KYMA PROTOTYPES PDF

In this video, Meta Function demonstrate various granular synthesis techniques with a Symbolic Sound Paca sound computer running Kyma 7. The Paca rana is a small but powerful multiprocessor computer that sits unobtrusively alongside your Mac or PC and does all the sound synthesis and processing. Like any computer, the function of the Paca rana is defined by its software. This generates a cloud buy modvigil of grains from a sample read from disk, using a Gaussian shape to provide an amplitude envelope for each grain. Density is the likelihood that a new grain will start up on each sample, with small values resulting in a sparse texture and large values generating a dense texture. The TimeIndexJitter parameter TimJttr is the amount of random deviation forward or backward in time from the point specified by the Time Index.

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Give it a single cycle of any length and it protects you from aliasing at any frequency. Includes controls for Brightness and DutyCycle. For example, you could start with a recording of an analog synth, use the Wave Editor to select and trim a single cycle from that waveform, and use that single cycle as the wavetable for the AntialiasedOscillator.

The wavetable does not have to be samples long. Each file contains a single cycle and in the case of split-channels, each file should be of the same length and labeled as. L left ,. R right and so on. The single cycle can contain any number of samples but to avoid quantization noise at low frequencies, cycles of samples or longer are recommended. Give it a single cycle of any length, and it generates a spectrum that you can use to control an OscillatorBank, FilterBank, CloudBank, or FormantBank.

For example, you could start with a recording of an analog synth, and use the Wave Editor to select and trim it to a single cycle. Similar to AmplitudeFollower except that it has separate Attack and Release reaction times, so it can respond at a different rate to an increase vs a decrease in its input value. To use it as an amplitude-follower, feed its input through an Abs first. A sample that, like a SampleCloud, takes a -1,1 TimeIndex as its input.

The TimeIndex determines the position in the sample file. Generates a time index in the range of -1,1 that can be used as the input to SampleWithTimeIndex or any other Sound that takes a TimeIndex input. Gives you the integral of its input. Or use the LossyIntegrator on control signals from the outside world when you want to filter out fast changes or jitter from the environment; it provides some immunity to noisy inputs or dropouts in the control signal.

You can also use it as a low pass filter on audio rate signals. In the oscilloscope screenshot on the left, below, the blue trace is the input to the Saturator, and the pink trace is the Saturator set to 0. You can see that the output stays at zero until the blue trace approaches the threshold — then the saturator starts responding.

When the blue input crosses the threshold, the Saturator output is at half its maximum value. Once it reaches the maximum it saturates. If you switch it to a Repressor, the output stays ON until the input approaches the threshold, as you see in the screen shot on the right, above.

You can use the saturator to put a smooth, nonlinear threshold on a controller value, or on an amplitude follower on a live input. Saturator works transparently on multichannel inputs. See also the EuSeq Prototype for experimenting with new Euclidean Scales and tuning AnalogSequencer has some new parameters and some of the parameter names have changed. Instead of having to use KeyVelocities to turn stages on and off as you did in the old version, you now provide a pattern of gates for the KeyDowns.

Generates Euclidean beat patterns and Euclidean scales with any number of scale steps e. So you can experiment with scales, tuning, and Euclidean beat patterns. Has a new Level field. Have you always wanted to divide one Sound by another?

Or take the ratio of two audio rate input values? In the ClippingDivide, the Numerator input is divided by the Denominator input and the result is scaled by Scale. For converting a spectrum in log frequency to linear frequency and vice versa. Some spectral modifications require linear frequencies, but morphing works best with log frequency spectra.

LinearToLog and LogToLinear form a pair of Sounds for converting to and from log space for performing various control or signal processing operations in log space and converting the result back to linear space. The output of this Sound is the product of the two Input Sounds, treating the left channel of each Input as the real part of a complex number and the right channel as the imaginary part.

This is for those of you who like to do your own spectral modifications directly on the spectrum stream. TriggeredSoundToGlobalController now has a manual override switch… meaning you can control the fader in the VCS and capture its value in a Preset, and you can also set it algorithmically. A prototype for stereo panning using interaural delays and intensity differences.

The FormantsOnly checkbox, when checked, allows for formant scaling without changes to the fundamental frequency. AntialiasedOscillator Give it a single cycle of any length and it protects you from aliasing at any frequency. BiDiFollower Similar to AmplitudeFollower except that it has separate Attack and Release reaction times, so it can respond at a different rate to an increase vs a decrease in its input value. Lossy Integrator Gives you the integral of its input. Saturator In the oscilloscope screenshot on the left, below, the blue trace is the input to the Saturator, and the pink trace is the Saturator set to 0.

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Kyma Grain Clouds Processing

For those younger readers who have been accustomed to take every new technological development in stride, it must be difficult relating to those of us who in my case, since have composed on so many new creative toys with such promise, only to have this promise dashed as, like so many shiny new things, their limited capabilities contained the seeds of their ultimate demise. They are now mostly either bankrupt or considerably muted, consigned to legacy adherents. The other survivors have gone strictly commercial, relying on stock, easily constructed sounds and techniques. I mention these in particular because they are the pathway through which I myself struggled, hoping for more than 40 years to find the instrument that could satisfy my creative needs. In all cases, but particularly with respect to the last two, I made serious investments in time spent with the developers to forge systems that were musically feasible and intuitively accessible. But like so many of us in these early years, my journey was one of discovery, implementation, and then abandonment, as the limits of the particular sound vehicle became ever more apparent. When the program Max came along, I thought for awhile that the ultimate instrument had been found.

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New and Improved Sounds and Prototypes in Kyma 7

Give it a single cycle of any length and it protects you from aliasing at any frequency. Includes controls for Brightness and DutyCycle. For example, you could start with a recording of an analog synth, use the Wave Editor to select and trim a single cycle from that waveform, and use that single cycle as the wavetable for the AntialiasedOscillator. The wavetable does not have to be samples long. Each file contains a single cycle and in the case of split-channels, each file should be of the same length and labeled as. L left ,.

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