1. Which type of signal by itself cannot be treated as a quantum-like building block for creating sound textures?
A. wavelet B. grain C. impulse D. sine wave
2. With repetition rates below the range of 50 ms (i.e. above 20 Hz), __________ cannot be heard, whereas above that range (i.e. below 20 Hz), we are more likely to encounter ________.
First blank
A. audio rate fusion B. pitch C. rhythmic impulses D. sidebands Second blank
A. phasing B. pitch C. vibrato D. texture
3. In the time-frequency domain, a window of time is proportional to the bandwidth. T or F
4. When a grain stream has little or no delay between each grain, this type of granular synthesis is called ________.
A. asynchronous
B. quasi-synchronous
C. pitch-synchronous D. symmetrical
5. When the attack portion of a grain envelope gets shorter, the bandwidth of the resulting sound increases. T or F
6. When the duration of a grain envelope gets shorter, the bandwidth of the resulting sound increases. T or F
7. When a sine wave is enveloped and has a duration of less than 50 ms, its bandwidth will be similar to a _______.
A. single frequency
B. formant
C. narrow noise band D. complex tone
8. In granular time-stretching, current time can move backwards, forwards or stay fixed without a change of the resulting pitch of the sound being processed. T or F
9. In quasi-synchronous granular synthesis, the duration of the grain and the delay that follows is the period of _______.
A. frequency modulation
B. amplitude modulation
C. phasing D. sidebands
10. Changing the pitch of a sound without changing its duration can only be realized with digital signal processing. T or F
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