The Kyma Language for Sound Design, Version 4.5

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The Class Editor In the course of designing new Sounds, you may find that you have constructed a complex Sound with only a few relevant control parameters. Suppose, for example, that you have constructed a 16-harmonic additive synthesis Sound. To change the fundamental, you could edit all sixteen frequency fields. However, since you know the relationship between the harmonics, you could instead specify them symbolically as (!Frequency, !Frequency*2, …, !Frequency*16). Then when you changed !Frequency, all the Oscillators would maintain their harmonic relationship to one another. You can specify the same kind of relationship with variables (i.e., ?freq, ?freq*2, …, ?freq*16). Since ?freq is the only parameter needed to control the whole Sound, you can hide the low-level details of the structure by encapsulating the structure into a single, new kind of Sound object. In Kyma, this process is called defining a new class of Sounds. This new class can have its own parameters, its own icon, and its own editor. Sound Classes and Sounds Each Sound is a specific instance of a Sound class. There can be any number of instances of each class. The Sound class contains information that all of its instances have in common. For example, all instances of class Concatenation share the same icon (shown in the left margin). They also share the same parameter names: Name, Inputs, Retrograde, Reverse. In Kyma, you never work directly with the system classes; instead, you modify the instances of the system classes that appear in the system prototypes window. Creating and Editing Sound Classes The Action menu gives you three options for creating and editing classes. The Edit class operation allows you to edit previously defined classes. New class from example (active only in the Sound file window) opens an editor on a new class based upon the selected Sound. Retrieve example from class (active only in the Sound class editor) extracts the Sound that is being used as the template for a user-defined class and saves it to the Sound file window. You can create a custom Sound class by introducing variable into an example Sound parameters (see Variables on page 510). The variables in the example Sound become the parameters of the new Sound class. Setting Up the Example Class Editor Start with the Sound that you would like to use as an example for a new class of Sounds. The first step is to decide which of the Sound’s parameters should be constant, which parameters should be variable, and whether there should be any relations maintained between parameters. Edit the Sound, replacing the parameters that are allowed to vary from instance to instance with variables, Variables, or SoundCollectionVariables. To specify relations between parameters, use expressions involving variables and constant values. For example, an additive synthesis Sound might consist of a Sum with 16 Oscillators as inputs. By setting their frequency values to the expressions ?freq, ?freq*2, … , ?freq*16 you stipulate that fifteen Oscillators have frequencies that are harmonics of the first, no matter what the frequency of the first Oscillator. After you have saved your newly edited Sound (be sure it is still selected), select New Class from example… from the Action menu. This opens a class editor that will let you define a new Sound class based upon your example.
A class editor has several parts: ♦ An icon editor for designing the class icon ♦ An icon editor for designing the class small icon ♦ Field Layout: a miniature version of the Sound editor ♦ A text editor for the new Sound class name ♦ A text editor for the class description ♦ Parameter: a list of the class parameters ♦ Type: the parameter type of the selected parameter ♦ Field: a list of the legal field types for the selected parameter ♦ Field Rectangle: the relative position of the selected parameter’s field within the Sound editor ♦ Comment: a text editor for editing the selected parameter’s description ♦ A check box for specifying that a Sound should expand before transformations are applied to it Using the Icon Editors Click in a white area to draw a black dot, and click in a black area to erase. If you hold the mouse button down as you move the mouse, you can draw or erase continuously. While you are designing the icon, you can also see an actual size version of it below or to the left of the large version. There are two icons for each class. The small icon is used whenever you select Small icon in the dialog under View in the Edit menu. The other icon is the one you see by default. To set the large and small icons to be the same as those of another Sound, drag that Sound into the icon editor. Parameter Types and Fields When you select a name from the Parameter list, you see its type selected in the Type list and the kind of parameter field it uses selected in the Field list. The position of the parameter field is shown highlighted in the miniature Sound editor labeled Field Layout. Parameter Types Each variable name in the example Sound becomes a parameter name in this new class. You can set parameter types to be the same as those in another Sound by dragging that Sound icon onto the Parameter list in the Class editor. To manually set the type of a parameter, first select the parameter name in the list labeled Parameter. Then choose from among the given list of types under the Type heading. The type of a parameter defines 537
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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
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Compression/Expansion Gain 265 Cros
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Math Difference 245 Math Equality 2
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Spatializing Output8 312 Spatializi
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406
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DiskCache Disk 246 DiskPlayer Sampl
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Mixer Distortion & Waveshaping 298
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SpectrumInRAM Spectral Sources 355
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414
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416
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Menu Operations The menus available
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About the table: ♦ File Descripti
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File menu: Close File menu: Save…
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For more information, see Virtual C
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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
Page 486 and 487: Because the compiled Sounds do not
Page 488 and 489: Display Amplitude Envelopes F10 Joi
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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
Page 500 and 501: Feedback Typically, you use the Fee
Page 502 and 503: expands the display in the time dir
Page 504 and 505: that can be used as waveshapers by
Page 506 and 507: Internal oo These are used internal
Page 508 and 509: Windows Pythag These are symmetric
Page 510 and 511: Variables By introducing variables,
Page 512 and 513: Playing a Lifted Sound Environments
Page 514 and 515: Comments Variables Binary messages
Page 516 and 517: Arithmetic Operations Besides the u
Page 518 and 519: Booleans Alternatively, you can pla
Page 520 and 521: Conditionals i := 0. [i 1 s) varIf
Page 522 and 523: Scripting MIDI Scripts There are tw
Page 524 and 525: Sequences and Mixes An EventSequenc
Page 526 and 527: MIDIFileInterpreter Events With a M
Page 528 and 529: Variables could be rewritten as a l
Page 530 and 531: As a final illustration, let’s ta
Page 532 and 533: If you click OK, the program will p
Page 534 and 535: The next example is called Serial E
Page 538 and 539: its range of legal values, its defa
Page 540 and 541: Organizing the New Classes To keep
Page 542 and 543: midiFileName any legal MIDI file na
Page 544 and 545: snd duration: (1.0 / snd frequency
Page 546 and 547: Suppose you had a ParameterTransfor
Page 548 and 549: Background Materials Reference Book
Page 550: Conferences Journals Magazines IEEE
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