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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. Anytime bit depth is reduced the gap gets bigger so more dithering is required
I/O Connection Buffering
Redither
A/D Conversion Signal Flow
Lightpipe
2. Built into DAWs; Bits are added when signals are mixed together to avoid clipping
Quantization
Headroom Bits
Red Book
Significand
3. The frequency range that is allowed through a filter
Pass Band
Masking Analysis...
Claude Shannon
Jitter
4. High Pressure - Part of a longitudinal wave where the particles of the medium are close together
Aliasing
Speed of Sound
Internal Resolution
Compression
5. Sony sigma- delta modulation based technology that bypasses the decimation and interpolation steps found in PCM converters
SACD
Anti-Aliasing Filter
Direct Stream Digital
6 dB
6. More accuracy in low amplitudes and less in higher amplitudes
Amplitude Accuracy
Harmonic Content
Lossy
Joseph Fourier
7. Describes acceptable data - performances both offered and essential for a disc player - and the complete user experience
Adaptive Pulse Code Modulation
Inter-Channel Redundancy
Logical Format
Joseph Fourier
8. VBR; Most common & best data reduction technique; Codecs that encode data by determining how dense or sparse areas of the audio are; Can result in buffering issues
Attenuation
Variable Bit Rate
Ethernet
Adaptive Pulse Code Modulation
9. How Loud (Y-Axis) & How Fast (X-Axis)
Frames
Entropy Coding
Oscillation
2 Dimensions of Sound
10. Difference in brightness between land and pit on a CD Physical Format
Index of Reflectivity
Class - D Amplifier
Direct Monitoring
Joseph Fourier
11. Found that aliasing was always a problem no matter how fast you sample; Less data recorded but more accurate; 2 samples per wave length.
Interleaved
Convolution
Harry Nyquist
Pass Band
12. Toshiba developed digital audio interface utilizes fiber optics as a transmission medium.
D/A Conversion Signal Flow
Amplitude Accuracy
TOSLINK
Latency
13. Number or variable that represents the number of times the base of a power is used as a factor; Defines magnitude
AES3
Nyquist Frequency
Digital
Exponent
14. The difference in volume between the loudest and quietest sounds of a source
Harmonic Content
Dynamic Range
M-S Stereo
Jitter
15. Ratio of magnitude of the analytical signal to the magnitude of the background noise signal
Harmonic Content
Threshold of Pain
Aliasing
Signal- to- Noise Ratio
16. 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
RMS Meter
Coaxial
Delta-Sigma Modulation
Dolby 5.1
17. (Time Based) Frequency: Aliasing; Anti-Aliasing Filter; Sample Rate; Nyquist Limit
Psychoacoustics
Ethernet
X-Axis Terminology
Threshold of Pain
18. Overtones that contribute to the timbre of a sound and make up a complex waveform's physical characteristics
Data Packing
Harmonic Content
European Broadcasting Union
Quantizer
19. Based on Full Scale (dB/FS); -6dB represents a loss of one bit so account for this when calculating
Storage Conversion Steps
Effective Bit Depth
Acoustics
Ethernet
20. Circuit that seizes voltage values with each tick of an A/D device's internal clock
Recording Levels
Compression
Sinusoidal
Sample- and-Hold
21. DAW's and software must buffer when converting or bouncing and this latency can add up if not monitored
Recording Levels
Conversion Buffering
Exponent
Storage Conversion Steps
22. 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
dB/FS
Buffering
A/D Conversion Signal Flow
Adaptive Pulse Code Modulation
23. 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
Class - D Amplifier
Interpolation Filter
Dynamic Range
Pass Band
24. A frequency specified for a filter (digital or electronic) the marks the point at which the frequency content of a signal is altered +/- 3dB
DVD-Audio
dBFS
Sinusoidal
Cutoff Frequency
25. Digital and analog processing capability is combined on a single microchip allowing for 1- bit resolution at high sample rates
Adaptive Pulse Code Modulation
Delta-Sigma Modulation
Stapedes Reflex
Variable Bit Rate
26. Rate at which energy is drawn from a source that produces a flow of electricity in a circuit; Expressed in volts
Buffer Size
Voltage
Pulse Code Modulation
Audio over Ethernet (AoE)
27. Serial Copy Management System; main difference between AES3 & S/PIDF
SCMS
Decimal- to-Binary Conversion
Jitter
Harmonic Content
28. EBU
European Broadcasting Union
Tascam Digital Interface Format (TDIF)
Class - D Amplifier
Quantization Error
29. 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
Quantization
Nyquist Frequency
Sampling (Samples)
Pulse Code Modulation
30. 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
Optical Cable
Intensity Stereo
Red Book
Sampling Theorem
31. Occurs as data is assembled into meaningful bits or information and as left & right channels are separated
Entropy Coding
DVD-Audio
DVD-18
I/O Connection Buffering
32. Take up half as many bits (50%); Algorithm can keep same quality by lossing the stereo track
Micron
Glass Master
MONO
Compression
33. Twice as many samples as the highest frequency at minimum; Sampling rate totally controls frequency response
Storage Conversion Steps
Sampling Rule
Quantization Error
Interpolation Filter
34. Multi-Bit Words; (Pulse Code Modulation)
PCM
Interleaved
Significand
dB/SPL
35. EDL; Final list of samples used in the audio editing process; Identified by time code
Edit Decision List
AoE Formats
Sampling (Samples)
Quantization
36. Based on psychoacoustics - these are the basis of frequency analysis for a perceptual codec;
Subbands
Nyquist Frequency
Motion Pictures Experts Group
Transfer Protocol
37. Same as 'aliasing'
Successive Approximation
Square Wave
DVD-14
Foldover
38. More aggressive lossy data reduction techniques that require further manipulation of the stereo field; Examples are 'Intensity' & 'M-S'
Constant Bit Rate
Redither
Foldover
Joint Stereo
39. The amount of energy at each wavelength
2 Dimensions of Sound
Spectra
Photoreceptor
Lightpipe
40. Inner ear component that attaches to the stapes and helps to decrease the amplitude of vibrations; Causes the masking phenomenon
Stapedes Reflex
Compression
Algorithm
Fidelity
41. Process of building a complex tone by starting with the fundamental frequency and adding pure tone harmonics
Additive Synthesis...
PCM
Sampling Rule
dBFS
42. A digital filter's time domain output sequence when the input is a single sample is input
Conversion Buffering
Micron
Subbands
Impulse Response
43. Have odd numbered harmonics
Sinusoidal
Square Wave
Delta-Sigma Modulation
Lossy
44. 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
Audio Engineering Society
dB/SPL
Glass Master
Foldover
45. 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
Physical Disc Format
CobraNet
Equal Loudness Contour
Y-Axis Terminology
46. Playback; I/O Connections; CPU (Streaming); Conversion from DAW or Software
Multichannel Audio Digital Interface (MADI)
Pulse Density Modulation
Claude Shannon
Buffering Locations
47. The process of reducing the space required to store data by efficiently encoding the content.
Joseph Fourier
Physical Disc Format
Logical Format
Compression
48. (AES/EBU); 110O - 2- channel balanced digital audio cable with an XLR connection; NOT a mic cable!!
X-Axis Terminology
AES3
Sampling Theorem
Perceptual Coding
49. Subtract place values from the decimal number and place ones or zeros in the correct places
Aliasing
Decimal- to-Binary Conversion
MONO
Conversion Buffering
50. CBR; Codecs encodes data at a constant rate regardless of density of the audio file
Constant Bit Rate
Harmonic Content
Joint Stereo
Optical Cable
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