The Kyma Language for Sound Design, Version 4.5

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398
<strong>Sound</strong> Classes by Category Sources & Generators FormantBankOscillator 260 Sources & Generators DiskPlayer 247 Sources & Generators DynamicRangeController 250 Sources & Generators TwoFormantElement 386 Sources & Generators Oscillator 307 Sources & Generators GenericSource 268 Sources & Generators GrainCloud 269 Sources & Generators AudioInput 230 Sources & Generators SumOfSines 368 Sources & Generators Attenuator 229 Sources & Generators OscillatorBank 309 Sources & Generators PulseGenerator 321 Sources & Generators Sample 334 Sources & Generators Mixer 298 Sources & Generators SampleCloud 337 Sources & Generators TimeFrequencyScale 378 Sources & Generators MultiplyingWaveshaper 301 Sources & Generators KBD Ctrl OscillatorBank 309 Sources & Generators KBD Ctrl ScaleVocoder 341 Sources & Generators KBD Ctrl Mixer 298 Sources & Generators KBD Ctrl FormantBankOscillator 260 Sources & Generators KBD Ctrl GAOscillators 266 Sources & Generators KBD Ctrl GrainCloud 269 Sources & Generators KBD Ctrl HarmonicResonator 273 Sources & Generators KBD Ctrl KeyMappedMultisample 277 Sources & Generators KBD Ctrl SumOfSines 368 Sources & Generators KBD Ctrl Filter 257 Sources & Generators KBD Ctrl Product 320 Sources & Generators KBD Ctrl IteratedWaveshaper 276 Additive synthesis OscillatorBank 309 Additive synthesis DynamicRangeController 250 Additive synthesis SumOfSines 368 Additive synthesis SOSOscillators 349 Additive synthesis Product 320 Compression/Expansion DynamicRangeController 250 Compression/Expansion Mixer 298 399
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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
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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
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 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 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
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
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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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