The Kyma Language for Sound Design, Version 4.5

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♦ The Sound editor is where you design the signal flow and edit the parameters of individual modules. ♦ The system prototypes (“the prototype strip”) serves as a convenient source of template Sounds when you are constructing a complex signal flow diagram in the Sound editor. It contains one example of each type of Sound that comes with the system. In addition to the Sound editor, there are four specialized editors, the file organizer, and two status windows: ♦ The sample editor is a standard waveform editor, offering cut/copy/paste editing for digital recordings or “samples” as well as templates for generating your own wavetables algorithmically. 20
♦ The spectrum editor is a two-dimensional editor for the amplitude and frequency envelopes of each sinusoidal partial of a sound that has been analyzed using Kyma’s Spectral Analysis tool or the shareware Lemur program. ‡ ♦ The global map editor is a text editor for specifying the mapping between the names of hot parameters and MIDI controller numbers. ♦ The text editor is a simple editor for entering or modifying text. For example, you could use this to create text files to be read and interpreted by Kyma Sounds or to test out a Smalltalk expression by typing the expression, selecting it, and choosing Evaluate from the Edit menu. ‡ Available from the CERL Sound Group web site at http://datura.cerl.uiuc.edu. 21
Page 1 and 2: Acknowledgments Acknowledgments to
Page 3 and 4: knowing that he would understand an
Page 5 and 6: These sections tend to be graphical
Page 7 and 8: Go ahead and set this up now, so th
Page 9 and 10: First, Kyma asks you to invest some
Page 11 and 12: Grammar Kyma “sentences” are co
Page 13 and 14: A Sound, no matter how complex, can
Page 15 and 16: Whether you are composing or design
Page 17 and 18: Data-driven Sound Patterns in exper
Page 19: Preproduction The items in the Tool
Page 24 and 25: Sound, Sound File, and Sound Editor
Page 26 and 27: Help and Information For on-line he
Page 28 and 29: tem. However, you can drag a Sound
Page 30 and 31: Delete To remove Sound A from the s
Page 32 and 33: Whenever you want to make sure that
Page 34 and 35: Parameters Suppose you wanted to dr
Page 36 and 37: to replace the old value. § Then u
Page 38 and 39: Event Values Even though the Generi
Page 40 and 41: Status Whenever you play a Sound th
Page 42 and 43: Kyma will make an association betwe
Page 44 and 45: Scale and Offset 90% of all arithme
Page 46 and 47: So if you see a parameter field tha
Page 48 and 49: Automation To prevent a controller
Page 50 and 51: To read several channels, create se
Page 52 and 53: Smoothing Things Over To filter or
Page 54 and 55: Now select and play the FormantBank
Page 56 and 57: For example, to set controller numb
Page 58 and 59: MIDI Controllers The output of any
Page 60: Cross-mapping Parameters There is n
Page 63 and 64: Sample Editor Getting Information o
Page 65 and 66: trum editor. The analysis can be do
Page 67 and 68: Text Preferences There is not that
Page 69 and 70: 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
Page 122 and 123:
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
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Parameter Setting Select unchecked
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Looping, Feedback Several Kyma Soun
Page 136 and 137:
MIDIVoice Scripts The MIDIVoice and
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Random Events The next example gene
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The first line is just a declaratio
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EventMix Play the example called ou
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Markov Chain In Kyma, the MarkovCha
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Recursion First we create a TimedEv
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Morphing Imagine a scene from your
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Single Musical Tones You can also m
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Adjust the fader upwards until you
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III. Synchronizing the Analyses At
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Output MIDI Getting Wired MIDI Note
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Generating MIDI If you want to turn
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Note that if you decide to switch t
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Playing Back Samples from the Capyb
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Scripts OK, now for a verbal explan
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every 256 samples, it outputs the s
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Stereo Placement If a sound source
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Tap Tempo This file contains exampl
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Time Scaling This section is the du
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Timing Clock, MTC When you use Kyma
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faster rate than once per second! D
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Timbre Like an amplitude envelope,
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will output 256 tracks on each fram
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Tuning In Kyma, the smallest change
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Click the Create Example button; Ky
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Group-additive Synthesis In additiv
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Whooshes, Hits, Bys These are some
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You have defined a general stereo l
Page 192 and 193:
Click in a light area to draw a dar
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First, in the Class Description fie
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Now your script should look like th
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Now use a continuous control on the
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Now let’s make a transformation t
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Part III: Exercises Time/frequency
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Creating a Wavetable using the Samp
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Kyma Quick Reference System Prototy
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Working with the Parameter Fields o
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Specifying Units in Parameter Field
Page 212 and 213:
Virtual Control Surface The axes of
Page 214 and 215:
Spectrum Editor Overview Navigating
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Sample File Editor This box indicat
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Prototypes Reference
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ADSR Envelopes & Control Signals Ca
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AnalogSequencer Sequencers Category
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#(!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
Page 260 and 261:
FormantBankOscillator Xtra Sources
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FrequencyTracker Tracking Live Inpu
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FunctionGenerator Envelopes & Contr
Page 266 and 267:
GAOscillators Xtra Sources Category
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GenericSource Xtra Sources Category
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To specify a constant duration, no
Page 272 and 273:
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
Page 318 and 319:
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
Page 324 and 325:
QuadOscillator Xtra Sources Categor
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0 (maximum attenuation) !Fader1 (co
Page 328 and 329:
ReverbSection Reverb, Delay, Feedba
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RhythmicCellularAutomaton Scripts C
Page 332 and 333:
RunningMax Math Category Output is
Page 334 and 335:
Sample Sampling Category Plays the
Page 336 and 337:
SampleAndHold Sampling Category A S
Page 338 and 339:
Pan This is the stereo position of
Page 340 and 341:
ScaleAndOffset Math Category The ou
Page 342 and 343:
Controls the level of the SideChain
Page 344 and 345:
0 (maximum attenuation) !Fader1 (co
Page 346 and 347:
SetRange Math Category This maps th
Page 348 and 349:
SingleSideBandRM Frequency & Time S
Page 350 and 351:
SoundCollectionVariable Variables C
Page 352 and 353:
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
Page 360 and 361:
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
Page 372 and 373:
smallest array will be used, and an
Page 374 and 375:
every other value of this Sound wil
Page 376 and 377:
Threshold Tracking Live Input Categ
Page 378 and 379:
TimeFrequencyScale Frequency & Time
Page 380 and 381:
TimeOffset Time & Duration Category
Page 382 and 383:
TriggeredSampleAndHold Sampling Cat
Page 384 and 385:
TunableVocoder Filters Category Tun
Page 386 and 387:
TwoFormantElement Filters Category
Page 388 and 389:
full amplitude use +1.0 or -1.0; an
Page 390 and 391:
VCA Envelopes & Control Signals Cat
Page 392 and 393:
LowCF This is the center frequency
Page 394 and 395:
TimeConstant Controls the reaction
Page 396 and 397:
WarpedTimeIndex Time & Duration Cat
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398
Page 400 and 401:
Compression/Expansion Gain 265 Cros
Page 402 and 403:
Math Difference 245 Math Equality 2
Page 404 and 405:
Spatializing Output8 312 Spatializi
Page 406 and 407:
406
Page 408 and 409:
DiskCache Disk 246 DiskPlayer Sampl
Page 410 and 411:
Mixer Distortion & Waveshaping 298
Page 412 and 413:
SpectrumInRAM Spectral Sources 355
Page 414 and 415:
414
Page 416 and 417:
416
Page 418 and 419:
Menu Operations The menus available
Page 420 and 421:
About the table: ♦ File Descripti
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File menu: Close File menu: Save…
Page 424 and 425:
For more information, see Virtual C
Page 426 and 427:
Edit menu: Undo Edit menu: Cut Edit
Page 428 and 429:
Edit menu: Trim The Trim operation
Page 430 and 431:
♦ Icon Size in Sound Editor Field
Page 432 and 433:
♦ If the file name has a complete
Page 434 and 435:
Time and Time Code Displays The tim
Page 436 and 437:
speeds that may be compatible with
Page 438 and 439:
Even if the selected Sound cannot p
Page 440 and 441:
Info menu: Describe sound Describe
Page 442 and 443:
Tools Menu FFT and the window funct
Page 444 and 445:
Using the Tool Choose Spectral Anal
Page 446 and 447:
If you are unsure which type of fil
Page 448 and 449:
If you hear clipping in the resynth
Page 450 and 451:
The Tool performs an analysis that
Page 452 and 453:
The main page of the Tool contains
Page 454 and 455:
Clicking on Cents Scale brings up t
Page 456 and 457:
This part of the tool reads lines f
Page 458 and 459:
System Prototypes and the Sound Fil
Page 460 and 461:
Creating and Editing Sounds In Kyma
Page 462 and 463:
Clicking the arrow tab on Vocoder1,
Page 464 and 465:
You can adjust the layout of the si
Page 466 and 467:
Double-click a Sound in the signal
Page 468 and 469:
An envelope breakpoint field is use
Page 470 and 471:
Specifying Numbers You specify numb
Page 472 and 473:
Event Values, Virtual Control Surfa
Page 474 and 475:
Event Sources are specified by prec
Page 476 and 477:
By default, Sounds in hot parameter
Page 478 and 479:
Booleans The real-time evaluator ca
Page 480 and 481:
Symbolic Times and Frequencies Use
Page 482 and 483:
Event Value via the MIDI input of t
Page 484 and 485:
Defining a controller type in the g
Page 486 and 487:
Because the compiled Sounds do not
Page 488 and 489:
Display Amplitude Envelopes F10 Joi
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Markers F5 F6 F7 F8 You can use mar
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492
Page 494 and 495:
Exporting, Importing and Post-Proce
Page 496 and 497:
The icon buttons perform actions th
Page 498 and 499:
enter the length of time you want t
Page 500 and 501:
Feedback Typically, you use the Fee
Page 502 and 503:
expands the display in the time dir
Page 504 and 505:
that can be used as waveshapers by
Page 506 and 507:
Internal oo These are used internal
Page 508 and 509:
Windows Pythag These are symmetric
Page 510 and 511:
Variables By introducing variables,
Page 512 and 513:
Playing a Lifted Sound Environments
Page 514 and 515:
Comments Variables Binary messages
Page 516 and 517:
Arithmetic Operations Besides the u
Page 518 and 519:
Booleans Alternatively, you can pla
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Conditionals i := 0. [i 1 s) varIf
Page 522 and 523:
Scripting MIDI Scripts There are tw
Page 524 and 525:
Sequences and Mixes An EventSequenc
Page 526 and 527:
MIDIFileInterpreter Events With a M
Page 528 and 529:
Variables could be rewritten as a l
Page 530 and 531:
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
Page 536 and 537:
The Class Editor In the course of d
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its range of legal values, its defa
Page 540 and 541:
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
Page 546 and 547:
Suppose you had a ParameterTransfor
Page 548 and 549:
Background Materials Reference Book
Page 550:
Conferences Journals Magazines IEEE
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