The Kyma Language for Sound Design, Version 4.5

ecomes one when you press MIDI key number 38. When the trigger becomes one, the Triggered-
SampleAndHold measures the value of its input and holds onto it until the next time it is triggered (even
if the Input continues to change).
Try playing display duration of tap. This is similar to stopwatch except that it converts the output of the
duration measurement into an Event Value. This Event Value then shows up in the virtual control surface
as a fader, and you can read its value in the numeric display at the top of the fader. Look at your watch
and experiment with tapping out different durations in seconds (up to a maximum duration of 10 seconds).
Watching the Clock
You can use this basic clock to control parameters having to do with the tempo, the rate, the duration, or
other aspects of the Sound giving a sense of time or tempo.
Sequencer Rate and Delay Time
In tap sequencer & delay for example, the tap controls the rate of an AnalogSequencer. One third of the
tap time is also used as the delay time of a DelayWithFeedback, giving a sense of triplets in the delay
time.
Loop Points
Look at tap tempo loop. It is a mixer of a MemoryWriter and a memory reader (in the form of a Sample).
When you tap the 2 C, not only does the clock start ticking, but the MemoryWriter starts recording into
the sample RAM. When you tap 2 D, not only is the clock stopped and measured by the TriggeredSampleAndHold,
the 2 D also triggers the Sample to begin playing.
The length of the loop is the same as the duration between taps. Why? Because the CaptureDuration of
the MemoryWriter is 10 seconds — exactly the same as the OnDuration of the ramp FunctionGenerator.
So the proportion of the tap duration to the total ramp duration is the same as the proportion of the tap
duration to the total duration of the recording that is being read by the Sample.
171