"By questioning art - I learn. By stacking frequecies into new forms - I create" - Roland Kuit

To be expected:

Book about KYMA:Semiotics in Sonic Art.

Presentation to be expected late 2021.

In the meantime enjoy the Kyma examples.

Always in search for concept/beauty, many mistakes and many questions ahead:

Research and composition on Kyma 7 \ Pacarana:

Phase index changes waveform

You can create a changing waveform oscillator with the InputOutputCharacteristic by feeding a FullRamp oscillator into it. (Think of the FullRamp as the phase of the oscillator and the shaping function as the waveform of the oscillator).
To change the height of the waveform, adjust a y value. To change the width of the waveform, adjust an x value. To adjust the smoothness of the waveform (from stairsteps to linear to spline curve) adjust the !Curve fader.

8 copies of a Xen Oscillator

8 Chaotic oscillators. From chaotic to straight with random walking breakpoints and phases.
From a small Duty Cycle to a broad one. The picture shows only one oscillator:

More on Duty Cycles

5 steps random controlles duty cycles:

Let's copy this thing 60 times:

60 controled random duty cycles. 1st default state. After this random states as 'noise colors':

A little Tour de France example

Take a bicycle and a mic:

Rattling bicycle:

Cyclist on pedals:

Granular SSB RM bicycle bell:

Granular spokes-free wheel andromorph:

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Formants

The Two Formant Element:

Granular SSB RM bicycle bell:

Bicycle spokes-wheel spinning granular andromorph:

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Added an extra formant:

Resynthesis

The voice of a weather man:

We can add an imaginary spectrum to a female voice:

1st Step to composition.

Added a 128 partials frequency scale and spectral smearing:

Oscillator Bank not arranged by sine waves but with an other voice sample:

Turn speech into water with CloudBank Resynthesis:

Grain clouds whose center frequencies and amplitudes are supplied by a SpectrumSource and whose frequency deviation, grain duration deviation, pan, and likelihood of triggering are supplied by input Sounds.

Using the SampleCloud module:

Generates a cloud of grains, each using GrainEnv as an amplitude envelope on a short segment of sound read from the specified Sample at a point in the sample given by the TimeIndex +/- TimeIndexJitter. Density is the likelihood that a new grain will start up on each sample (given that the number of simultaneous grains currently playing does not exceed MaxGrains). Amplitude controls an amplitude envelope over the *entire* cloud (each individual grain amplitude is controlled by GrainEnv). Pan, Frequency, and GrainDur control the stereo position of the grain, the frequency (or rate at which the grain reads through its waveform), and the duration of the grain envelope. Each of these parameter values is multiplied by its corresponding jitter control which is (1 + ( JitterControl * a uniform random number between -1 and 1)).

The Vocoder

GrainCloud - Vocoder - Stereo Reverb:

Special timbres and fragility:

Tuned Reverbs:

Pulses into vocal:

Tuning the reverb:

Tuned harmonic reverberation:

Tuned reverb partials:

Partial movement:

Spectrum Granular Partials:

Harmonic Resonator:

Delay and filtering:

Creating patterns in speech:

A space in a space(tuned feedback):

FilterBank Resynthesis

FilterBank Resynthesis:

Spectral analysis on voice

Cross filtering two vocal spectra:

Lets create some rhythmic vocals and add some Freese & Scramble FX on it:

We can add these voice experiments to the Kyma timeline with ease:

REResonator

This is a time-varying filter whose coefficients have been derived by analyzing a digital recording (a "sample") using the RE Analysis Tool. RE (resonator/exciter) analysis assumes that the sound was produced by an excitation signal feeding into a resonator. This Sound is the resonator and its input is the excitation.
The most striking results occur when the analyzed signal is from a source whose resonances change dramatically over time. For analyses of instruments or other sound sources that do not change shape very much over time, the REResonator will sound like a fixed, unchanging filter.

Synchronizing Spectra

This allows you to:

Spectral Mixing:

Spectral Morphing:

Creating a Voice-Piano Spectral Morph:

The Crossfilter

Creating different reflections and spaces.

Gunshot Impulse Response:

Vocal Tap Impulse Response:

Bagpipe chord Impulse Response:

Metal scratched string Impulse Response:

A polynomial shaped Impulse Response:

Time-Frequency manipulated Impulse Response:

Brightness following time-frequency Impulse Response:

FFT-IFFT

Time-Frequency scaled IFFT:

Time Scaled FFT and Feedback:

Ring Modulation and SSB

Single sideband RM1:

Hilbert Transform

Single sideband RM2:

Single sideband RM duplicated:

Some simple FM techniques

As a first example the basic FM patch. A Carrier with a LFO modulated Modulator:



How to create Feedback?
In this example I use the MemoryWriter module to accomplish feedback on both, Carrier and Modulator:



Let's try to patch Feedback on the Modulator only. This is a way to create this:



We can modulate the Modulator as we see in this example:



Adding a 2nd Feedback line:



We can create lots of combinations called "algorithms"  in FM Synthesis.

Thoughts on FM: behind the algorithms

By Roland Kuit

Chowning and further on KYMA

Click here:

Let's make it more interesting. We can create "Sine Clouds" and implement this granular movement into FM:



And creating feedback in this patch:



After getting acquainted with the software, I did some research how it would be to experiment with a piano texture and the Granular Reverb following the texture of an other piano.
This together with mashing up the samples:

The Slipstick

A physical model of an object being dragged across a surface by a control point at the end of a spring.
Initially, the object is sticking to the surface due to the force of gravity pushing down on it.





Lets use this generator as part of a physical oblect:




Slipstick with replicated formant filters:





Slipstick with modal filter:





Slipstick with crossfilter:






The genetic structure of population as a compositional process.
Simulated Annealing:










I love the interface. Testing and combining. In this way sounds can travel long distances:



Creating a descending granular tone:



Research using Kyma X - Pacarana: creating violin textures:



How would a piece of music sound in surround mode 7.1?
"Etude Violinesque":


Combining one flute yet whistle tone and one key slap sound and creating an environment where these sounds become one and creating movements:

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