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CTS-D > Audio Design > Flashcards

Audio Design Flashcards

1
Q

Digital audio signals can be transmitted from one source to several endpoints over standard Ethernet networks. This point-to-multipoint transfer is sometimes referred to as _____.

A

audio over Ethernet (AoE)

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2
Q

DSP stands for _____.

A

Digital Signal Processor

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3
Q

DSP’s featuring _____ are characterized by a drag-and-drop graphical user interface (GUI). Audio functions such as mixers, equalizers, filters, and crossovers can be dragged from the processing library and placed almost anywhere in any order along the signal chain on the right.

A. Flexible-architecture processors
B. Fixed-architecture processors
C. Hybrid multifunction processors

A

A. Flexible-architecture processors

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4
Q

DSP’s featuring _____ handle one type of function. For example, they may handle compression/limiting, equalization, or signal routing. They are often easy to set up and operate and may be good for system upgrades because you configure them much as you would their analog counterparts. However, they are functionally limited and may not be scalable.

A. Flexible-architecture processors
B. Fixed-architecture processors
C. Hybrid multifunction processors

A

B. Fixed-architecture processors

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5
Q

DSP’s featuring _____ allow you to adjust multiple functions. They operate along a predictable, known pathway and are fairly cost effective, although some are limited in their routing and setup options.

A. Flexible-architecture processors
B. Fixed-architecture processors
C. Hybrid multifunction processors

A

C. Hybrid multifunction processors

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6
Q

_____ monitoring helps ensure that an audio system doesn’t clip the signal or add distortion. It also helps ensure that the signal level is high enough to achieve an adequate signal-to-noise ratio without actually adding noise.

A

Signal-level

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7
Q

There are two types of meters typically used for signal monitoring, _____ and _____.

A

volume unit (VU) meter / peak program meter (PPM)

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8
Q

The _____ meter is the standard meter used for signal monitoring.

A. Volume Unit Meter (VU)
B. Peak Program Meter (PPM)

A

A. Volume Unit Meter (VU)

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9
Q

A _____ responds in a way that humans respond to loudness.

A. Volume Unit Meter (VU)
B. Peak Program Meter (PPM)

A

A. Volume Unit Meter (VU)

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10
Q

A _____ shows instantaneous peak levels and is useful for digital recording.

A. Volume Unit Meter (VU)
B. Peak Program Meter (PPM)

A

B. Peak Program Meter (PPM)

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11
Q

_____ dBFS (full scale) represents the maximum level for a digital signal.

A

0 (zero)

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12
Q

The formula for the dynamic range of a digital audio signal is as follows:

A

dB = 20log (Ns/1)

where:

  • dB = The dynamic range of the signal
  • Ns = The number of possible signal states

To find the dynamic range of a 16-bit signal, first determine the number of possible states. You’ll recall that each bit has two states (0 or 1); therefore, 2^16 yields 65,536 possible states.

  • dB = 20log (65,536)
  • dB = 20 (4.816479931)
  • dB = 96
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13
Q

Most mixers will produce ___ to ___ dBu output levels without clipping.

A

+18 to +24

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14
Q

_____ is the ratio, measured in decibels, between the audio or video signal and the noise accompanying the signal.

A

Signal-to-Noise ratio

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15
Q

_____ is the level at which a desired function becomes active. Generally speaking, a lower level setting means it will activate earlier.

A. Threshold
B. Attack Time
C. Release TIme
D. Automatic Gain Control (AGC)
E. Ambient Level Control
A

A. Threshold

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16
Q

_____ determines how quickly volume will be reduced once it exceeds the threshold.

A. Threshold
B. Attack Time
C. Release TIme
D. Automatic Gain Control (AGC)
E. Ambient Level Control
A

B. Attack Time

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17
Q

_____ determines how quickly the volume increases when an audio signal returns below the threshold.

A. Threshold
B. Attack Time
C. Release TIme
D. Automatic Gain Control (AGC)
E. Ambient Level Control
A

C. Release TIme

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18
Q

_____ is an electronic or logic feedback circuit that maintains a constant acoustic power (gain) output in response to input variables, such as signal strength or ambient noise level.

A. Threshold
B. Attack Time
C. Release TIme
D. Automatic Gain Control (AGC)
E. Ambient Level Control
A

D. Automatic Gain Control (AGC)

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19
Q

_____ uses a reference microphone to measure a room’s noise level. It then automatically adjusts a system for noisier environments. It’s a function that’s useful in managing music in restaurants.

A. Threshold
B. Attack Time
C. Release TIme
D. Automatic Gain Control (AGC)
E. Ambient Level Control
A

E. Ambient Level Control

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20
Q

A _____ controls the dynamic range of a signal by reducing the part of the signal that exceeds the user-adjustable threshold.

A

compressor

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21
Q

The compressor _____ sets the point at which the automatic volume reduction kicks in.

A

threshold

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22
Q

The compressor _____ is the amount of actual level increase above the threshold that will yield 1 dB in gain change after the compressor.

A

ratio

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23
Q

The _____ is how long it takes for the compressor to react after the compressor exceeds the threshold.

A

attack time

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24
Q

The _____ determines when the compressor lets go after the level settles below the threshold.

A

release time

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25
Q

Compressor attack time and release time are generally measured in _____.

A

milliseconds (ms)

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26
Q

____ are similar to compressors in that they are triggered by peaks or spikes in the signal level. They are used to limit the impact of extreme sound pressure spikes, such as dropped microphones, phantom-powered mics that get unplugged without being muted, and equipment that’s not turned on or off in the correct order.

A

Limiters

27
Q

A(n) _____ mutes the level of all signals below an adjustable threshold.

A

gate

28
Q

A(n) _____ is an audio processor that comes in two forms: a downward _____ or as part of what’s known as a compander.

A

expander

29
Q

A(n) _____ increases the dynamic range by reducing—or attenuating—the level below the adjustable threshold setting. They increase gain if the signal is low, such as a presenter with a weak voice.

A

downward expander

30
Q

_____ are primarily intended for recording and transmission. When used in an amplified environment, they can push a system into painfully loud feedback.

A

Expanders

31
Q

A(n) _____ is a frequency control that allows the user to boost (add gain) or cut (attenuate) a specific range of frequencies.

A

Equalizer

32
Q

_____ equalization is generally for tonality control—adjusting the tonal content so each source sounds similar.

A. Input
B. Output

A

A. Input

33
Q

_____ equalization is generally used for loudspeaker compensation—adjusting for “quirks” or characteristics of a loudspeaker’s response.

A. Input
B. Output

A

B. Output

34
Q

A(n) _____ equalizer allows for the selection of a center frequency and the adjustment of the width—or Q—of the frequency range that will be affected.

A

parametric

35
Q

_____ Q filters can be used to counteract wide peaks or dips in the frequency response.

A

Wide

36
Q

_____ Q filters, commonly used as notch filters, are used to counteract narrow bands of frequency problems.

A

High

37
Q

_____ are classified by their rate of attenuation on the signal.

A

Filters

38
Q

When describing decibels per octave, an octave represents a _____ of frequencies.

A

doubling

39
Q

A first-order filter attenuates at a rate of __ dB per octave.

A

6

40
Q

A second-order filter attenuates at a rate of __ dB per octave.

A

12

41
Q

A third-order filter attenuates at __ dB per octave.

A

18

42
Q

A fourth-order filter attenuates at __ dB per octave.

A

24

43
Q

A ____ filter is a low Q filter that allows the user to eliminate the highs and lows of a frequency response.

A. band-pass
B. low-pass
C. high-pass
D. shelving

A

A. band-pass

44
Q

A ____ filter is a circuit that allows signals below a specified frequency to pass unaltered while simultaneously attenuating frequencies above the specified limit. Useful for eliminating hiss in a system.

A. band-pass
B. low-pass
C. high-pass
D. shelving

A

B. low-pass

45
Q

A ____ filter is a circuit that allows signals above a specified frequency to pass unaltered while simultaneously attenuating frequencies below the specified limit. Useful for removing low-frequency noise from a system.

A. band-pass
B. low-pass
C. high-pass
D. shelving

A

C. high-pass

46
Q

A ____ filter is similar to a low- or high-pass filter, except instead of removing frequency bands, it simply tapers off and flattens out the sound again.

A. band-pass
B. low-pass
C. high-pass
D. shelving

A

D. shelving

47
Q

_____ filters are used for bi-amplified and tri-amplified systems. By using these filters, you can send low-, mid-, and high-range frequency bands to the appropriate, separate amplifiers.

A

Crossover

48
Q

The crossover point between filters is often __ dB.

A

3

49
Q

____ filters are a useful option for speech-only audio systems. They are tight-notch filters that can be used to eliminate specific bands of frequencies.

A

Feedback-suppression

50
Q

A(n) ____ filter is a popular new algorithm that samples the noise floor and removes specific spectral content. It listens for noise from things such as HVAC systems, fans, other gear near microphones (such as laptops), and electronic noise. It then reduces that particular noise from the system.

A

noise-reduction

51
Q

A(n) ____ is the retardation of a signal. In the context of audio processing, it is an adjustment of the time in which a signal is sent to a destination, often to compensate for the distance between loudspeakers or for the differential in processing required between multiple signals.

A

delay

52
Q

If a delay is an unintended byproduct of signal processing, it is usually referred to as ____.

A

latency

53
Q

Delays are used in sound systems for ____.

A

loudspeaker alignment

54
Q

The _____ is the ability of the human ear to locate the origin of a sound with fairly high accuracy.

A

Haas effect

55
Q

When setting electronic delay, factor in __ ms per __ ft farther than the distance would indicate.

A

10 / 10

56
Q

A(n) _____ equalizer is an equalizer with an interface that resembles a graph comparing amplitude along the vertical axis and frequency along the horizontal axis.

A

graphic

57
Q

Recommended compressor settings for speech application:

Ratio - ___
Attack - ___
Release - ___
Threshold - ___

A

Ratio - 3:1
Attack - 10 to 20 ms
Release - 200 to 500 ms
Threshold - 0

58
Q

Recommended compressor settings for music or multimedia applications:

Ratio - ___
Attack - ___
Release - ___
Threshold - ___

A

Ratio - 6:1
Attack - 10 to 20 ms
Release - 200 to 500 ms
Threshold - 0

59
Q

Recommended preamp setting for the following microphone:

Handheld vocal microphone

A. 35 dB
B. 45 dB
C. 55 dB
D. 60 dB

A

A. 35 dB

60
Q

Recommended preamp setting for the following microphone:

Handheld presentation microphone

A. 35 dB
B. 45 dB
C. 55 dB
D. 60 dB

A

B. 45 dB

61
Q

Recommended preamp setting for the following microphone:

Gooseneck microphone

A. 35 dB
B. 45 dB
C. 55 dB
D. 60 dB

A

B. 45 dB

62
Q

Recommended preamp setting for the following microphone:

Boundary microphone

A. 35 dB
B. 45 dB
C. 55 dB
D. 60 dB

A

C. 55 dB

63
Q

Recommended preamp setting for the following microphone:

ceiling-mounted microphone

A. 35 dB
B. 45 dB
C. 55 dB
D. 60 dB

A

D. 60 dB

CTS-D (17 decks)

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