The Kyma Language for Sound Design, Version 4.5

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lowing the tutorials step-by-step, you might make a fortuitous mistake that leads to some fantastic result that you will want to save for future reference. § The idea is to save your Sound in a file along with other, similar Sounds and to give the Sound file a name that will lead you back to that file weeks or months later when you might be searching for examples of analog-like sounds. Double-click my saws so you can start editing and making it your own. As a first step, increase the polyphony using a MIDIVoice (found in the MIDI In category of the prototypes, or by searching the prototypes using Ctrl+B and typing a partial word like midi into the dialog box). Where should the MIDIVoice go in the signal flow graph? If we want all the voices to share the same delay, we should put the MIDIVoice before the DelayLine. It also makes sense that the Preset should apply to all the voices at once, so let’s place it on the line between 3 filtered saws and LPF. Leave all the MIDIVoice parameters at their default values, and select my saws again so you can use Ctrl+Space Bar to compile and load the new Sound. Once the Sound is loaded, experiment with playing two-voice polyphony on the MIDI keyboard. The constant, 1 second delay is getting a little tedious, so let’s control the delay with a MIDI fader or onscreen controller. Double-click delayed filtered saws, hit the Tab key until you get to the DelayScale field, hit Escape on the computer keyboard, and move one of your MIDI faders. (If you don’t have any MIDI faders, use Ctrl+H to get a list of hot parameters; start typing the word delay, and then hit Return so that the Event Value !Delay is pasted into the DelayScale field). Select and play my saws again. Hold down some MIDI keys and move !Delay from zero up to its maximum value (using either a MIDI fader or the virtual control surface). You can’t fail to notice that the delay has the interesting side effect of changing frequency as you change the length of the delay. After letting the extreme change die down, experiment with very subtle changes to !Delay. Experiment with all the Event Values in the virtual control surface until you have the settings to your taste. Then double-click 3 filtered saws, and press the button named Set to current event values. This will save your current settings along with the Sound. Add an Annotation as the rightmost module in the signal flow (found under Variables and Annotation in the prototypes). Select the Annotation and press Enter, so you can give your Sound a descriptive name that will help you locate it later. Double-click the Annotation, and type a brief description of this Sound in the Text field. Sure, right now this seems like a lot of annoying extra work, but in a few weeks, when you revisit this Sound and try to remember exactly how it works, you will be glad you left yourself a little reminder note. Once you have finished with your annotation, close the editor, and close your new Sound file, saving the changes you made. § Kyma was specifically designed to tempt you off the path of diligently following directions and lead you down the path of experimentation, so don’t expect that you won’t be fooling around with developing some additional Sounds on the side, even as you diligently and systematically work your way through the tutorials! 92
Take a few moments now to listen to some of the other Sounds in the analog file, so you will know what is available here and can come back to draw upon these as you need them. 93
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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
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 and 80: Compile, load You may notice that s
Page 82 and 83: Strategies for Non-real-time In som
Page 84 and 85: Remove Redundancy The most common s
Page 86 and 87: Learning Kyma When people tell us t
Page 88 and 89: You will get the most out of this
Page 90 and 91: You can read these settings, but yo
Page 94 and 95: Audio Demonstrations These examples
Page 96 and 97: Now examine the value of Frequencie
Page 98 and 99: Backgrounds, Textures Sounds in thi
Page 100 and 101: Edit cloud1, setting the parameters
Page 102 and 103: In pick out unvoiced the EX version
Page 104 and 105: Go back and double-click on synthet
Page 106 and 107: FFT cross synth RE Analysis Tool Tr
Page 108 and 109: Delays, Chorusing, Reverb Delays Ch
Page 110 and 111: So you could model a sound source i
Page 112 and 113: Disk Recording, Playback Playback R
Page 114 and 115: Multi-tracking this could be used t
Page 116 and 117: Distortion Waveshaping Clipping By
Page 118 and 119: down. At all other times, the ampli
Page 120 and 121: Envelopes In general usage, the wor
Page 122 and 123: Formants Picture a sine wave added
Page 124 and 125: Frequency Scaling One of the most c
Page 126 and 127: It looks very much like a series of
Page 128 and 129: RE Synthesis Surrealism Double-clic
Page 130 and 131: F13 frequencies, we have to multipl
Page 132 and 133: Parameter Setting Select unchecked
Page 134 and 135: Looping, Feedback Several Kyma Soun
Page 136 and 137: MIDIVoice Scripts The MIDIVoice and
Page 138 and 139: Random Events The next example gene
Page 140 and 141: 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
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enter the length of time you want t
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Feedback Typically, you use the Fee
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expands the display in the time dir
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that can be used as waveshapers by
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Internal oo These are used internal
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Windows Pythag These are symmetric
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Variables By introducing variables,
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Playing a Lifted Sound Environments
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Comments Variables Binary messages
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Arithmetic Operations Besides the u
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Booleans Alternatively, you can pla
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Conditionals i := 0. [i 1 s) varIf
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Scripting MIDI Scripts There are tw
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Sequences and Mixes An EventSequenc
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MIDIFileInterpreter Events With a M
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Variables could be rewritten as a l
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As a final illustration, let’s ta
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If you click OK, the program will p
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The next example is called Serial E
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The Class Editor In the course of d
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its range of legal values, its defa
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Organizing the New Classes To keep
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midiFileName any legal MIDI file na
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snd duration: (1.0 / snd frequency
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Suppose you had a ParameterTransfor
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Background Materials Reference Book
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Conferences Journals Magazines IEEE
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