The Kyma Language for Sound Design, Version 4.5

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Edit menu: Undo Edit menu: Cut Edit menu: Copy Edit menu: Paste In this window, the Frequency field is active. A field can be activated by clicking the mouse within its borders, or by using the Tab key to cycle through all editable fields. Undo cancels the effect of the last editing operation. Cut removes the selection (whether it is a Sound, samples, or text) from the active field and places it into the clipboard. Copy places a copy of the selection (whether it is a Sound, samples, or text) into the clipboard. Paste replaces the selection in the active field with the contents of the clipboard. Edit menu: Paste special… Paste special… applies to both text fields and Sound fields. In text fields, Paste special… presents a choice of the last several text selections cut or copied. Use the pull down list to select the text, and click the Paste button to paste that text into the active field. In Sound fields, Paste special… pastes exactly the Sounds that are in the clipboard, not a copy of the Sounds that are in the clipboard. This is one way to cause different Sounds to share the same input. Edit menu: Paste hot… Paste hot… presents a list of commonly used expressions together with all of the Event Values in the current global map. 426
Edit menu: Clear Use the pull down list to select an Event Value or expression, and click Paste to paste it into the hot parameter field. Alternatively, type all or part of the name of the expression and hit Enter. Clear from the Edit menu and the Delete key accomplish the same result: the selection is removed without being saved in the clipboard. Before Kyma removes any Sound, it will verify that you really want to delete it. If you have several Sounds selected and would like to remove all of them, click Remove All. 427
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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
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SingleSideBandRM Frequency & Time S
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SoundCollectionVariable Variables C
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SpectralShape Spectral Sources Cate
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SpectrumFrequencyScale Spectral Mod
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SpectrumLogToLinear Spectral Modifi
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FreqHysteresis Enter a frequency or
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SpectrumOnDisk Spectral Sources Cat
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SqrtMagnitude Math Category This is
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StereoInOutput8 Spatializing Catego
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StereoMix4 Mixing & Panning Categor
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SumOfSines Xtra Sources Category Re
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exact time within the sample where
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smallest array will be used, and an
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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
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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 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
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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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