The Kyma Language for Sound Design, Version 4.5

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Tuning In Kyma, the smallest change in frequency is about 0.0026 hz. § This degree of frequency resolution means that you can use Kyma to implement microtonal tunings or other tuning systems outside the standard 12tone equal temperament associated with most keyboard instruments. In any Frequency field, you can enter a constant value directly in hertz or note number; Kyma will use that value directly to control the synthesis or processing algorithm. Additionally, you can enter an arbitrary real-time expression that maps Event Values (like !Pitch, !KeyNumber, or !Frequency) into a frequency value in hertz or note number. Compute Frequency Directly from !Pitch Try playing the Sound called play celesta in the Tuning Sound file (found in the Examples folder), and play a chromatic scale on your MIDI keyboard starting at middle C. Double-click on this Sound, and look at the Frequency parameter of the Sound called celesta. It is set to the value !Pitch, meaning that it gets its frequency from incoming MIDI note events. Thus, it is currently playing from the standard, equaltempered scale. Now change the value in the Frequency field to (!Pitch * 0.5) + 30 nn Compile, load, start the Sound and, once more, play a chromatic scale on the MIDI keyboard. This expression is taking the MIDI pitch and dividing it in half, so it changes half steps into quarter steps. At middle C, the MIDI note number is 60; since multiplying that by 0.5 gives us note number 30, we added 30 nn back in, so that middle C would still be middle C. Next, try using (!Pitch * 0.25) + 45 nn in other words, we are going to multiply incoming MIDI note numbers by 1/4 to get eighth-step changes for every half step change on the keyboard, and we are adding 45 nn back in so that middle C is still note number 60. Now it should take 4 keyboard octaves to equal 1 octave in pitch. The Frequency parameter value can also be calculated directly in hertz. Change the Frequency field to read (!KeyNumber / 12) twoExp * 8.176 hz This takes the frequency of the lowest MIDI note number and multiplies it by a ratio that is the number of half steps above note number 0, i.e. the definition for a the 12-tone equal tempered scale. Try the following expression to create a 10-tone scale: (!KeyNumber / 10) twoExp * 8.176 hz Creating Tuning Expressions using the Tuning Tool You can use the Tuning Tool to prepare expressions to use in Frequency fields. Choose Design Alternate Tunings from the Tools menu to start up the tool. (See Tools menu: Design Alternate Tunings on page 451 for a complete description of this tool.) § This number is derived from the fact that all Kyma Sounds keep at least 12 fractional bits of phase information internally (some of them, like Sample, keep an even larger fractional part, providing even greater accuracy, but you are always guaranteed at least that accuracy). At the pitch 4 a (440 hz), a change of 0.0026 hz is equal to a change in pitch of 1/100th of a cent. At 4000 hz, it would be 1/880th of a cent, and at 30 hz it is 1/6th of a cent. 182
On the main page of the tuning tool, you can choose a reference MIDI key number and the corresponding frequency, and how you want to audition the scale you are designing. After the tool has started, try playing your MIDI keyboard. Let’s use the tool to create an expression to tune the play celesta Sound to a just scale. Click the Ratio Scale button. This part of the tool lets you specify each of the twelve scale degrees in terms of a ratio to the tonic. You can enter the ratios into the fields for each scale degree, and interactively try out the scale. A just scale is built in to the tool; click the Just button to load it. Try playing the keyboard. 183
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Acknowledgments Acknowledgments to
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knowing that he would understand an
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These sections tend to be graphical
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Go ahead and set this up now, so th
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First, Kyma asks you to invest some
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Grammar Kyma “sentences” are co
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A Sound, no matter how complex, can
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Whether you are composing or design
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Data-driven Sound Patterns in exper
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Preproduction The items in the Tool
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♦ The spectrum editor is a two-di
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Sound, Sound File, and Sound Editor
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Help and Information For on-line he
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tem. However, you can drag a Sound
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Delete To remove Sound A from the s
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Whenever you want to make sure that
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Parameters Suppose you wanted to dr
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to replace the old value. § Then u
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Event Values Even though the Generi
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Status Whenever you play a Sound th
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Kyma will make an association betwe
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Scale and Offset 90% of all arithme
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So if you see a parameter field tha
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Automation To prevent a controller
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To read several channels, create se
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Smoothing Things Over To filter or
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Now select and play the FormantBank
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For example, to set controller numb
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MIDI Controllers The output of any
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Cross-mapping Parameters There is n
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Sample Editor Getting Information o
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trum editor. The analysis can be do
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Text Preferences There is not that
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Select the folders in the top list
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Algorithmic Splicing and Mixing Scr
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Who’s on top? the value of a vari
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TimeController is a little less ext
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To play a compiled Sound, tab into
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Compile, load You may notice that s
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Strategies for Non-real-time In som
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Remove Redundancy The most common s
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Learning Kyma When people tell us t
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You will get the most out of this
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You can read these settings, but yo
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lowing the tutorials step-by-step,
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Audio Demonstrations These examples
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Now examine the value of Frequencie
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Backgrounds, Textures Sounds in thi
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Edit cloud1, setting the parameters
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In pick out unvoiced the EX version
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Go back and double-click on synthet
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FFT cross synth RE Analysis Tool Tr
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Delays, Chorusing, Reverb Delays Ch
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So you could model a sound source i
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Disk Recording, Playback Playback R
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Multi-tracking this could be used t
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Distortion Waveshaping Clipping By
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down. At all other times, the ampli
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Envelopes In general usage, the wor
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Formants Picture a sine wave added
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Frequency Scaling One of the most c
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It looks very much like a series of
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RE Synthesis Surrealism Double-clic
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F13 frequencies, we have to multipl
Page 132 and 133: Parameter Setting Select unchecked
Page 134 and 135: Looping, Feedback Several Kyma Soun
Page 136 and 137: MIDIVoice Scripts The MIDIVoice and
Page 138 and 139: Random Events The next example gene
Page 140 and 141: The first line is just a declaratio
Page 142 and 143: EventMix Play the example called ou
Page 144 and 145: Markov Chain In Kyma, the MarkovCha
Page 146 and 147: Recursion First we create a TimedEv
Page 148 and 149: Morphing Imagine a scene from your
Page 150 and 151: Single Musical Tones You can also m
Page 152 and 153: Adjust the fader upwards until you
Page 154 and 155: III. Synchronizing the Analyses At
Page 156 and 157: Output MIDI Getting Wired MIDI Note
Page 158 and 159: Generating MIDI If you want to turn
Page 160 and 161: Note that if you decide to switch t
Page 162 and 163: Playing Back Samples from the Capyb
Page 164 and 165: Scripts OK, now for a verbal explan
Page 166 and 167: every 256 samples, it outputs the s
Page 168 and 169: Stereo Placement If a sound source
Page 170 and 171: Tap Tempo This file contains exampl
Page 172 and 173: Time Scaling This section is the du
Page 174 and 175: Timing Clock, MTC When you use Kyma
Page 176 and 177: faster rate than once per second! D
Page 178 and 179: Timbre Like an amplitude envelope,
Page 180 and 181: will output 256 tracks on each fram
Page 184 and 185: Click the Create Example button; Ky
Page 186 and 187: Group-additive Synthesis In additiv
Page 188 and 189: Whooshes, Hits, Bys These are some
Page 190 and 191: You have defined a general stereo l
Page 192 and 193: Click in a light area to draw a dar
Page 194 and 195: First, in the Class Description fie
Page 196 and 197: Now your script should look like th
Page 198 and 199: Now use a continuous control on the
Page 200 and 201: Now let’s make a transformation t
Page 202 and 203: Part III: Exercises Time/frequency
Page 204 and 205: Creating a Wavetable using the Samp
Page 206 and 207: Kyma Quick Reference System Prototy
Page 208 and 209: Working with the Parameter Fields o
Page 210 and 211: Specifying Units in Parameter Field
Page 212 and 213: Virtual Control Surface The axes of
Page 214 and 215: Spectrum Editor Overview Navigating
Page 216 and 217: Sample File Editor This box indicat
Page 218 and 219: Prototypes Reference
Page 220 and 221: ADSR Envelopes & Control Signals Ca
Page 222 and 223: AnalogSequencer Sequencers Category
Page 224 and 225: #(!Morph 0 0.25 1) #(!Pan 0 0.5 1)
Page 226 and 227: Annotation Variables & Annotation C
Page 228 and 229: ArcTan Math Category The output of
Page 230 and 231: AudioInput Sampling Category An Aud
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CellularAutomaton Scripts Category
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CenteringMixer Mixing & Panning Cat
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ChannelJoin Mixing & Panning Catego
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Chopper Envelopes & Control Signals
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ContextFreeGrammar Scripts Category
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Crossfade Level, Compression, Expan
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Interpolation When Linear is select
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DiskCache Sampling Category Stores
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DiskRecorder Sampling Category Reco
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DynamicRangeController Level, Compr
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EndTogetherMixer Mixing & Panning C
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FeedbackLoopInput Xtra Category A F
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FFT Spectral Analysis FFT Category
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Feedback The higher the Feedback, t
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FormantBankOscillator Xtra Sources
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FrequencyTracker Tracking Live Inpu
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FunctionGenerator Envelopes & Contr
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GAOscillators Xtra Sources Category
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GenericSource Xtra Sources Category
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To specify a constant duration, no
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GraphicEQ Filters Category This giv
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HighShelvingFilter Filters Category
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IteratedWaveshaper Distortion & Wav
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the samples to be mapped. LoFreq Lo
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LiveSpectralAnalysis Tracking Live
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LowShelvingFilter Filters Category
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Matrix8 Spatializing Category This
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MemoryWriter Sampling Category When
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MIDIFileEcho MIDI Out Category This
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MIDI file). Set Channel to 0 to use
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MIDIOutputController MIDI Out Categ
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MIDIOutputEventInBytes MIDI Out Cat
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Polyphony Number of simultaneous MI
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Mixer Mixing & Panning Category Add
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MultifileDiskPlayer Sampling Catego
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Multisample Sampling Category This
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MultisegmentEnvelope Envelopes & Co
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Noise Xtra Sources Category This ge
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actualFreq := Frequency + (Frequenc
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OscilloscopeDisplay Tracking Live I
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Output8 Spatializing Category This
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Pan Mixing & Panning Category Place
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PeakDetector Tracking Live Input Ca
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PresenceFilter Filters Category Act
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Product Math Category Outputs the p
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When reset is nonzero, it resets th
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QuadOscillator Xtra Sources Categor
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0 (maximum attenuation) !Fader1 (co
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ReverbSection Reverb, Delay, Feedba
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RhythmicCellularAutomaton Scripts C
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RunningMax Math Category Output is
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Sample Sampling Category Plays the
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SampleAndHold Sampling Category A S
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Pan This is the stereo position of
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ScaleAndOffset Math Category The ou
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Controls the level of the SideChain
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0 (maximum attenuation) !Fader1 (co
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SetRange Math Category This maps th
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SingleSideBandRM Frequency & Time S
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SoundCollectionVariable Variables C
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SpectralShape Spectral Sources Cate
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SpectrumFrequencyScale Spectral Mod
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SpectrumLogToLinear Spectral Modifi
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FreqHysteresis Enter a frequency or
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SpectrumOnDisk Spectral Sources Cat
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SqrtMagnitude Math Category This is
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StereoInOutput8 Spatializing Catego
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StereoMix4 Mixing & Panning Categor
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SumOfSines Xtra Sources Category Re
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exact time within the sample where
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smallest array will be used, and an
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every other value of this Sound wil
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Threshold Tracking Live Input Categ
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TimeFrequencyScale Frequency & Time
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TimeOffset Time & Duration Category
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TriggeredSampleAndHold Sampling Cat
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TunableVocoder Filters Category Tun
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TwoFormantElement Filters Category
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full amplitude use +1.0 or -1.0; an
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VCA Envelopes & Control Signals Cat
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LowCF This is the center frequency
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TimeConstant Controls the reaction
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WarpedTimeIndex Time & Duration Cat
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398
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Compression/Expansion Gain 265 Cros
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Math Difference 245 Math Equality 2
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Spatializing Output8 312 Spatializi
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406
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DiskCache Disk 246 DiskPlayer Sampl
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Mixer Distortion & Waveshaping 298
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SpectrumInRAM Spectral Sources 355
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414
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416
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Menu Operations The menus available
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About the table: ♦ File Descripti
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File menu: Close File menu: Save…
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For more information, see Virtual C
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Edit menu: Undo Edit menu: Cut Edit
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Edit menu: Trim The Trim operation
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♦ Icon Size in Sound Editor Field
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♦ If the file name has a complete
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Time and Time Code Displays The tim
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speeds that may be compatible with
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Even if the selected Sound cannot p
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Info menu: Describe sound Describe
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Tools Menu FFT and the window funct
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Using the Tool Choose Spectral Anal
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If you are unsure which type of fil
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If you hear clipping in the resynth
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The Tool performs an analysis that
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The main page of the Tool contains
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Clicking on Cents Scale brings up t
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This part of the tool reads lines f
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System Prototypes and the Sound Fil
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Creating and Editing Sounds In Kyma
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Clicking the arrow tab on Vocoder1,
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You can adjust the layout of the si
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Double-click a Sound in the signal
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An envelope breakpoint field is use
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Specifying Numbers You specify numb
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Event Values, Virtual Control Surfa
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Event Sources are specified by prec
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By default, Sounds in hot parameter
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Booleans The real-time evaluator ca
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Symbolic Times and Frequencies Use
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Event Value via the MIDI input of t
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Defining a controller type in the g
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Because the compiled Sounds do not
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Display Amplitude Envelopes F10 Joi
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Markers F5 F6 F7 F8 You can use mar
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492
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Exporting, Importing and Post-Proce
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The icon buttons perform actions th
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enter the length of time you want t
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Feedback Typically, you use the Fee
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expands the display in the time dir
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that can be used as waveshapers by
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Internal oo These are used internal
Page 508 and 509:
Windows Pythag These are symmetric
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Variables By introducing variables,
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Playing a Lifted Sound Environments
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Comments Variables Binary messages
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Arithmetic Operations Besides the u
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Booleans Alternatively, you can pla
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Conditionals i := 0. [i 1 s) varIf
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Scripting MIDI Scripts There are tw
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Sequences and Mixes An EventSequenc
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MIDIFileInterpreter Events With a M
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Variables could be rewritten as a l
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As a final illustration, let’s ta
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If you click OK, the program will p
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The next example is called Serial E
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The Class Editor In the course of d
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its range of legal values, its defa
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Organizing the New Classes To keep
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midiFileName any legal MIDI file na
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snd duration: (1.0 / snd frequency
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Suppose you had a ParameterTransfor
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Background Materials Reference Book
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Conferences Journals Magazines IEEE
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The Kyma Language for Sound Design, Version 4.5

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