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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. (Time Based) Frequency: Aliasing; Anti-Aliasing Filter; Sample Rate; Nyquist Limit
X-Axis Terminology
Cutoff Frequency
Intensity
Convolution
2. 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
Pulse Code Modulation
Digital Signal Processing
0 dB FS
Threshold of Pain
3. Rate at which energy is drawn from a source that produces a flow of electricity in a circuit; Expressed in volts
Voltage
Foldover
Glass Master
Sample- and-Hold
4. (Amplitude Based) Amplitude: Voltage; Quantization; Bit Depth; Quantization Intervals; Quantization Noise; [Signal:Quantization Noise Ratio]; Dither; Dynamic Range
Threshold of Hearing
Spectrum Multiplication
Y-Axis Terminology
CPU Buffering
5. Computer program or device capable of encoding and/or decoding a digital data stream with the end result being a reduced file size
DVD-Audio
Codec
Significand
Buffering
6. Increases D/A sample rate from nominal rate to oversampling rate by turning series multi- bit PCM samples into 1- bit samples; (ex. => 44.1kHz sample rate converted to 2.8MHz and simultaneously converts multi- bit samples to 1- bit); Low Pass Filter
Effective Bit Depth
Audio Engineering Society
Interpolation Filter
DVD-18
7. In order to play multiple channels at one time data is buffered as read to disk; Latency happens between play command & beginning of playback
Joint Stereo
Playback Buffering
D/A Conversion Signal Flow
Anti-Aliasing Filter
8. 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
Aliasing
Buffer Size
Oversampling
9. 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
Intensity
Amplitude Accuracy
Pulse Density Modulation
10. 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
MONO
Fourier Series
Digital
Nyquist Frequency
11. The more bits allocated during quantization - the more accurate the measurement
Bit Depth Effect on Dynamic Range
Requirements for A/D Conversion
Harmonic Content
Bit Depth
12. Deviation from a normal - steady pulse or tick of a clock that contributes to misrepresentation of a signal; Result of small timing irregularities that become magnified during the transmission of digital signals as the signals are passed from one dev
Codec
Jitter
Lossy Formats
Buffer Size
13. 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
Sampling (Samples)
Fourier Series
Normalizing
Interpolation Filter
14. Six channel (five speakers and one subwoofer for bass) digital surround sound system by Dolby
Pulse Width Modulation
Interpolation Filter
Internal Resolution
Dolby 5.1
15. Number or variable that represents the number of times the base of a power is used as a factor; Defines magnitude
Exponent
Lossy Formats
Tascam Digital Interface Format (TDIF)
DVD-Audio
16. CBR; Codecs encodes data at a constant rate regardless of density of the audio file
Photoreceptor
Nanometer
Constant Bit Rate
Psychoacoustics
17. Mixing data and control characters in a single operation
Quantization Intervals
RMS Meter
Interleaved
Dynamic Range
18. Signal that uses variable voltage to create continuous waves resulting in an inexact transmission
Analog
Adaptive Pulse Code Modulation
Overflow
Base 2 System
19. The continuous loss of signal strengths as a signal travels through a medium
Direct Monitoring
Intensity
Attenuation
Peak Level
20. 16-Bit; 44.1 kHz; PCM; Stereo
Sinusoidal
Class - D Amplifier
Signal- to- Noise Ratio
Requirements for CD Audio
21. A drive that can read and write on optical media that hold up to 50 GB on two layers; 24- bit/96 kHz for 8-Channel; 24- bit/192 kHz for 6-Channel
D/A Conversion
Bit Depth Effect on Dynamic Range
Lightpipe
Blu-Ray
22. 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
Pulse Density Modulation
AoE Formats
Sine Wave
23. The art of deciding where to place a processor in signal flow based on how that processor will be influenced by the other processors in the path
Photoreceptor
DVD-9
RMS
Gain Staging
24. More aggressive lossy data reduction techniques that require further manipulation of the stereo field; Examples are 'Intensity' & 'M-S'
Joint Stereo
Ethernet
Delta-Sigma Modulation
Nanometer
25. Stores only one copy of a stereo signal and assigns it to both channels in order to save 50% of original bandwidth
Equal Loudness Contour
Frames
Inter-Channel Redundancy
Lightpipe
26. 8- in/8- out on one cable; 25- pin D- sub connector
Class - D Amplifier
Tascam Digital Interface Format (TDIF)
Sample Rate
Pass Band
27. Fractional part of a floating- point number; Also called the mantissa; Defines precision
Logical Format
Significand
EtherSound
Decoder
28. 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)
Morse Code
Class - D Amplifier
Oversampling
RMS
29. Measure of sound pressure over the frequency spectrum - for which a listener perceives a constant loudness when presented with pure steady tones
Oversampling
Equal Loudness Contour
Attenuation
Sample Rate
30. A situation where a calculated value cannot fit into the number of digits reserved for it
Overflow
Normalizing
2 Dimensions of Sound
Base 2 System
31. 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
Logical Format
Storage Conversion Steps
Micron
dBFS
32. 15.9 GB; DS/DL
Constant Bit Rate
DVD-18
Lossless
0 dB FS
33. Each bit in the bit depth is equal to a _____ increase in dynamic range
Digital Signal Processing
MONO
Sampling (Samples)
6 dB
34. 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
SCMS
Pad Head & Tail
Acoustics
Physical Disc Format
35. Eliminates frequencies above the Nyquist limit from becoming samples; Occurs prior to quantization
Anti-Aliasing Filter
Y-Axis Terminology
DVD-Audio
Lightpipe
36. The difference in volume between the loudest and quietest sounds of a source
Direct Monitoring
Storage Conversion Steps
Compression
Dynamic Range
37. 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
Pulse Density Modulation
Blu-Ray
6 dB
38. 12cm plastic disc; 1.2mm thick; One- sided; Red Laser; 1.6 microns between tracks; 125 nanometer pits
Pass Band
Red Book
CPU Buffering
D/A Conversion Signal Flow
39. Industry Standards: -6 dB Peak = -20 RMS Meter
European Broadcasting Union
Sampling Theorem
Oscillation
Recording Levels
40. Contains all even and odd harmonics associated with a fundamental tone - making it a rich source for modeling other sounds; Amplitude of each overtone decreases exponentially as a ratio of the harmonic's frequency to that of the fundamental
MONO
Blu-Ray
Sawtooth Wave
CPU Buffering
41. CobraNet; EtherSound; Dante; AVB (currently under development)
Conversion Buffering
AoE Formats
D/A Conversion
Perceptual Coding
42. Decibels Full Scale
2 Dimensions of Sound
RMS
dBFS
Effective Bit Depth
43. Having a repeated succession of waves or curves as in a sound waveform
DVD-Audio
Sinusoidal
Threshold of Hearing
Zero-Latency Monitoring
44. AAC (Advanced Audio Coding); MP3; RA; WMA; OGG Vorbis; Dolby Digital/AC-3; DTS; ADPCM
dB/FS
Lossy Formats
Motion Pictures Experts Group
Bit Depth
45. Twice as many samples as the highest frequency at minimum; Sampling rate totally controls frequency response
Sampling Rule
Sampling Theorem
Sample Rate Effect on Anti-Aliasing
DVD-10
46. AES
Recording Levels
Oversampling
Requirements for A/D Conversion
Audio Engineering Society
47. Found that aliasing was always a problem no matter how fast you sample; Less data recorded but more accurate; 2 samples per wave length.
Harry Nyquist
Redither
6 dB
dB/SPL
48. Digital (binary) measurements of how long each pulse is either on or off; Width of increasing voltage or decreasing voltage is assigned a 1 or 0 respectively
Pulse Width Modulation
AoE Formats
Dolby 7.1
Overflow
49. French mathematician that noted that any complex sound can be broken down into a series of component pure tones
Joseph Fourier
Bit Rate
Decimation Filter
Impulse Response
50. Measuring equipment in A/D conversion that processes voltage and provides a value for that voltage
Lossless
Quantizer
Sony-Philips Digital Interface Format (S/PDIF)
Dolby 5.1