The Kyma Language for Sound Design, Version 4.5

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Background Materials Reference Books and Textbooks Auditory Display Acoustics Blattner, M. & R. B. Dannenberg, editors. 1992. Multimedia Interface Design. New York: ACM Press. Buxton, W., W. Gaver, and S. Bly. Auditory interfaces: The Use of Non-Speech Audio at the Interface. Cambridge: Press of the University of Cambridge, in final preparation. Kramer, G., editor. 1994. Auditory Display: The Proceedings of the First International Conference on Auditory Display. Addison Wesley. CD in a sleeve. Pierce, John. R. 1992. The Science of Musical Sound, Revised Edition. New York, New York: WH Freeman and Company. Rossing, T. D. 1992. The Science of Sound, Second Edition. Reading, MA: Addison-Wesley Publishing Company. Sundberg, J. 1992. The Science of Musical Sounds. Academic Press. Sound Perception and Cognition Begault, D. 1994. 3-D Sound for Virtual Reality and Multimedia. Cambridge: Academic Press. Blauert, J. 1983. Spatial Hearing. Cambridge: MIT Press. Bregman, A. 1990. Auditory Scene Analysis: The Perceptual Organization of Sound. Cambridge: MIT Press. Deutsch, D. 1982. The Psychology of Music. Academic Press. Gelfand, S. A. 1990. Hearing: An Introduction to Psychological and Physiological Acoustics, Second Edition. New York, NY: Marcel Dekker, Inc. Roederer, J. G. 1975. Introduction to the Physics and Psychophysics of Music, Second Edition. New York: Springer-Verlag, New York, Heidleberg, and Berlin. Zwicker, E. and H. Fastl. 1990. Psychoacoustics: Facts and Models. New York: Springer-Verlag. Representation of Digital Audio Signals De Poli, G., A. Piccialli, and C. Roads. 1991. Representations of Musical Signals. Cambridge: MIT Press. Marsden, A. and A. Pople. 1991. Computer Representations and Models in Music. Academic Press. Software Technology Pope, S. T., editor. 1991. The Well-Tempered Object: Musical Applications of Object-Oriented Software Technology. Cambridge, MA: MIT Press. Tarabella, L. 1992. Informatica e Musica. Milan: G. E. Jackson. Sound Synthesis Algorithms Chamberlin, H. 1987. Musical Applications of Microprocessors, Second Edition. Hayden Books, Indianapolis, IN. Dodge, C. and T. A. Jerse. 1985. Computer Music: Synthesis, Composition, and Performance. Schirmer Books: New York, NY. Moore, F. R. 1990. Elements of Computer Music. Prentice Hall, Englewood Cliffs, NJ. Roads, C. 1993. Computer Music Tutorial. The M.I.T. Press, Cambridge, MA.
Wells, T. 1981. The Technique of Electronic Music. Schirmer Books, New York. Digital Audio Signal Processing Oppenheim, A. V. and R. W. Schafer. 1975. Digital Signal Processing. Englewood Cliffs: Prentice-Hall, Inc. Proakis, J. G. and D. G. Manolakis. 1988. Introduction to Digital Signal Processing. New York: Macmillan. Strawn, J. ed. 1985. Digital Audio Signal Processing. Los Altos, CA: William Kaufman, Inc. Digital Audio Engineering Ballou, G., editor. 1987. Handbook for Sound Engineers: The New Audio Cyclopedia. Indianapolis, IN: Howard W. Sams & Company. Benson, K. B., editor. 1988. Audio Engineering Handbook. New York, NY: McGraw-Hill Book Company. Chamberlin, H. 1987. Musical Applications of Microprocessors, Second Edition. Hayden Books, Indianapolis, IN. Olson, H. F. 1957. Acoustical Engineering. Professional Audio Journals. Pohlmann, K. C. 1989. Principles of Digital Audio, Second Edition. Indianapolis, IN: Howard W. Sams & Company. Strawn, J. 1985. Digital Audio Engineering. William Kaufman, Inc. Watkinson, J. 1989. The Art of Digital Audio. Boston, MA: Focal Press. Algorithmic Music Composition Balaban, M. K. Ebcioglu, O. Laske. Understanding Music with AI: Perspectives on Music Cognition. Cambridge: The AAAI Press / The MIT Press. Xenakis, I. 1992. Formalized Music: Thought and Mathematics in Composition, Revised Edition. Stuyvesant, NY: Pendragon Press. MIDI and Real-time Event Processing History Anthologies Braut, C. 1994. The Musician’s Guide to MIDI. Sybex. Rothstein, J. 1991. MIDI: A Comprehensive Introduction. A-R Editions. Rowe, R. 1993. Interactive Music Systems. MIT Press. (includes CD-ROM with software and sound examples). Yavelow, C. 1993. The Macintosh Music and Sound Bible. IDG Books. Chadabe, J. 1997. Electric Sound: The Past and Promise of Electronic Music. Prentice-Hall. Mathews, M. V., and J. R. Pierce, eds. 1989. Current Directions in Computer Music Research. MIT Press. Roads, Curtis. 1989. The Music Machine. Cambridge, MA: MIT Press. Roads, C. and J. Strawn. 1985. Foundations of Computer Music. MIT Press. Proceedings of the 1977-1997 International Computer Music Conferences. International Computer Music Association. Professional Societies ACM SIGSound: the special interest group on sound computation Audio Engineering Society IEEE Acoustics Speech and Signal Processing 549
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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
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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
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 536 and 537: The Class Editor In the course of d
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 550: Conferences Journals Magazines IEEE
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