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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. 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
Anti-Imaging Filter
Claude Shannon
Sine Wave
Pulse Code Modulation
2. Series of dots and dashes representing the letters of the alphabet; Most common letters are represented by the shortest dots and dashes; Example of entropy coding
Lightpipe
Redither
Zero-Latency Monitoring
Morse Code
3. 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
Fourier Series
Attenuation
Oversampling
Sampling (Samples)
4. Sony sigma- delta modulation based technology that bypasses the decimation and interpolation steps found in PCM converters
Red Book
Pulse Density Modulation
Direct Stream Digital
dB/SPL
5. Multi-Bit Words; (Pulse Code Modulation)
PCM
Threshold of Pain
Additive Synthesis...
Claude Shannon
6. Low Pressure; Part in a longitudinal wave where the particles are spread apart
Algorithm
Rarefaction
Intensity Stereo
Audio over Ethernet (AoE)
7. Decibels Full Scale
Codec
dBFS
Harmonic Content
Compression
8. Inner ear component that attaches to the stapes and helps to decrease the amplitude of vibrations; Causes the masking phenomenon
Stapedes Reflex
Audio Engineering Society
PCM
Conversion Buffering
9. Method used in digital recording and reproduction in which a signal is sampled at various points and the resulting value is translated into binary numbers
Claude Shannon
Pulse Code Modulation
MONO
Intensity Stereo
10. When recording you want the smallest buffer available; When mixing you want the largest buffer available
Threshold of Pain
Buffer Size
Sample- and-Hold
Dynamic Range
11. Eliminates frequencies above the Nyquist limit from becoming samples; Occurs prior to quantization
Sampling Rule
Anti-Aliasing Filter
Fidelity
Pulse Density Modulation
12. 12.33 GB; DS/ML
DVD-18
DVD-14
Perceptual Coding
Internal Resolution
13. 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
European Broadcasting Union
Spectra
Lossless Formats
14. Toshiba developed digital audio interface utilizes fiber optics as a transmission medium.
Requirements for A/D Conversion
Sine Wave
TOSLINK
Fidelity
15. Digital Word -> Series of Resistors (each with assigned charges) -> Sample- and-Hold Circuit -> Anti-Imaging Filter (Smoothing Filter) -> Reconstructed Sample
D/A Conversion Signal Flow
Threshold of Pain
Noise Shaping
Lossy
16. Pertaining to hearing or sound; Combination of the intensity of air pressure molecules with amplitude
Multichannel Audio Digital Interface (MADI)
DVD-10
Successive Approximation
Acoustics
17. Describes acceptable data - performances both offered and essential for a disc player - and the complete user experience
Logical Format
Peak Level
EtherSound
0 dB FS
18. 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
Foldover
Quantization
I/O Connection Buffering
Sampling Theorem
19. Perceptual coding technique that uses louder sounds of a similar frequency to decide what information is to be saved during data reduction
Interleaved
Sonogram
Masking Analysis...
Nanometer
20. Level above which audible sounds are painful (125 - 130 db)
Word Clock
Joseph Fourier
Threshold of Pain
Pulse Code Modulation
21. 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
Average Bit Rate
Buffering Locations
RMS
Oversampling
22. 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.
Glass Master
MONO
Aliasing
Successive Approximation
23. CBR; Codecs encodes data at a constant rate regardless of density of the audio file
Constant Bit Rate
0 dB FS
Cutoff Frequency
Motion Pictures Experts Group
24. Algorithm uses matrix of a mid/side microphone pair to determine a side signal & that signal is reduced then distributed as code in stereo
M-S Stereo
Voltage
Successive Approximation
Recording Levels
25. Twice as many samples as the highest frequency at minimum; Sampling rate totally controls frequency response
TOSLINK
RMS Meter
Sampling Rule
Audio Engineering Society
26. Based on psychoacoustics - these are the basis of frequency analysis for a perceptual codec;
Subbands
Fidelity
M-S Stereo
dBFS
27. 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
Ethernet
Algorithm
Sampling (Samples)
28. Single- pin RCA cable or fiber- optic TOSLINK connector used for digital transfer; 75O coaxial - 2- channel unbalanced; 'Consumer' format of AES3
Sony-Philips Digital Interface Format (S/PDIF)
AoE Formats
Fidelity
Sampling (Samples)
29. AES
Lossless Formats
Audio Engineering Society
Claude Shannon
Nyquist Frequency
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
Interpolation Filter
Aliasing
Threshold of Hearing
Intensity Stereo
31. High channel count; 64 channels on one cable; Coaxial cable with BNC connector or fiber optic with ST1 connector
Multichannel Audio Digital Interface (MADI)
Glass Master
Anti-Aliasing Filter
Algorithm
32. Based on Full Scale (dB/FS); -6dB represents a loss of one bit so account for this when calculating
dB/SPL
Decoder
Effective Bit Depth
Sawtooth Wave
33. (AES/EBU); 110O - 2- channel balanced digital audio cable with an XLR connection; NOT a mic cable!!
Internal Resolution
Gain Staging
AES3
Bit Depth Effect on Dynamic Range
34. Signal that uses variable voltage to create continuous waves resulting in an inexact transmission
Analog
Impulse Response
dB/SPL
Quantization Intervals
35. How Loud (Y-Axis) & How Fast (X-Axis)
D/A Conversion
2 Dimensions of Sound
Psychoacoustics
Sampling (Samples)
36. Ultra low- latency - 512- channel (on a gigabit network) - less flexible AoE format; Routed like audio cables...not network cables
EtherSound
Class - D Amplifier
A/D Conversion
Entropy Coding
37. Reduces the percieved distortion due to quantization error; Low level white noise source is introduced to make the profile of the quantization 'noise' more irregular; Useful when reducing the number of bits per word in a signal (i.e. when converting
M-S Stereo
Dithering
Intensity Stereo
Constant Bit Rate
38. The more bits allocated during quantization - the more accurate the measurement
Base 2 System
Bit Depth Effect on Dynamic Range
Subbands
Constant Bit Rate
39. The elapsed time it takes for a packet of data to arrive at its destination; Lagging or pause of an audio signal as digital processing occurs; Can be managed utilizing several forms of 'audio monitoring'
Subbands
Latency
A/D Conversion
Fourier Series
40. Digital and analog processing capability is combined on a single microchip allowing for 1- bit resolution at high sample rates
Delta-Sigma Modulation
Decimal- to-Binary Conversion
Low-Latency Monitoring
Oversampling
41. The difference in volume between the loudest and quietest sounds of a source
Intensity Stereo
Dynamic Range
Sampling (Samples)
Digital Signal Processing
42. Discrete incremental distinctions made between the value of one sample and the next; Breaks down bit depth into a series of evenly spaced intervals
Quantization Intervals
Dolby 7.1
Recording Levels
Sinusoidal
43. Unit of measurement that is equal to one billionth of a meter
Nyquist Frequency
European Broadcasting Union
Fletcher- Munson Curve
Nanometer
44. Visual graph that shows how loud a sound is at different frequencies
Sonogram
Sawtooth Wave
Oscillation
Blu-Ray
45. Rate at which energy is drawn from a source that produces a flow of electricity in a circuit; Expressed in volts
Pulse Width Modulation
Significand
Sample Rate
Voltage
46. A frequency specified for a filter (digital or electronic) the marks the point at which the frequency content of a signal is altered +/- 3dB
Y-Axis Terminology
Cutoff Frequency
CPU Buffering
Transfer Protocol
47. Serial Copy Management System; main difference between AES3 & S/PIDF
SCMS
Quantizer
Sample Rate Effect on Anti-Aliasing
Cutoff Frequency
48. Overtones that contribute to the timbre of a sound and make up a complex waveform's physical characteristics
PCM
Harmonic Content
Blu-Ray
Multichannel Audio Digital Interface (MADI)
49. More aggressive lossy data reduction techniques that require further manipulation of the stereo field; Examples are 'Intensity' & 'M-S'
Data Packing
Sinusoidal
Joint Stereo
Tascam Digital Interface Format (TDIF)
50. 15.9 GB; DS/DL
dBFS
Successive Approximation
DVD-18
Transfer Protocol