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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. 'Capturing' part of digital audio; Never captures a signal perfectly
Pass Band
A/D Conversion
Sample Rate
Audio over Ethernet (AoE)
2. Multi-Bit Words; (Pulse Code Modulation)
Recording Levels
Quantization
Sample Rate
PCM
3. Defines the number of sample per second taken from a continuous signal to make a discrete signal; Governs the frequency response of digital audio
Perceptual Coding
D/A Conversion Signal Flow
Sample Rate
Cutoff Frequency
4. Used when the reference pressure of a sound is 20 microPa (0.00002); Sound Pressure Level; Measure of amplitude
Sawtooth Wave
dB/SPL
Lossless
AES3
5. Difference in brightness between land and pit on a CD Physical Format
Index of Reflectivity
Adaptive Pulse Code Modulation
0 dB FS
Sample Rate Effect on Anti-Aliasing
6. Ultra low- latency - 512- channel (on a gigabit network) - less flexible AoE format; Routed like audio cables...not network cables
Stapedes Reflex
Internal Resolution
EtherSound
Tascam Digital Interface Format (TDIF)
7. Measure of the amplitude of a longitudinal wave
Interpolation Filter
Glass Master
Sample- and-Hold
Intensity
8. Sony sigma- delta modulation based technology that bypasses the decimation and interpolation steps found in PCM converters
Square Wave
Direct Stream Digital
Class - D Amplifier
Dolby 5.1
9. Channels are processed one at a time and the results are stored on multiple CPU buffers that alternately send data as DAW requests the data for playback; First few seconds are relayed to the buffer prior to processing and playback and it continuously
M-S Stereo
TOSLINK
Adaptive Pulse Code Modulation
CPU Buffering
10. 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
Blu-Ray
Variable Bit Rate
Sample- and-Hold
Quantization
11. The frequency range that is allowed through a filter
Pass Band
Masking Analysis...
Spectra
Dolby 7.1
12. AES
Nanometer
AoE Formats
Audio Engineering Society
Threshold of Hearing
13. Process of building a complex tone by starting with the fundamental frequency and adding pure tone harmonics
Sonogram
Decoder
Floating Point
Additive Synthesis...
14. Each bit in the bit depth is equal to a _____ increase in dynamic range
Buffering
Internal Resolution
Lossy Formats
6 dB
15. Take up half as many bits (50%); Algorithm can keep same quality by lossing the stereo track
Nanometer
Average Bit Rate
Sampling Rule
MONO
16. Decibels Full Scale
Acoustics
Algorithm
dBFS
Fidelity
17. Industry Standards: -6 dB Peak = -20 RMS Meter
RMS
Recording Levels
Successive Approximation
Dynamic Range
18. 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)
RMS
Peak Level
Frequency
SACD
19. Have odd numbered harmonics
Cutoff Frequency
Variable Bit Rate
Square Wave
Spectra
20. 15.9 GB; DS/DL
DVD-18
Variable Bit Rate
Fidelity
DVD-5
21. Built into DAWs; Bits are added when signals are mixed together to avoid clipping
Headroom Bits
Cutoff Frequency
Bit Depth
Photoreceptor
22. The number of compressions or rarefactions in one second; The higher the frequency the more compressions & rarefactions per second; Measured in Hertz
SACD
Lightpipe
X-Axis Terminology
Frequency
23. 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
Peak Level
Quantization Intervals
Effective Bit Depth
Constant Bit Rate
24. HD Audio format; Lossless Compression; 24- bit/96 kHz; 5.1 Surround or 24- bit / 192 kHz stereo sound
Sampling Theorem
Lossy
DVD-Audio
Bit Depth Effect on Dynamic Range
25. Twice as many samples as the highest frequency at minimum; Sampling rate totally controls frequency response
Requirements for A/D Conversion
Sampling Rule
Tascam Digital Interface Format (TDIF)
Entropy Coding
26. Mixing data and control characters in a single operation
Interleaved
Lossless
Anti-Imaging Filter
Sine Wave
27. The process of reducing the space required to store data by efficiently encoding the content.
Compression
Word Clock
2 Dimensions of Sound
Decimal- to-Binary Conversion
28. The continuous loss of signal strengths as a signal travels through a medium
Sample Rate
Attenuation
Oversampling
Sawtooth Wave
29. Number or variable that represents the number of times the base of a power is used as a factor; Defines magnitude
AES3
Exponent
Audio Engineering Society
Pass Band
30. (AES/EBU); 110O - 2- channel balanced digital audio cable with an XLR connection; NOT a mic cable!!
Headroom Bits
6 dB
AES3
Spectrum Multiplication
31. Six channel (five speakers and one subwoofer for bass) digital surround sound system by Dolby
Class - D Amplifier
Dolby 5.1
Subbands
Decimation Filter
32. Level above which audible sounds are painful (125 - 130 db)
Direct Stream Digital
Threshold of Pain
Frequency
Fourier Series
33. Describes acceptable data - performances both offered and essential for a disc player - and the complete user experience
Intensity Stereo
Anti-Imaging Filter
Logical Format
Coaxial
34. A sample- by- sample operation on two signals
Peak Level
Conversion Buffering
Adaptive Pulse Code Modulation
Convolution
35. Circuit that interprets the meaning of the symbols as they were chosen and arranged by the encode
Dolby 5.1
Y-Axis Terminology
Zero-Latency Monitoring
Decoder
36. Cable used to transmit data; Inner cable is surrounded by a plastic insulator - which is surrounded by a wire mesh conductor that insulates the internal signal wire from external interference and an outer casing that functions as a ground
Noise Shaping
Coaxial
Sampling Rule
M-S Stereo
37. Very selective method of lowering buffer levels by halting different levels of audio processing
Pad Head & Tail
Speed of Sound
Peak Level
Low-Latency Monitoring
38. 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
Impulse Response
Lossy Formats
Interpolation Filter
39. More accuracy in low amplitudes and less in higher amplitudes
Interleaved
Sample- and-Hold
Motion Pictures Experts Group
Amplitude Accuracy
40. Pertaining to hearing or sound; Combination of the intensity of air pressure molecules with amplitude
Acoustics
D/A Conversion Signal Flow
Foldover
M-S Stereo
41. 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)
AoE Formats
Conversion Buffering
Buffering Locations
Fletcher- Munson Curve
42. The act of a frequency swinging back and forth with a steady - uninterrupted rhythm
Speed of Sound
Oscillation
Algorithm
Inter-Channel Redundancy
43. Measuring equipment in A/D conversion that processes voltage and provides a value for that voltage
Quantizer
Pulse Width Modulation
Lossless Formats
Interpolation Filter
44. Based on Full Scale (dB/FS); -6dB represents a loss of one bit so account for this when calculating
Effective Bit Depth
Lightpipe
Motion Pictures Experts Group
Tascam Digital Interface Format (TDIF)
45. Serial Copy Management System; main difference between AES3 & S/PIDF
M-S Stereo
Storage Conversion Steps
Entropy Coding
SCMS
46. Anytime bit depth is reduced the gap gets bigger so more dithering is required
Impulse Response
Pad Head & Tail
Cutoff Frequency
Redither
47. Sum of all harmonics; Sum of sine and cosine waves which have frequencies f - 2f - 3f - 4f...
dB/FS
Fourier Series
Sampling Theorem
Decimation Filter
48. Very quiet digital amplifier that produces a series of output pulses with the audio signal coded the same as the width of the output pulses; Pulses are used to represent wave forms and are either on or off; Intense signals have long pulses with short
Bit Depth
Harry Nyquist
Sample Rate Effect on Anti-Aliasing
Class - D Amplifier
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
Anti-Imaging Filter
Multichannel Audio Digital Interface (MADI)
Lossy
Additive Synthesis...
50. CBR; Codecs encodes data at a constant rate regardless of density of the audio file
Average Bit Rate
Latency
Buffering
Constant Bit Rate
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