The Kyma Language for Sound Design, Version 4.5

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TimeFrequencyScale Frequency & Time Scaling Category Simultaneously time stretches and/or frequency scales a disk recording or a sample stored in wavetable memory. FrequencyScale The frequency of the input will be multiplied by this value. For example, to shift up by an octave, the FrequencyScale should be 2, and to shift down and octave, the scale should be 0.5. To shift up by 3 halfsteps, you would use: 2 raisedTo: (3/12) To shift down by 7 half steps, you would use: 2 raisedTo: (-7/12) Rate This is the rate of playback. The value should be less than or equal to 1, because the Sound can only do time stretching, not time compression. For example, use 1 to play back at the original rate, 0.5 for half speed, 0.25 for one quarter of the speed, etc. Gate Enter a 1 in this field to play the Sound exactly once for the duration you have specified in the Duration field. If you use an EventValue (for example, !KeyDown) in this field, the Sound can be retriggered as often as you like within the duration specified in the Duration field. When Gate becomes positive, the Sound is heard; when Gate becomes zero, the Sound is released. MinInputFreq This is the minimum frequency you expect to hear at the input. Follow the usual conventions for specifying frequencies. MaxInputFreq This is the maximum frequency you expect to hear at the input. Follow the usual conventions for specifying frequencies. MaxFreqScale This is the largest scale that will be applied to the frequency (the maximum allowable is 4). Detectors This determines the sensitivity of the frequency tracking. Try starting with a value of 10, and then experiment with more or fewer if you want to try fine tuning the frequency tracking. (More is not necessarily better; there is some optimal number of detectors for each circumstance.) FromDisk When the box is checked, read the recording directly from the disk. Otherwise, look for it in wavetable 378
memory. Sample If FromDisk is checked, this is the name of the disk file. Otherwise, this should be the name of a sample in the Wavetables list or the name of a segment of wavetable memory being recorded into by a MemoryWriter prior to or in parallel with this Sound. FromMemoryWriter Check FromMemoryWriter when the wavetable does not come from a disk file but is recorded by a MemoryWriter in real time. 379
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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
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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
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
Page 376 and 377: Threshold Tracking Live Input Categ
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
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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
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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
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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
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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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