The Kyma Language for Sound Design, Version 4.5

So you could model a sound source in an enclosed space as:
Delay Attenuate
Source + Your Ear
Delay Attenuate
The delays model the amount of time it takes for the sound to get from the source to your ear, or from the
source to the wall, bounce off the wall and get back to your ear. The attenuators represent how much of
the sound is absorbed by wall or lost to friction in the air before it gets to your ear. To model a real room,
you would need to add the effects of many of these delays with attenuation, and essentially that is what
reverberation models are — combinations of delays and attenuators. Of course, finding just the right
combination of delays and attenuators is both a science and an art.
Now you, too, can dabble in the art of reverberation using some basic elements found in Kyma, especially
the DelayWithFeedback, the HarmonicResonator, the ReverbSection, the filters, and one or more mixers.
Several classic reverberation models are based on allpass and comb filters combined in parallel (in a
mixer) or in series (one feeding into the next). For example, open the Sound example named hal chamberlin
reverb, and Ctrl+click the tab on the left side of settings, so you can see the entire structure. Drag
the GenericSource down and to the left until it is clear that the GenericSource feeds directly into direct+reverb
and through two different networks of delays to the nested allpass filters, with the final
stages of the left and the right channels going through slightly different chains.
Play hal chamberlin reverb and adjust the faders in the virtual control surface. Double-click on one of the
DelayWithFeedback modules to look at its parameters. You can use the DelayWithFeedback to implement
either an allpass or a comb filter by selecting the appropriate filter type. Check the Prezero box so
that the delay line is filled with zero when it starts up, so that you don’t hear whatever happens to be left
in the delay lines from the last time. By setting Feedback to some nonzero value, you can generate many
attenuated echoes in a single module, rather than having to add each delay and attenuation one-by-one.
Next, take a look at homemade reverb. This is an example of HarmonicResonators used in parallel with
each other. Play it first and experiment with different settings in the virtual control surface. Then doubleclick
it to have a look inside. This is an example of creating a Sound structure algorithmically, using a
Script.
Double click DIY reverb, and look at its script:
1 to: 7 do: [ :i | res start: 0 s freq: (25 + (0.5 * i )) hz].
monks start: 0 s.
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