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Digital Audio

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. Measuring equipment in A/D conversion that processes voltage and provides a value for that voltage






2. 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






3. Level above which audible sounds are painful (125 - 130 db)






4. 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






5. Twice as many samples as the highest frequency at minimum; Sampling rate totally controls frequency response






6. Roughly around 1 -130 ft/s






7. Apple Lossless; Windows Media Lossless; DTS HD Master Audio; Dolby True HD; FLAC






8. Stores only one copy of a stereo signal and assigns it to both channels in order to save 50% of original bandwidth






9. 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






10. Softest sound that can be heard by the average human ear (0 dB)






11. Have odd numbered harmonics






12. HD Audio format; Lossless Compression; 24- bit/96 kHz; 5.1 Surround or 24- bit / 192 kHz stereo sound






13. 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






14. 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






15. Root Mean Square; Refers to taking the square root of all instantaneous amplitudes; Takes the average of those squares; (-6 Peak Level is approximately equal to -20 RMS)






16. A situation where a calculated value cannot fit into the number of digits reserved for it






17. 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






18. Signal conversions are mixed with playback tracks resulting in near-zero latency






19. Data transmission protocol over which computer network traffic travels; Poorly suited to real- time transmission but numerous attempts have been made to harness the technology because of its flexible routing; Uses simple Cat5 cabling; Resists interfe






20. Having a repeated succession of waves or curves as in a sound waveform






21. Method of representing an acoustic quantity with a series of binary numbers; Can have only specific individually distinct values






22. Used when the reference pressure of a sound is 20 microPa (0.00002); Sound Pressure Level; Measure of amplitude






23. Unit of measurement that is equal to one billionth of a meter






24. Playback; I/O Connections; CPU (Streaming); Conversion from DAW or Software






25. The ability of a digital system to perform complex DSP without running into problems with overflow or loss of resolution






26. French mathematician that noted that any complex sound can be broken down into a series of component pure tones






27. More aggressive lossy data reduction techniques that require further manipulation of the stereo field; Examples are 'Intensity' & 'M-S'






28. Defines the number of sample per second taken from a continuous signal to make a discrete signal; Governs the frequency response of digital audio






29. The difference in volume between the loudest and quietest sounds of a source






30. Decibels Full Scale






31. Accuracy with which an electronic system reproduces the sound or image of its input signal






32. (AES/EBU); 110O - 2- channel balanced digital audio cable with an XLR connection; NOT a mic cable!!






33. 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






34. 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






35. 12.33 GB; DS/ML






36. Sum of all harmonics; Sum of sine and cosine waves which have frequencies f - 2f - 3f - 4f...






37. Pertaining to hearing or sound; Combination of the intensity of air pressure molecules with amplitude






38. 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






39. Uses entropy coding as the basis; Computer data compression algorithm that packages files such as .ZIP & .RAR






40. Perceptual coding technique that uses louder sounds of a similar frequency to decide what information is to be saved during data reduction






41. (Amplitude Based) Amplitude: Voltage; Quantization; Bit Depth; Quantization Intervals; Quantization Noise; [Signal:Quantization Noise Ratio]; Dither; Dynamic Range






42. 'Reconstructing' part of digital audio






43. 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






44. DAW's and software must buffer when converting or bouncing and this latency can add up if not monitored






45. Based on Full Scale (dB/FS); -6dB represents a loss of one bit so account for this when calculating






46. 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






47. 4.38 GB; SS/SL






48. 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






49. MPEG; Standardizing body of audio coding






50. Describes acceptable data - performances both offered and essential for a disc player - and the complete user experience







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