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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. Same as 'aliasing'
Bit Depth Effect on Dynamic Range
Foldover
Buffering
Gain Staging
2. More accuracy in low amplitudes and less in higher amplitudes
PCM
Amplitude Accuracy
DVD-Audio
D/A Conversion
3. 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
DVD-14
Gain Staging
Lossless Formats
Motion Pictures Experts Group
4. DAW's and software must buffer when converting or bouncing and this latency can add up if not monitored
Stapedes Reflex
Threshold of Pain
Conversion Buffering
Successive Approximation
5. Describes acceptable data - performances both offered and essential for a disc player - and the complete user experience
Delta-Sigma Modulation
Transfer Protocol
Fourier Series
Logical Format
6. Method of representing an acoustic quantity with a series of binary numbers; Can have only specific individually distinct values
Dynamic Range
Audio over Ethernet (AoE)
Digital
Effective Bit Depth
7. Found that aliasing was always a problem no matter how fast you sample; Less data recorded but more accurate; 2 samples per wave length.
dBFS
Blu-Ray
Harry Nyquist
Dolby 5.1
8. AES
Spectra
Coaxial
Subbands
Audio Engineering Society
9. The number of compressions or rarefactions in one second; The higher the frequency the more compressions & rarefactions per second; Measured in Hertz
Lightpipe
Edit Decision List
Frequency
EtherSound
10. Used when the reference pressure of a sound is 20 microPa (0.00002); Sound Pressure Level; Measure of amplitude
Audio Engineering Society
dB/SPL
Dolby 7.1
Intensity Stereo
11. 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
Subbands
dB/FS
RMS Meter
Lossless Formats
12. The process of reducing the space required to store data by efficiently encoding the content.
Compression
Peak Level
dBFS
Blu-Ray
13. Improper (false) sampling of high frequencies that cause much lower frequencies to be produced when the audio is reconstructed; Foldover happens at higher frequencies as harmonics reach levels that exceed the Nyquist limit.
Effective Bit Depth
TOSLINK
Bit Depth
Aliasing
14. 8.75 GB; DS/SL
RMS
Anti-Aliasing Filter
DVD-10
Sonogram
15. Anytime bit depth is reduced the gap gets bigger so more dithering is required
Codec
Floating Point
Redither
Frequency
16. 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
Compression
Harry Nyquist
Glass Master
Adaptive Pulse Code Modulation
17. 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
Claude Shannon
Direct Monitoring
Decoder
Speed of Sound
18. 4.38 GB; SS/SL
2 Dimensions of Sound
DVD-5
PCM
Dithering
19. The difference in volume between the loudest and quietest sounds of a source
Analog
Dynamic Range
Red Book
Compression
20. Sony sigma- delta modulation based technology that bypasses the decimation and interpolation steps found in PCM converters
Harry Nyquist
Direct Stream Digital
0 dB FS
Attenuation
21. 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
Constant Bit Rate
Perceptual Coding
Sinusoidal
Coaxial
22. 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
Zero-Latency Monitoring
Lossless
Adaptive Pulse Code Modulation
DVD-14
23. 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
Signal- to- Noise Ratio
Dolby 7.1
Dynamic Range
Storage Conversion Steps
24. A digital filter's time domain output sequence when the input is a single sample is input
Quantization Error
Impulse Response
Decimal- to-Binary Conversion
Nanometer
25. Discrete incremental distinctions made between the value of one sample and the next; Breaks down bit depth into a series of evenly spaced intervals
Psychoacoustics
Quantization Intervals
Threshold of Hearing
dB/FS
26. 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
Signal- to- Noise Ratio
Resolution
Peak Level
Requirements for CD Audio
27. Measure of the amplitude of a longitudinal wave
Jitter
Intensity
Acoustics
D/A Conversion Signal Flow
28. Each bit in the bit depth is equal to a _____ increase in dynamic range
Rarefaction
Amplitude Accuracy
6 dB
Claude Shannon
29. Take up half as many bits (50%); Algorithm can keep same quality by lossing the stereo track
MONO
2 Dimensions of Sound
Fletcher- Munson Curve
TOSLINK
30. 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
I/O Connection Buffering
Sample Rate Effect on Anti-Aliasing
Attenuation
Digital
31. Having a repeated succession of waves or curves as in a sound waveform
Sinusoidal
Lossless Formats
Direct Monitoring
Dolby 7.1
32. Voltage -> Dither -> Anti-Aliasing (Low Pass Filter) -> Sample & Hold Circuit -> Successive Approximation/Quantizer --) 100111010 (PCM Audio File)
Requirements for A/D Conversion
Y-Axis Terminology
Quantization Intervals
A/D Conversion Signal Flow
33. Inner ear component that attaches to the stapes and helps to decrease the amplitude of vibrations; Causes the masking phenomenon
Stapedes Reflex
Oversampling
Amplitude Accuracy
Low-Latency Monitoring
34. Decibels Full Scale
dBFS
Average Bit Rate
Sinusoidal
DVD-14
35. 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
Logical Format
Threshold of Pain
Intensity Stereo
Variable Bit Rate
36. Signal conversions are mixed with playback tracks resulting in near-zero latency
TOSLINK
Rarefaction
Footroom
Direct Monitoring
37. Based on Full Scale (dB/FS); -6dB represents a loss of one bit so account for this when calculating
Interpolation Filter
Sony-Philips Digital Interface Format (S/PDIF)
Sampling Rule
Effective Bit Depth
38. When recording you want the smallest buffer available; When mixing you want the largest buffer available
European Broadcasting Union
Pulse Code Modulation
Buffer Size
Transfer Protocol
39. Overtones that contribute to the timbre of a sound and make up a complex waveform's physical characteristics
Sinusoidal
Harmonic Content
Sample- and-Hold
Direct Stream Digital
40. In order to play multiple channels at one time data is buffered as read to disk; Latency happens between play command & beginning of playback
Playback Buffering
PCM
Sawtooth Wave
Sine Wave
41. Difference in brightness between land and pit on a CD Physical Format
Rarefaction
2 Dimensions of Sound
Index of Reflectivity
Interpolation Filter
42. High channel count; 64 channels on one cable; Coaxial cable with BNC connector or fiber optic with ST1 connector
Multichannel Audio Digital Interface (MADI)
Sony-Philips Digital Interface Format (S/PDIF)
RMS Meter
CPU Buffering
43. Number of bits per second processed when sampling sound; (Sampling Rate x Bit Depth) = Resolution
Harmonic Content
Spectrum Multiplication
Bit Rate
Threshold of Hearing
44. Playback; I/O Connections; CPU (Streaming); Conversion from DAW or Software
Pulse Code Modulation
Inter-Channel Redundancy
Buffering Locations
RMS Meter
45. Sample Rate x Bit Depth x # of Channels
Inter-Channel Redundancy
Non -Compressed Audio Data Rate Formula
Latency
EtherSound
46. Eight channel digital surround sound system by Dolby
Index of Reflectivity
Pulse Density Modulation
Dolby 7.1
Analog
47. 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);
Pulse Width Modulation
Decimation Filter
MONO
Bit Depth Effect on Dynamic Range
48. Waveform of a pure tone showing simple harmonic motion
Direct Stream Digital
Requirements for A/D Conversion
Base 2 System
Sine Wave
49. 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
Sine Wave
Voltage
dB/FS
Glass Master
50. 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
Audio Engineering Society
Sonogram
Sampling Theorem
Transfer Protocol