The Kyma Language for Sound Design, Version 4.5

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GenericSource Xtra Sources Category This Sound can represent the live input, a sample read from the disk, or a sample read from RAM. If Ask is checked, you can choose between these three kinds of sources each time you recompile the Sound. Source Select the live input, an audio track on disk, or a sample in RAM. LeftChannel Check this box to monitor the left channel of the source signal. RightChannel Check this box to monitor the right channel of the source signal. Sample Enter the name of a sample file or click the disk icon to choose it from the file dialog. Autoloop Check here to loop the sample or disk. Trigger Whenever Trigger changes from 0 to a nonzero value, it will replay the disk or sample in RAM from the beginning. AttackTime Attack time for a linear envelope applied to the sample source. ReleaseTime Release time for a linear envelope applied to the sample source. Scale Scales the amplitude of the source. Frequency For samples in RAM or on disk, this controls the playback frequency. For samples that are unpitched, the original frequency is assumed to be 4 c (60 nn). 268
GrainCloud Xtra Sources Category Generates a cloud of short-duration grains of sound, each with the specified Waveform and each with an amplitude envelope whose shape is given by GrainEnv. The density of simultaneous grains within the cloud is controlled by Density, with the maximum number of simultaneous grains given by MaxGrains. Amplitude controls an amplitude envelope over the *entire* cloud (each individual grain amplitude is controlled by GrainEnv). Similarly, Duration is the duration of the entire cloud, not of each individual grain. You can control the Frequency, stereo positioning, and duration of each grain as well as specifying how much (if any) random jitter should be added to each of these parameters (giving the cloud a more focused or a more dispersed sound, depending on how much randomness is added to each of the parameters). Waveform The waveform of the oscillator inside each grain. GrainEnv Defines the shape of each grain’s amplitude envelope. To minimize clicks, choose a wavetable that starts and ends on zero. MaxGrains Maximum number of grains that can be playing at any one time. The smaller this number, the less computational power the GrainCloud requires (but the less dense the texture you can generate). For even denser textures, put more than one GrainCloud into a Mixer, and give each GrainCloud a different Seed value. Amplitude An overall level or amplitude envelope applied to the entire cloud. Note that this is independent of the amplitude envelope on each individual grain. Density Controls the number of new grains that can start up at any one time. Small Density values result in a sparse texture; large Density values generate a dense texture. GrainDur The duration of an individual grain. The duration of each grain is a function of three parameters: GrainDur + CyclesPerGrain + (GrainDurJitter * 2 * (GrainDur + CyclesPerGrain)) To specify the number of waveform cycles within each grain (implies that higher frequency grains will have shorter duration than lower frequency grains and assures that every grain will contain an integer number of full cycles of the waveform): GrainDur = 0 s CyclesPerGrain = 269
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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
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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
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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
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Virtual Control Surface The axes of
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Spectrum Editor Overview Navigating
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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
Page 250 and 251: DynamicRangeController Level, Compr
Page 252 and 253: EndTogetherMixer Mixing & Panning C
Page 254 and 255: FeedbackLoopInput Xtra Category A F
Page 256 and 257: FFT Spectral Analysis FFT Category
Page 258 and 259: Feedback The higher the Feedback, t
Page 260 and 261: FormantBankOscillator Xtra Sources
Page 262 and 263: FrequencyTracker Tracking Live Inpu
Page 264 and 265: FunctionGenerator Envelopes & Contr
Page 266 and 267: GAOscillators Xtra Sources Category
Page 270 and 271: To specify a constant duration, no
Page 272 and 273: GraphicEQ Filters Category This giv
Page 274 and 275: HighShelvingFilter Filters Category
Page 276 and 277: IteratedWaveshaper Distortion & Wav
Page 278 and 279: the samples to be mapped. LoFreq Lo
Page 280 and 281: LiveSpectralAnalysis Tracking Live
Page 282 and 283: LowShelvingFilter Filters Category
Page 284 and 285: Matrix8 Spatializing Category This
Page 286 and 287: MemoryWriter Sampling Category When
Page 288 and 289: MIDIFileEcho MIDI Out Category This
Page 290 and 291: MIDI file). Set Channel to 0 to use
Page 292 and 293: MIDIOutputController MIDI Out Categ
Page 294 and 295: MIDIOutputEventInBytes MIDI Out Cat
Page 296 and 297: Polyphony Number of simultaneous MI
Page 298 and 299: Mixer Mixing & Panning Category Add
Page 300 and 301: MultifileDiskPlayer Sampling Catego
Page 302 and 303: Multisample Sampling Category This
Page 304 and 305: MultisegmentEnvelope Envelopes & Co
Page 306 and 307: Noise Xtra Sources Category This ge
Page 308 and 309: actualFreq := Frequency + (Frequenc
Page 310 and 311: OscilloscopeDisplay Tracking Live I
Page 312 and 313: Output8 Spatializing Category This
Page 314 and 315: Pan Mixing & Panning Category Place
Page 316 and 317: 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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