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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. Also known as equal loudness curves; Graph that indicates the average ear sensitivity to different frequencies at different SPL levels (as volume increases - these curves flatten out)
Fidelity
Latency
Fletcher- Munson Curve
Optical Cable
2. 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
Internal Resolution
Additive Synthesis...
Dithering
Base 2 System
3. The number of compressions or rarefactions in one second; The higher the frequency the more compressions & rarefactions per second; Measured in Hertz
Compression
Frequency
DVD-18
Joint Stereo
4. The ability of a digital system to perform complex DSP without running into problems with overflow or loss of resolution
Internal Resolution
Sony-Philips Digital Interface Format (S/PDIF)
Average Bit Rate
Convolution
5. 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
Peak Level
Overflow
Floating Point
Claude Shannon
6. Same as 'aliasing'
Oscillation
Nanometer
Foldover
Fidelity
7. Fractional part of a floating- point number; Also called the mantissa; Defines precision
Significand
DVD-10
Pad Head & Tail
Dolby 5.1
8. Sample Rate x Bit Depth x # of Channels
Requirements for A/D Conversion
Requirements for CD Audio
Normalizing
Non -Compressed Audio Data Rate Formula
9. Six channel (five speakers and one subwoofer for bass) digital surround sound system by Dolby
Interleaved
Frames
Dolby 5.1
A/D Conversion
10. Voltage -> Dither -> Anti-Aliasing (Low Pass Filter) -> Sample & Hold Circuit -> Successive Approximation/Quantizer --) 100111010 (PCM Audio File)
Physical Disc Format
Cutoff Frequency
Foldover
A/D Conversion Signal Flow
11. MPEG; Standardizing body of audio coding
Motion Pictures Experts Group
Sony-Philips Digital Interface Format (S/PDIF)
Sample Rate Effect on Anti-Aliasing
Tascam Digital Interface Format (TDIF)
12. 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)
Intensity
dBFS
Acoustics
RMS
13. The frequency above or below which attenuation begins in a filter circuit
Cutoff Frequency
Base 2 System
0 dB FS
A/D Conversion Signal Flow
14. 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
Sample Rate
Bit Depth
Sampling (Samples)
Variable Bit Rate
15. 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
Audio over Ethernet (AoE)
Fourier Series
Low-Latency Monitoring
Sine Wave
16. Method of sampling data at a higher resolution (higher sample rate) as a means of reducing harmonic content during D/A conversion; (x2) oversampling gets rid of all odd harmonic content
Harry Nyquist
Average Bit Rate
SCMS
Oversampling
17. Process of building a complex tone by starting with the fundamental frequency and adding pure tone harmonics
Voltage
AoE Formats
Additive Synthesis...
Latency
18. Sony sigma- delta modulation based technology that bypasses the decimation and interpolation steps found in PCM converters
Optical Cable
Sampling Rule
Entropy Coding
Direct Stream Digital
19. Lossless Format; Can hold up to 25GB on a single- layer disc and 50GB on a dual- layer disc
Attenuation
dBFS
Blu-Ray
Pad Head & Tail
20. Low Pressure; Part in a longitudinal wave where the particles are spread apart
Sony-Philips Digital Interface Format (S/PDIF)
Rarefaction
Direct Monitoring
Sinusoidal
21. 1st commercially successful AoE format for the transmission of digital audio - video - and control signals over 64- channel 100Mbps Ethernet networks
Joint Stereo
Oversampling
CobraNet
Dynamic Range
22. Sony and Philips optical disc format; Utilizes sigma delta DSD to offer higher resolution; 1- bit; 2.8224 MHz; 6-Channel
Bit Depth Effect on Dynamic Range
Zero-Latency Monitoring
Attenuation
SACD
23. The amount of energy at each wavelength
Spectra
Dolby 5.1
Sample Rate
Sonogram
24. 12.33 GB; DS/ML
DVD-14
MONO
Claude Shannon
Harry Nyquist
25. Number of bits used to represent the smallest unit of information in an audio file; Greater bit depth = better quality audio
AES3
dB/SPL
Bit Depth
Base 2 System
26. Circuit that interprets the meaning of the symbols as they were chosen and arranged by the encode
PCM
Successive Approximation
Decoder
M-S Stereo
27. 12cm plastic disc; 1.2mm thick; One- sided; Red Laser; 1.6 microns between tracks; 125 nanometer pits
Sampling (Samples)
Photoreceptor
Red Book
Successive Approximation
28. ADAT Optcal; 8- in/8- out on two cables; Fiber- optic - TOSLINK connector
Aliasing
European Broadcasting Union
Lightpipe
Frames
29. Allowance of noise floor below that which is required for the final product
Footroom
Pass Band
Quantizer
Y-Axis Terminology
30. 'Reconstructing' part of digital audio
Digital
Oversampling
Quantization
D/A Conversion
31. The difference in volume between the loudest and quietest sounds of a source
Dynamic Range
Zero-Latency Monitoring
Sample- and-Hold
Photoreceptor
32. Toshiba developed digital audio interface utilizes fiber optics as a transmission medium.
Sample Rate
Oscillation
TOSLINK
Requirements for A/D Conversion
33. Method of representing an acoustic quantity with a series of binary numbers; Can have only specific individually distinct values
Analog
Zero-Latency Monitoring
Digital
Buffering
34. A digital filter's time domain output sequence when the input is a single sample is input
Fidelity
Motion Pictures Experts Group
A/D Conversion
Impulse Response
35. 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
RMS
Pulse Code Modulation
Joseph Fourier
Perceptual Coding
36. 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
Claude Shannon
Overflow
Optical Cable
Sony-Philips Digital Interface Format (S/PDIF)
37. 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.
Variable Bit Rate
0 dB FS
Aliasing
Significand
38. 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
Oscillation
MONO
Photoreceptor
39. Branch of psychology concerned with the subjective perception of sound
Delta-Sigma Modulation
Ethernet
SCMS
Psychoacoustics
40. Snippets of time in which frequency analysis takes place in a perceptual codec
Quantization Error
Word Clock
Coaxial
Frames
41. Playback; I/O Connections; CPU (Streaming); Conversion from DAW or Software
Buffering Locations
TOSLINK
Blu-Ray
Data Packing
42. When recording you want the smallest buffer available; When mixing you want the largest buffer available
Decimal- to-Binary Conversion
Constant Bit Rate
Buffer Size
Peak Level
43. Describes acceptable data - performances both offered and essential for a disc player - and the complete user experience
DVD-5
Interleaved
Logical Format
Impulse Response
44. Overtones that contribute to the timbre of a sound and make up a complex waveform's physical characteristics
Harmonic Content
0 dB FS
Spectra
Delta-Sigma Modulation
45. The loudest point of a Full Scale system
SCMS
Pulse Width Modulation
0 dB FS
Bit Depth
46. EBU
Transfer Protocol
Harry Nyquist
DVD-14
European Broadcasting Union
47. 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
Noise Shaping
Analog
Recording Levels
48. (AES/EBU); 110O - 2- channel balanced digital audio cable with an XLR connection; NOT a mic cable!!
Attenuation
AES3
Equal Loudness Contour
Optical Cable
49. 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
Storage Conversion Steps
Photoreceptor
Cutoff Frequency
Anti-Imaging Filter
50. EDL; Final list of samples used in the audio editing process; Identified by time code
Oversampling
Index of Reflectivity
Edit Decision List
Coaxial