The Kyma Language for Sound Design, Version 4.5

More documents

Recommendations

Info

FreqHysteresis Enter a frequency or pitch with units that is smaller than the value of LoFreq. If a track is currently selected, its frequency will have to drop this much *lower* than LoFreq in order to be rejected. If a track is currently unselected, it will have to be this much *higher* than LoFreq in order to become selected. (And similarly, the frequency of a selected track must be this much *higher* than HiFreq in order to be deselected, and the frequency of a rejected track would have to be this much lower than HiFreq in order to switch from being rejected to selected). Adjust this value to keep tracks that are close to LoFreq or HiFreq from switching between on and off on every frame. FreqScale Multiply the frequency of each selected track by this number between 0 and 1. FreqOffset Add this number (between 0 and 1) to the frequency value of each selected track. LoAmp Enter an amplitude value between 0 and 1 (or from -1000 to 0 dB). On each frame, a track will be selected if the value of the amplitude envelope on that frame is at this amplitude or a higher amplitude. Use AmpHysteresis to prevent tracks from popping in and out on each frame if they are wavering around this amplitude. HiAmp Enter an amplitude value between 0 and 1 (or from -1000 to 0 dB). On each frame, a track will be selected if the value of the amplitude envelope on that frame is at this amplitude or a lower amplitude. Use AmpHysteresis to prevent tracks from popping in and out on each frame if they are wavering around this amplitude. AmpHysteresis Enter a number between 0 and 1 but smaller than the value of LoAmp. If a track is currently selected, its amplitude will have to drop this much *lower* than LoAmp in order to be rejected. If a track is currently unselected, it will have to be this much *higher* than lowAmp in order to become selected. (And similarly, the amplitude of a selected track must be this much *higher* than HiAmp in order to be deselected, and the amplitude of a rejected track would have to be this much lower than HiAmp in order to switch from being rejected to selected). Adjust this value to keep tracks that are close to LoAmp or HiAmp from switching between on and off on every frame. AmpScale Multiply the amplitude of each selected track by this number between 0 and 1. AmpOffset Add this number (between 0 and 1) to the amplitude value of each selected track. Probability Enter a likelihood from 0 to 1. Numbers larger than 1 will be clipped to 1 (the maximum likelihood). On each frame and <strong>for</strong> each track, this is the likelihood that the track will be selected on this frame. Use 1 to say that the track will be selected 100% of the time, use 0.5 to give it a 50-50 chance of being selected, and use 0 to indicate that it will never be selected. You can make the likelihood a function of the track number. For example, 358
TrackNumber / 128 would make the higher tracks more likely to be selected on each frame than the lower tracks, and: (TrackNumber - 1) rem: 2 would make the even-numbered tracks 100% likely, and the odd-numbered tracks 0% likely (because an odd number minus 1 is an even number, and an even number modulo 2 is zero, while an odd number modulo 2 is 1). Seed Enter a number from -1 to 1. This is the seed <strong>for</strong> the random number generator used in conjunction with the value of Probability to determine whether a track should be selected on a given frame. HearAll Check this box to hear all the tracks, both the selected and the rejected. Uncheck it to set the rejected tracks’ amplitudes to zero. (Only the selected tracks are affected by the FreqScale, FreqOffset, AmpScale, and AmpOffset, so check the HearAll box to hear all tracks but modify only the selected tracks). 359
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 and 20:
Preproduction The items in the Tool
Page 21 and 22:
♦ The spectrum editor is a two-di
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
Page 71 and 72:
Algorithmic Splicing and Mixing Scr
Page 73 and 74:
Who’s on top? the value of a vari
Page 75 and 76:
TimeController is a little less ext
Page 77 and 78:
To play a compiled Sound, tab into
Page 79 and 80:
Compile, load You may notice that s
Page 82 and 83:
Strategies for Non-real-time In som
Page 84 and 85:
Remove Redundancy The most common s
Page 86 and 87:
Learning Kyma When people tell us t
Page 88 and 89:
You will get the most out of this
Page 90 and 91:
You can read these settings, but yo
Page 92 and 93:
lowing the tutorials step-by-step,
Page 94 and 95:
Audio Demonstrations These examples
Page 96 and 97:
Now examine the value of Frequencie
Page 98 and 99:
Backgrounds, Textures Sounds in thi
Page 100 and 101:
Edit cloud1, setting the parameters
Page 102 and 103:
In pick out unvoiced the EX version
Page 104 and 105:
Go back and double-click on synthet
Page 106 and 107:
FFT cross synth RE Analysis Tool Tr
Page 108 and 109:
Delays, Chorusing, Reverb Delays Ch
Page 110 and 111:
So you could model a sound source i
Page 112 and 113:
Disk Recording, Playback Playback R
Page 114 and 115:
Multi-tracking this could be used t
Page 116 and 117:
Distortion Waveshaping Clipping By
Page 118 and 119:
down. At all other times, the ampli
Page 120 and 121:
Envelopes In general usage, the wor
Page 122 and 123:
Formants Picture a sine wave added
Page 124 and 125:
Frequency Scaling One of the most c
Page 126 and 127:
It looks very much like a series of
Page 128 and 129:
RE Synthesis Surrealism Double-clic
Page 130 and 131:
F13 frequencies, we have to multipl
Page 132 and 133:
Parameter Setting Select unchecked
Page 134 and 135:
Looping, Feedback Several Kyma Soun
Page 136 and 137:
MIDIVoice Scripts The MIDIVoice and
Page 138 and 139:
Random Events The next example gene
Page 140 and 141:
The first line is just a declaratio
Page 142 and 143:
EventMix Play the example called ou
Page 144 and 145:
Markov Chain In Kyma, the MarkovCha
Page 146 and 147:
Recursion First we create a TimedEv
Page 148 and 149:
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 200 and 201:
Now let’s make a transformation t
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
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 268 and 269:
GenericSource 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
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 326 and 327: 0 (maximum attenuation) !Fader1 (co
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
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
Page 354 and 355: SpectrumFrequencyScale Spectral Mod
Page 356 and 357: SpectrumLogToLinear Spectral Modifi
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
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
Page 398 and 399: 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
Page 422 and 423:
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
Page 490 and 491:
Markers F5 F6 F7 F8 You can use mar
Page 492 and 493:
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
Page 520 and 521:
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
Page 532 and 533:
If you click OK, the program will p
Page 534 and 535:
The next example is called Serial E
Page 536 and 537:
The Class Editor In the course of d
Page 538 and 539:
its range of legal values, its defa
Page 540 and 541:
Organizing the New Classes To keep
Page 542 and 543:
midiFileName any legal MIDI file na
Page 544 and 545:
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
show all

The Kyma Language for Sound Design, Version 4.5

You also want an ePaper? Increase the reach of your titles

Delete template?

Save as template?