dB/FS
Direct Stream Digital
3. Number of bits used to represent the smallest unit of information in an audio file; Greater bit depth = better quality audio
Tascam Digital Interface Format (TDIF)
Interpolation Filter
RMS Meter
Bit Depth
4. Same as 'aliasing'
Foldover
Signal- to- Noise Ratio
2 Dimensions of Sound
Conversion Buffering
5. Very selective method of lowering buffer levels by halting different levels of audio processing
Index of Reflectivity
Motion Pictures Experts Group
Photoreceptor
Low-Latency Monitoring
6. Digital Word -> Series of Resistors (each with assigned charges) -> Sample- and-Hold Circuit -> Anti-Imaging Filter (Smoothing Filter) -> Reconstructed Sample
6 dB
dBFS
Dithering
D/A Conversion Signal Flow
7. Used when the reference pressure of a sound is 20 microPa (0.00002); Sound Pressure Level; Measure of amplitude
Sample- and-Hold
Significand
dB/SPL
DVD-9
8. Reduces A/D sample rate from the oversampled rate to nominal rate by turning series of one- bit samples into a series of multi- bit PCM samples; (ex. => 2.8MHz sample rate converted to 44.1kHz and simultaneously converts 1-Bit samples to multi- bit);
Requirements for CD Audio
Decimation Filter
Micron
Nanometer
9. Represents the amplitude component of the digital sampling process; Technique of incrementing a continuous analog event into a discrete set of binary digits (bits)
Decimation Filter
Cutoff Frequency
European Broadcasting Union
Quantization
10. 12cm plastic disc; 1.2mm thick; One- sided; Red Laser; 1.6 microns between tracks; 125 nanometer pits
Red Book
Coaxial
Frames
Micron
11. Algorithm uses matrix of a mid/side microphone pair to determine a side signal & that signal is reduced then distributed as code in stereo
Sampling Theorem
Sample Rate
Recording Levels
M-S Stereo
12. The act of a frequency swinging back and forth with a steady - uninterrupted rhythm
Peak Level
dB/FS
Oversampling
Oscillation
13. 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
Edit Decision List
Sampling (Samples)
Audio Engineering Society
Lossy Formats
14. DAW's and software must buffer when converting or bouncing and this latency can add up if not monitored
Threshold of Hearing
Square Wave
Conversion Buffering
Edit Decision List
15. 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
Sampling Theorem
Fletcher- Munson Curve
Non -Compressed Audio Data Rate Formula
Sampling Rule
16. Channels are processed one at a time and the results are stored on multiple CPU buffers that alternately send data as DAW requests the data for playback; First few seconds are relayed to the buffer prior to processing and playback and it continuously
Word Clock
Blu-Ray
CPU Buffering
Buffering
17. 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
Entropy Coding
Buffering
AES3
Sinusoidal
18. Branch of psychology concerned with the subjective perception of sound
Joseph Fourier
Psychoacoustics
Redither
Zero-Latency Monitoring
19. 4.38 GB; SS/SL
Lossy
Acoustics
DVD-5
Pulse Code Modulation
20. When recording you want the smallest buffer available; When mixing you want the largest buffer available
Pulse Density Modulation
Buffer Size
Footroom
Gain Staging
21. Pertaining to hearing or sound; Combination of the intensity of air pressure molecules with amplitude
Ethernet
Voltage
Acoustics
Transfer Protocol
22. EDL; Final list of samples used in the audio editing process; Identified by time code
Edit Decision List
dBFS
Blu-Ray
Buffering Locations
23. Playback; I/O Connections; CPU (Streaming); Conversion from DAW or Software
dB/SPL
Buffering Locations
Subbands
Dithering
24. 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
Sampling (Samples)
TOSLINK
Requirements for A/D Conversion
Physical Disc Format
25. Based on psychoacoustics - these are the basis of frequency analysis for a perceptual codec;
Oscillation
Subbands
D/A Conversion Signal Flow
Analog
26. The process of reducing the space required to store data by efficiently encoding the content.
EtherSound
Floating Point
Compression
Data Packing
27. High channel count; 64 channels on one cable; Coaxial cable with BNC connector or fiber optic with ST1 connector
Multichannel Audio Digital Interface (MADI)
Masking Analysis...
AES3
Photoreceptor
28. Level above which audible sounds are painful (125 - 130 db)
Lossless
Threshold of Pain
DVD-10
SCMS
29. 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
DVD-18
Zero-Latency Monitoring
Audio over Ethernet (AoE)
Peak Level
30. CobraNet; EtherSound; Dante; AVB (currently under development)
Blu-Ray
Buffering Locations
AoE Formats
Effective Bit Depth
31. Full Scale; Type of metering that measures level in digital recording system; Recording and Mixing levels should NEVER exceed 0dB FS in digital audio or clipping will occur
Decimal- to-Binary Conversion
Peak Level
Anti-Aliasing Filter
dB/FS
32. Data is transmitted over fiber optic lines; Uses a TOSLINK connecter instead of an RCA type; Can transmit multi- channel audio; Not susceptible to ground hum and loops; Able to support far higher rates of data transfer over greater distances than coa
Optical Cable
SCMS
A/D Conversion Signal Flow
Harmonic Content
33. As sample rate is increased more room is created for a smoother slope of the attenuation band because Nyquist limit extends well beyond range of hearing with each increase
Dolby 5.1
Sample Rate Effect on Anti-Aliasing
Tascam Digital Interface Format (TDIF)
Low-Latency Monitoring
34. Lossless Format; Can hold up to 25GB on a single- layer disc and 50GB on a dual- layer disc
Blu-Ray
Word Clock
0 dB FS
Nyquist Frequency
35. Electromagnetic receptor that detects the radiation known as visible light
Word Clock
Aliasing
Zero-Latency Monitoring
Photoreceptor
36. 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
Blu-Ray
Base 2 System
Coaxial
Lossy
37. Visual graph that shows how loud a sound is at different frequencies
AoE Formats
CPU Buffering
Sonogram
Frequency
38. Sample Rate x Bit Depth x # of Channels
Interpolation Filter
DVD-14
Non -Compressed Audio Data Rate Formula
Blu-Ray
39. 'Reconstructing' part of digital audio
Nanometer
D/A Conversion
Impulse Response
DVD-14
40. The difference in volume between the loudest and quietest sounds of a source
Convolution
Dynamic Range
Sampling (Samples)
Amplitude Accuracy
41. MPEG; Standardizing body of audio coding
MONO
Requirements for CD Audio
Motion Pictures Experts Group
Pulse Code Modulation
42. 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
Tascam Digital Interface Format (TDIF)
Base 2 System
Blu-Ray
Class - D Amplifier
43. 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
Lossy
Perceptual Coding
Playback Buffering
Impulse Response
44. AAC (Advanced Audio Coding); MP3; RA; WMA; OGG Vorbis; Dolby Digital/AC-3; DTS; ADPCM
Sampling Theorem
Lossy Formats
MONO
2 Dimensions of Sound
45. Unit of measurement that is equal to one millionth of a meter
Audio over Ethernet (AoE)
Micron
Pass Band
Quantization
46. A method of representing real numbers using a mantissa and an exponent
Floating Point
Internal Resolution
Headroom Bits
2 Dimensions of Sound
47. How Loud (Y-Axis) & How Fast (X-Axis)
Convolution
2 Dimensions of Sound
Sawtooth Wave
Direct Monitoring
48. A sample- by- sample operation on two signals
DVD-5
Lossless Formats
Convolution
Motion Pictures Experts Group
49. Circuit that interprets the meaning of the symbols as they were chosen and arranged by the encode
Fourier Series
Interpolation Filter
Decoder
Physical Disc Format
50. Defines the number of sample per second taken from a continuous signal to make a discrete signal; Governs the frequency response of digital audio
Pad Head & Tail
Sample Rate
Non -Compressed Audio Data Rate Formula
Internal Resolution