The Kyma Language for Sound Design, Version 4.5

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0 (maximum attenuation) !Fader1 (continuous controller sets level) !KeyVelocity (MIDI key velocity controls the amplitude) You can also paste another signal into this field, and the amplitude will vary with the output amplitude of the pasted signal (something like an LFO controlling the attenuation). (See the manual for a complete description of hot parameters, EventValues, EventSources, and Map files). 326
REResonator Filters Category This is a time-varying filter whose coefficients have been derived by analyzing a digital recording (a "sample") using the RE Analysis Tool. RE (resonator/exciter) analysis assumes that the sound was produced by an excitation signal feeding into a resonator. This Sound is the resonator and its input is the excitation. The most striking results occur when the analyzed signal is from a source whose resonances change dramatically over time (e.g. human speech, singing, instruments like the didgeridoo, mouth harp, or tabla). For analyses of instruments or other sound sources that do not change shape very much over time, the REResonator will sound like a fixed, unchanging filter. Input This is the new excitation that you are substituting for the original excitation. Be sure to use extreme attenuation of your input. Broadband signals such as noise or pulse trains work best as inputs, because they cover more of the spectrum and will be able to excite all the resonances of the filter. Wavetable This is a table of time-varying filter coefficents produced by the RE analysis. Use the RE Analysis Tool to create your own sets of filter coefficients. TimeIndex This determines where to read from the sequence of filter coefficients. A value of -1 reads the beginning set of coefficients, and a value of 1 reads the last set of coefficients. A FunctionGenerator whose wavetable is a FullRamp will go through the coefficients in time order. To go through the coefficients at the original rate, set the duration of the FunctionGenerator to be the same as the duration of the original, analyzed sample. Use longer or shorter durations to stretch or compress time. 327
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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
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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)
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Annotation Variables & Annotation C
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ArcTan Math Category The output of
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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
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
Page 318 and 319: PresenceFilter Filters Category Act
Page 320 and 321: Product Math Category Outputs the p
Page 322 and 323: When reset is nonzero, it resets th
Page 324 and 325: QuadOscillator Xtra Sources Categor
Page 328 and 329: ReverbSection Reverb, Delay, Feedba
Page 330 and 331: 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
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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
Page 354 and 355: SpectrumFrequencyScale Spectral Mod
Page 356 and 357: SpectrumLogToLinear Spectral Modifi
Page 358 and 359: FreqHysteresis Enter a frequency or
Page 360 and 361: SpectrumOnDisk Spectral Sources Cat
Page 362 and 363: SqrtMagnitude Math Category This is
Page 364 and 365: StereoInOutput8 Spatializing Catego
Page 366 and 367: StereoMix4 Mixing & Panning Categor
Page 368 and 369: SumOfSines Xtra Sources Category Re
Page 370 and 371: 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
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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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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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The Kyma Language for Sound Design, Version 4.5

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