The Kyma Language for Sound Design, Version 4.5

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The Tool performs an analysis that breaks down the sample into a time-varying filter (the resonator) and an input to the filter (the excitation) that exactly recreates the sample. The description of the resonator is placed into an RE file, and the excitation is placed into an EX file. The RE file can be used to control an REResonators filter operating on an entirely different input in order to perform cross synthesis. In this case, the REResonators will impose the formant (or filter characteristics) of the analyzed sample onto its input. To use the RE Analysis Tool, choose RE Analysis from the Tools menu. Click on the Browse… button to choose from a file dialog the sample to be analyzed. Kyma will play the sample that you selected. The other parameters control the analysis. Try the default parameters first. Then you can try adjusting them: ♦ Filter order is approximately twice the number of resonant peaks in the time-varying filter. The larger this number, the larger the number of formants or harmonics that can be tracked, but the longer it will take to complete the analysis. ♦ Filter updates per second controls the number of individual filters that are created each second. For improved time resolution in the resynthesis, make this number larger. ♦ Averaging time controls how much of the sample at any one time should be used by the analyzer to determine the filter. This number should be about twice the period of the input signal (in other words, twice the duration of a typical cycle of the sample). If you know the fundamental frequency of the sample, you can take the inverse of that and multiply by two to get an approximate averaging time. Click Create RE file only to create just the file containing the description of the time-varying filter, or click Create RE and EX files to create both the filter description and the filter input files. In either case, after the analysis has completed, an example Sound will be placed into an untitled Sound file window for your use. The resulting filter is extremely sensitive to overflow when not using the corresponding EX file as its input. You should use an Attenuator to attenuate the REResonators Input (sometimes by as much as 0.001). 450
Tools menu: GA Analysis from Spectrum The group additive synthesis oscillator (called GAOscillator in Kyma) resynthesizes a sound from a small set of complex waveforms. It offers many of the advantages of both sampling and sine wave additive synthesis. Using GA synthesis you can independently scale time and frequency, and you can morph between two analyses. While not general enough to resynthesize speech or long musical passages, GA synthesis is more computationally efficient than full additive synthesis, and, for individual harmonic tones, can sound just as good. Use the GA Analysis from Spectrum Tool (choose GA Analysis from Spectrum from the Tools menu) to create an analysis file for use with the GAOscillator. Click on the Browse… button to choose the quasi-harmonic analysis from a file dialog. Kyma will play a resynthesis of the file that you selected. The other parameters control the GA analysis algorithm. Try the other parameters first. Then you can try adjusting them: ♦ Number of harmonics controls the number of harmonics to be included in the complex waveforms. ♦ Number of waveforms controls the number of complex waveforms used in the group additive resynthesis. When choosing the parameters for GA analysis, keep in mind that the larger the numbers, the longer the analysis will take. Click Create GA file to create the file containing the complex waveforms and their corresponding amplitude envelopes. After the analysis has completed, an example Sound will be placed into an untitled Sound file window for your use. Tools menu: Design Alternate Tunings The Design Alternate Tunings Tool (choose Design Alternate Tunings from the Tools menu) lets you interactively design certain kinds of tuning systems. Throughout the use of this Tool, a MIDI keyboard can be used to try out the tuning in real time. § § Thanks to Marcus Hobbs for motivating the work on this Tool. Marcus, Ervin Wilson, and Stephen Taylor are working on more advanced tuning systems and a special 500+ key keyboard for controlling Kyma. You can reach Marcus at: marcus@fa.disney.com. 451
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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
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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
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
Page 448 and 449: If you hear clipping in the resynth
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
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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
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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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