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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. Subtract place values from the decimal number and place ones or zeros in the correct places
Decimal- to-Binary Conversion
Lossy Formats
Pulse Width Modulation
Spectra
2. Industry Standards: -6 dB Peak = -20 RMS Meter
Sampling (Samples)
Recording Levels
Signal- to- Noise Ratio
Nyquist Frequency
3. Difference in brightness between land and pit on a CD Physical Format
Internal Resolution
Impulse Response
Constant Bit Rate
Index of Reflectivity
4. ADPCM; Pulse code modulation that produces a digital signal with a lower bit rate than standard PCM; Records only the difference between samples
Adaptive Pulse Code Modulation
Sample- and-Hold
Pulse Code Modulation
M-S Stereo
5. Only 2 digits used; The value of each place (ones - hundreds - etc.) are as follows from greatest to least: 128 - 64 - 32 - 16 - 8 - 4 - 2 - 1
Base 2 System
DVD-5
Physical Disc Format
Jitter
6. Multi-Bit Words; (Pulse Code Modulation)
Perceptual Coding
DVD-18
PCM
dB/FS
7. Based on Full Scale (dB/FS); -6dB represents a loss of one bit so account for this when calculating
Zero-Latency Monitoring
Dynamic Range
Pad Head & Tail
Effective Bit Depth
8. A digital filter's time domain output sequence when the input is a single sample is input
Sample Rate Effect on Anti-Aliasing
Impulse Response
Compression
Delta-Sigma Modulation
9. 1.) Taking a series of evenly- spaced measurements 2.) Signal contains no frequency components higher than half the sample rate
Requirements for A/D Conversion
Y-Axis Terminology
Oversampling
Delta-Sigma Modulation
10. Built into DAWs; Bits are added when signals are mixed together to avoid clipping
Noise Shaping
PCM
Peak Level
Headroom Bits
11. Single- pin RCA cable or fiber- optic TOSLINK connector used for digital transfer; 75O coaxial - 2- channel unbalanced; 'Consumer' format of AES3
Average Bit Rate
Sony-Philips Digital Interface Format (S/PDIF)
Psychoacoustics
Oversampling
12. A time regulator that makes all samples and bits to align when working with interconnected digital devices; Basically a signal that all of the digital devices refer to when operating.
Word Clock
Overflow
dB/FS
Successive Approximation
13. Take up half as many bits (50%); Algorithm can keep same quality by lossing the stereo track
Pulse Density Modulation
Overflow
Nyquist Frequency
MONO
14. Eliminates frequencies above the Nyquist limit from becoming samples; Occurs prior to quantization
Exponent
Requirements for A/D Conversion
Anti-Aliasing Filter
European Broadcasting Union
15. The loudest point of a Full Scale system
0 dB FS
Pulse Code Modulation
Transfer Protocol
European Broadcasting Union
16. Circuit that interprets the meaning of the symbols as they were chosen and arranged by the encode
Entropy Coding
Internal Resolution
Pulse Code Modulation
Decoder
17. Smallest interval measurable by a scientific instrument; Defined by bit rate (sample rate x bit depth)
Quantizer
Significand
Joint Stereo
Resolution
18. 7.95 GB; SS/DL
Quantization Intervals
DVD-9
Peak Level
Blu-Ray
19. Sample Rate x Bit Depth x # of Channels
Spectra
Threshold of Pain
Non -Compressed Audio Data Rate Formula
Claude Shannon
20. The amount of energy at each wavelength
Variable Bit Rate
Base 2 System
Spectra
Sine Wave
21. 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
Effective Bit Depth
Class - D Amplifier
AoE Formats
22. 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
Headroom Bits
Logical Format
Lossy
Subbands
23. Playback; I/O Connections; CPU (Streaming); Conversion from DAW or Software
Nanometer
TOSLINK
Buffering Locations
Base 2 System
24. ADAT Optcal; 8- in/8- out on two cables; Fiber- optic - TOSLINK connector
Logical Format
MONO
Headroom Bits
Lightpipe
25. MPEG; Standardizing body of audio coding
Motion Pictures Experts Group
Sampling (Samples)
CobraNet
Quantization Error
26. DAW's and software must buffer when converting or bouncing and this latency can add up if not monitored
Harmonic Content
Voltage
Conversion Buffering
dB/SPL
27. Samples are duplicated and the playback sampling rate correspondingly increased; Significantly raises the Nyquist limit to a range well beyond human hearing; Processing 'pushes' the distortion resulting from quantization error into these higher frequ
Noise Shaping
Bit Depth Effect on Dynamic Range
dBFS
Codec
28. 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
Noise Shaping
Lightpipe
Lossless
Average Bit Rate
29. A sample- by- sample operation on two signals
Convolution
Pulse Width Modulation
Word Clock
Bit Depth
30. Algorithm uses matrix of a mid/side microphone pair to determine a side signal & that signal is reduced then distributed as code in stereo
RMS Meter
Dynamic Range
Latency
M-S Stereo
31. 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
Codec
Dithering
Dolby 7.1
Impulse Response
32. 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
Attenuation
Jitter
Direct Monitoring
33. Increases or decreases the digital signal so that the loudest sample is brought up to 0dBfs; Uses all bits from dynamic range and makes it even from track to track
Pulse Density Modulation
MONO
Normalizing
Oversampling
34. Used when the reference pressure of a sound is 20 microPa (0.00002); Sound Pressure Level; Measure of amplitude
A/D Conversion
dB/SPL
Micron
Noise Shaping
35. Defines the number of sample per second taken from a continuous signal to make a discrete signal; Governs the frequency response of digital audio
Sample Rate
European Broadcasting Union
DVD-14
Sine Wave
36. Overtones that contribute to the timbre of a sound and make up a complex waveform's physical characteristics
Compression
Noise Shaping
Harmonic Content
Rarefaction
37. 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
Variable Bit Rate
Additive Synthesis...
Quantization Error
Nanometer
38. Snippets of time in which frequency analysis takes place in a perceptual codec
Fourier Series
EtherSound
Frames
Dolby 5.1
39. CobraNet; EtherSound; Dante; AVB (currently under development)
AoE Formats
Codec
Physical Disc Format
Edit Decision List
40. 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
Ethernet
SACD
Decimation Filter
Physical Disc Format
41. Describes acceptable data - performances both offered and essential for a disc player - and the complete user experience
Glass Master
Logical Format
DVD-Audio
D/A Conversion
42. (AES/EBU); 110O - 2- channel balanced digital audio cable with an XLR connection; NOT a mic cable!!
TOSLINK
AES3
dB/SPL
PCM
43. Apple Lossless; Windows Media Lossless; DTS HD Master Audio; Dolby True HD; FLAC
Lossless Formats
Variable Bit Rate
Compression
Sine Wave
44. 15.9 GB; DS/DL
Buffering Locations
Quantization
DVD-18
Constant Bit Rate
45. Measure of the amplitude of a longitudinal wave
Decoder
Threshold of Hearing
Intensity
Pulse Code Modulation
46. Signal voltage is relayed to a register from sample- and - hold circuit; Holds reference frequencies in binary form that decrease in value; Finds approximated value & assigns binary number accordingly
Requirements for A/D Conversion
Cutoff Frequency
Successive Approximation
Quantizer
47. 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
Bit Depth Effect on Dynamic Range
SACD
Perceptual Coding
Pass Band
48. 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
Resolution
Ethernet
Zero-Latency Monitoring
49. Decibels Full Scale
Pass Band
dBFS
Analog
Direct Monitoring
50. Very selective method of lowering buffer levels by halting different levels of audio processing
Variable Bit Rate
Threshold of Pain
AES3
Low-Latency Monitoring