The Kyma Language for Sound Design, Version 4.5

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frequencies, we have to multiply by the largest possible frequency value, which, in digital audio, is always
one half of the sampling frequency. So this expression is assuming a sampling rate of 44.1 khz. To modify
this expression to work at any sampling rate, change it to:
freqTrak L * SignalProcessor sampleRate * 0.5 hz
The other detail to notice is that !Pitch from the keyboard must be converted to frequency in hertz before
taking the ratio of the two frequencies. Ratios of note numbers are not the same as the ratios of the
equivalent values in hertz! As a quick proof by example, consider the ratio of 4 a to 3 a. In note numbers,
this would be 69 / 57 or about 1.2, whereas, in hertz, the ratio would be 440.0 / 220.0 or exactly 2.
Try out you are monotonous (kbd), singing into the microphone, and playing either the same pitches or
different pitches on the keyboard. If you have a particularly low voice, you may want to try Low voice
monotony instead.
The other examples in this collection are all examples of live “monotonization” using various different
techniques. Try each of them out, so you can get an idea of the strengths and weaknesses of each approach.
If you don’t have to monotonize an audio signal in real time, you can monotonize an analysis of the signal
using the Spectrum editor. First analyze the recording using the spectral analysis tool. Then open the
analysis in the Spectrum editor. Select the lowest 8 tracks, and push the filter button (third from the right
in the row of buttons across the bottom of the editor) for a list of modifications that can be performed on
the selected tracks. Choose replaceFrequencyWithAverage, and wait for it to compute and replot. Experiment
with selecting and monotonizing different combinations of harmonics.
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