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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
- Page 30 and 31: Delete To remove Sound A from the s
- Page 32 and 33: Whenever you want to make sure that
- Page 34 and 35: Parameters Suppose you wanted to dr
- Page 36 and 37: to replace the old value. § Then u
- Page 38 and 39: Event Values Even though the Generi
- Page 40 and 41: Status Whenever you play a Sound th
- Page 42 and 43: Kyma will make an association betwe
- Page 44 and 45: Scale and Offset 90% of all arithme
- Page 46 and 47: So if you see a parameter field tha
- Page 48 and 49: Automation To prevent a controller
- Page 50 and 51: To read several channels, create se
- Page 52 and 53: Smoothing Things Over To filter or
- Page 54 and 55: Now select and play the FormantBank
- Page 56 and 57: For example, to set controller numb
- Page 58 and 59: MIDI Controllers The output of any
- Page 60: Cross-mapping Parameters There is n
- Page 63 and 64: Sample Editor Getting Information o
- Page 65 and 66: trum editor. The analysis can be do
- Page 67 and 68: Text Preferences There is not that
- Page 69 and 70: Select the folders in the top list
- Page 71 and 72: Algorithmic Splicing and Mixing Scr
- Page 73 and 74: Who’s on top? the value of a vari
- Page 75 and 76: TimeController is a little less ext
- Page 77 and 78: To play a compiled Sound, tab into
- Page 79: Compile, load You may notice that s
- Page 83 and 84: DiskCache. It will record everythin
- Page 85 and 86: Poor Scheduling If it appears that
- Page 87 and 88: Tutorials Learn Kyma in 24 Hours!
- Page 89 and 90: Analog Dissection Start by choosing
- Page 91 and 92: ases of those higher harmonics, art
- Page 93 and 94: Take a few moments now to listen to
- Page 95 and 96: Next is a module named waveform. Th
- Page 97 and 98: Now, try the following: ♦ Bring u
- Page 99 and 100: TimeIndex controls the location whe
- Page 101 and 102: Compression, Expansion Compression
- Page 103 and 104: Cross Synthesis The idea of cross s
- Page 105 and 106: Classic Vocoder As a final step, im
- Page 107 and 108: Next, edit the Noise module, changi
- Page 109 and 110: Reverberation Select the GenericSou
- Page 111 and 112: This script creates seven copies of
- Page 113 and 114: Click Filename to choose the format
- Page 115 and 116: Caching Mixing Two Disk Files Down
- Page 117 and 118: EQ GraphicEQ In general, the idea o
- Page 119 and 120: Now take a look at the input to mid
- Page 121 and 122: segment, so it will take whatever a
- Page 123 and 124: In both of these expressions, !Vowe
- Page 125 and 126: Now double-click on the Sound to se
- Page 127 and 128: Additive Synthesis If you resynthes
- Page 129 and 130: Monotony For example, open and try
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Live Analysis, Resynthesis Using th
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criterion for selection, you can as
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pretty familiar. The delayed feedba
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self keyDownAt: i beats duration: 2
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Like Random, OneOverF generates ran
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Another Way Re-re-turn of phrase sh
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Then, starting on beat 0, we play t
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The training sequence is just an Ar
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To actually execute the block of co
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Sound Effects Musical Phrases betwe
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2. Select the first sample by click
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When you get to the “ph”, the
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8. Once all the markers are in KMor
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Kyma sense of “simultaneity”. U
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Double-click track the pulse to see
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Sampling Sampling to Disk Kyma is n
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Sampling On-the-fly You can record
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Shepard’s Tone Continuous Compile
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Discrete Rigor After passing throug
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Doppler Mystery Effect Imagine a so
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ecomes one when you press MIDI key
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so that when a MIDI key is down, th
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MIDI Note Events below the threshol
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Tracking Live Input Amplitude Frequ
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Take a look at Highs to lows — an
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The two frequencies are compared us
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On the main page of the tuning tool
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Wavetable Synthesis If you look at
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Then double-click timeIndex and cha
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Part II: Advanced Features Variable
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This associates the variable name ?
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The Field Layout shows a miniature
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prototypes window category Mixers &
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Experiment with different values fo
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Drag a ParameterTransformer from th
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pendent partials with HarmonicParti
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F13 F1 F2 4. Now, “monotonize”
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Continue experimenting with differe
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Sound Editor Window This is the sig
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Can’t see everything in a paramet
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Real-Time Expressions in Parameter
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MIDI Script Messages File Organizer
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Markers Editing Selected marker’s
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Compiled Sound Grid Status from the
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AbsoluteValue Math Category The out
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AmplitudeFollower Tracking Live Inp
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Step Step to the next set of values
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AnalysisFilter Tracking Live Input
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AR Envelopes & Control Signals Cate
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Attenuator Level, Compression, Expa
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AveragingLowPassFilter Filters Cate
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Right This controls the level of th
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ChannelCrosser Mixing & Panning Cat
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Channeller Mixing & Panning Categor
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Constant Math Category The output o
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MaxRewrites This is an upper bound
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DelayWithFeedback Reverb, Delay, Fe
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Math Category Outputs the differenc
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DiskPlayer Sampling Category This S
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DualParallelTwoPoleFilter Filters C
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AttackTime Relates to how quickly o
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Equality Math Category Whenever Inp
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FeedbackLoopOutput Xtra Category A
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Filter Filters Category An IIR filt
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ForcedProcessorAssignment Sampling
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FrequencyScale Frequency & Time Sca
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Detectors This determines the sensi
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Gain Level, Compression, Expansion
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!Pitch (key number plus pitch bend)
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GrainCloud Xtra Sources Category Ge
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GraphicalEnvelope Envelopes & Contr
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HarmonicResonator Filters Category
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Interpolate Math Category A linear
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KeyMappedMultisample Sampling Categ
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LimeInterpreter Scripts Category Re
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Once you check this box, you must a
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Matrix4 Spatializing Category This
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This parameter is a list of eight m
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EventValues, EventSources, and Map
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MIDIMapper MIDI In Category Defines
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self keyDownAt: (i - 1) beats durat
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MIDIOutputEvent MIDI Out Category W
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MIDIVoice MIDI In Category Defines
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Rest durationInBeats: To create a n
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Monotonizer Frequency & Time Scalin
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MultiplyingWaveshaper Level, Compre
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Overall level of the sample. Loop C
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MultislopeFunctionGenerator Envelop
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Oscillator Xtra Sources Category Th
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OscillatorBank Xtra Sources Categor
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Output4 Spatializing Category This
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OverlappingMixer Mixing & Panning C
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ParameterTransformer Scripts Catego
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PhaseShiftBy90 Math Category This i
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Preset MIDI In Category Click the S
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PulseGenerator Xtra Sources Categor
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PulseTrain Xtra Sources Category If
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RandomSelection Scripts Category Ch
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REResonator Filters Category This i
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When None is selected, changes to D
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RMSSquared Tracking Live Input Cate
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RunningMin Math Category The output
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exact time within the sample where
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SampleCloud Sampling Category Gener
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SamplesFromDiskSingleStep Sampling
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ScaleVocoder Filters Category Vocod
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Script Scripts Category A Script is
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SetDuration Time & Duration Categor
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SimplePitchShifter Frequency & Time
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SOSOscillators Xtra Sources Categor
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SoundToGlobalController Tracking Li
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SpectrumAnalyzerDisplay Tracking Li
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SpectrumInRAM Spectral Sources Cate
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SpectrumModifier Spectral Modifiers
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TrackNumber / 128 would make the hi
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over some of the lower partials, en
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StereoInOutput4 Spatializing Catego
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StereoMix2 Mixing & Panning Categor
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In3 The output of this Sound will b
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PchMorph Specifies how much of the
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SyntheticSpectrumFromArray Spectral
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SyntheticSpectrumFromSounds Spectra
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TextFileInterpreter Scripts Categor
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TimeControl Time & Duration Categor
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memory. Sample If FromDisk is check
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TimeStopper Time & Duration Categor
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TriggeredTableRead Sampling Categor
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This is the spacing between the cen
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TwoFormantVoiceElement Xtra Sources
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Variable Variables & Annotation Cat
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Vocoder Filters Category The Vocode
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VocoderChannelBank Filters Category
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WaitUntil Time & Duration Category
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Waveshaper Distortion & Waveshaping
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Sound Classes by Category Sources &
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Filters GraphicEQ 272 Filters HighS
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Modulation Gain 265 Outputs Matrix4
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Xtra FeedbackLoopInput 254 Xtra Fee
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Sound Classes by Name AbsoluteValue
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GrainCloud Sources & Generators 269
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Product Granulating & Chopping-Mono
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Variable Variables & Annotation 389
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415
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Reference
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File Menu File menu: New… Many of
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In the file list, select the file t
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File menu: System prototypes The sy
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File menu: Status rameter field. If
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Edit menu: Clear Use the pull down
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Edit menu: Zoom in Certain paramete
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The file editors preferences contro
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DSP Menu DSP menu: Stop Miscellaneo
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Analog EQ The analog audio output o
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DSP menu. This is useful for loadin
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Action menu: Find prototype Find pr
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If the minimum and/or maximum are -
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To record, click the record button
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At any time during the setting of t
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To zoom in on an area, hold down th
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The two spectra to be synchronized
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Tools menu: GA Analysis from Spectr
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Clicking on Ratio Scale brings up t
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Clicking on Two Interval brings up
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0 8.17581 hz 1 9.51787 hz 2 9.7463
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As you start to design your own Sou
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Sound Editor Window In Kyma you con
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Clicking on the arrow tab of compre
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Inserting Sounds to the Signal Flow
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Evaluating the Parameters When you
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You can create shared inputs betwee
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Using Values with Units in Calculat
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An Event Value is displayed as a na
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Other Event Source names can be use
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truncated drops any fractional part
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You can use asLogicValue to perform
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Random Numbers random is a message
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For example, !Volume is: `MIDIContr
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Compiled Sound Grid The Compiled So
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Spectrum Editor A spectrum file con
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Using Selection Criteria F12 Playin
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Drawing Mode F9 F15 You can redraw
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Samples A sample file is a digital
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DiskPlayer You can play back a reco
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GenericSource A GenericSource can p
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The Kyma Sound compiler allocates a
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Sample Editor Graphic Editor this p
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Use Gain to adjust the overall ampl
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EX GA FullRamp Gaussian Ramp Random
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Waveshapers Buzz Buzzes Folder Cosi
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Advanced Topics
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Syntax Like the Variable Sound, you
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The Smalltalk-80 Language This chap
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Numbers Integers, for example, 7 -9
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Other Literals For more arithmetic
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Loop Structures [ {:blkArg}* | | {b
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For Further Information This should
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Event Collections Note that !KeyNum
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quantizeTo: 0.5 maxSpacing: 1. You
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andwidth: 10 hz. anInstr start: 2 s
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You can assign values to Smalltalk
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Debugging isNoteOn Returns true or
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The first example is called Kurt’
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cmRatio: 2.0 dur: 0.5 s. "r0: This
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A class editor has several parts:
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Positioning the Fields Field Layout
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Type Range almostOneScale 0.9 to 1.
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Parameter Transformers Unlike a Scr
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Similarly, if you would like to tra
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What if you wanted to both transfor
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Wells, T. 1981. The Technique of El