The Kyma Language for Sound Design, Version 4.5

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Now let’s make a transformation that depends on the start time of the Sound being transformed. The reserved word time always contains the time offset of snd in microseconds. The reserved word totalDuration contains the total duration of the ParameterTransformer’s immediate input; it too is given in microseconds. Try the following Transformation: snd frequency isNil ifFalse: [ snd frequency: (snd frequency nn - (3 * (time / totalDuration)) nn)]. As time progresses from zero up to the number of microseconds in the total duration, the value of (time / totalDuration) progresses from zero up to one. The frequency of the first note has zero half steps subtracted from it: no change at all; however, as time goes on, each subsequent note has larger and larger fractions of 3 half steps subtracted from its pitch. Not only can a new parameter value depend on time and its current value, it can also depend on the values of other parameters or combinations of parameter values. Try the following Transformation: snd duration isNil ifFalse: [ snd frequency: snd duration inverse * 100]. This transformation sets the Frequency to 100 times the inverse of whatever the Duration happens to be. Next, open the Sound file ParameterTransformer from the Advanced folder. Try playing the Sound independent partials; when it asks for a frequency, enter 100 hz. Inspect independent partials; by double-clicking on it and looking at the Frequency field of each Oscillator. The first Oscillator’s frequency is ?frequency, the second one is ?frequency * 2, the third is ?frequency * 3, etc. When you play independent partials, it sounds like a single, harmonic tone. Edit the Sound called transformIndependentPartials by double-clicking on it. The Transformation parameter has a long comment, after which it should read: snd frequency isNil ifFalse: [ snd frequency: snd frequency nn + (110.0 hz * time / totalDuration)]. Reading this, we would expect that each repetition of independent partials will be at a higher frequency. When you play transform independent partials you hear, as expected, the frequencies getting higher with each repetition. What you may not have expected is that the sound starts out harmonic and becomes inharmonic with subsequent repetitions. Why is that? The sequence of events is: 1. Kyma sets the Oscillator frequencies to 100 hz, 200 hz, etc. 2. The ParameterTransformer adds a multiple of 110 hz to each repetition of independent partials. Since it adds a fixed amount to each frequency, the harmonic relationship is no longer maintained. For example, if you start out with 100, 200, and 300 hz and then you add 110 to each frequency, the result is: 210, 310, and 410 hz. Since 410 hz is not a multiple of the lowest frequency, 210 hz, it is not a harmonic of 210 hz. Is it possible to transform the frequencies in such a way as to maintain the harmonic relationship? One way would be to multiply the frequencies by a constant rather than adding a constant value to them. Another way is to create a new Sound class that maintains the harmonic relationship no matter what. Select independent partials in the Sound file window and choose New class from example from the Action menu. When Kyma asks for a value for ?frequency, enter 100 hz. Change the name of the new class from newClassFromExample to HarmonicPartials. Then uncheck Expand; this tells the Sound: Apply the transformation to yourself before you expand. If you leave Expand checked, then the Sound will expand first and then apply the transformation to the expanded version of itself. Close the class editor and answer that you want to save an instance of the new class; you should see a new Sound called HarmonicPartials in your Sound file window. In the open Sound editor, replace inde- 200
pendent partials with HarmonicPartials. Now play transform independent partials. The frequencies increase with each repetition, as before, but this time, the partials stay harmonic. Why does your new class behave differently from independent partials? It’s because your new class has only one parameter: Frequency. You apply a transformation to the frequency, adding something to it. Then, your Sound computes its other frequencies based on that transformed frequency (by multiplying it by 2, 3, 4, etc.). 201
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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
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Parameter Setting Select unchecked
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Looping, Feedback Several Kyma Soun
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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
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 182 and 183: Tuning In Kyma, the smallest change
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 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
Page 232 and 233: CellularAutomaton Scripts Category
Page 234 and 235: CenteringMixer Mixing & Panning Cat
Page 236 and 237: ChannelJoin Mixing & Panning Catego
Page 238 and 239: Chopper Envelopes & Control Signals
Page 240 and 241: ContextFreeGrammar Scripts Category
Page 242 and 243: Crossfade Level, Compression, Expan
Page 244 and 245: Interpolation When Linear is select
Page 246 and 247: DiskCache Sampling Category Stores
Page 248 and 249: 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
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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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