The Kyma Language for Sound Design, Version 4.5

knowing that he would understand and appreciate all of its implications (as well as how much work had
gone into it). It’s hard to get used to the idea that we can’t do that anymore. We miss you, Sal.
Acknowledgments to Edition 4.0
Version 4.0 of the Reference Manual was written by Jon D’Errico, Carla Scaletti wrote the Introduction,
Tutorials, and Prototype Reference, and Kurt J. Hebel brought it all together through many hours of
proofreading, rewriting, editing, and test-driving of the entire manual. We take full responsibility for any
errors, so please report them to us so that they can be corrected in version 4.1.
Special thanks to Lippold Haken, Mark Smart, and Bryan Holloway for their contributions to Kyma 4.0
and the Capybara-33.
All of our encounters and experiences with Kyma users have contributed towards the improvements
found in Kyma 4.0. We invite you to continue to interact with us and with each other, so that future versions
will be even closer to your ideal system. In particular, we would like to acknowledge the help of our
life-on-the-edge beta testers: Salvatore Martirano, Frank Tveor Nordensten, Jeff Stolet (and his students at
the University of Oregon), Joel Chadabe, and Nathaniel Reichman. There are others, too numerous to
name here, who have helped us get to the final release version of Kyma 4.0; to you we say, “Thanks!”,
and we hope to get your name in here for the next version!
Acknowledgments To Edition 2.05
Many thanks to Jon D’Errico for helping complete this edition of the manual. The first edition was written
by Carla Scaletti; Kurt Hebel joined her in revising the second edition.
Acknowledgments to the Second Edition
Dick Robinson provided valuable, detailed feedback on the first edition of the manual. Thanks to Frank
Nordensten, John Mantegna, Mark Smart, and Paul Christensen who tried out all of the new tutorials.
Thanks to all of the participants in the Intensive Workshop in Sound Computation who also contributed
many ideas for this second edition. And thanks to all of the Kyma users who have provided us with feedback,
suggestions, and encouragement over the years.
Acknowledgments to the First Edition
Mark Lentczner provided a large number of insightful suggestions particularly with regard to the user
interface. His enthusiasm, positive outlook and quick grasp of the system made him a pleasure to work
with. Brian Belet and Antonio Barata read through the entire manual suggesting several clarifications and
penciling in some amusing comments. Bill Walker suffered through the very first version of this manuscript
and some of the earliest versions of the program. Kelly Fitz has been a consistent and intelligent
user of the more advanced features of Kyma and has contributed to their development. Jon Sigurjonsson,
Alec McLane, Insook Choi, Ben Cox, and Robin Bargar all took part in the first summer workshop on
Kyma and were among the first composers to complete compositions and studies using the system.
Lippold Haken developed the Platypus, the first signal processor that enabled Kyma to do software synthesis
in real time.
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