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"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:

"Because it is not only a sound device, but with a time line as well, you can integrate multiple references into a complexly woven composers fabric.
Not only subtractive- and additive synthesis methods. Sound-morphing in so man
y ways. Granular, phase de-correlation, nonlinear distortion, recursive filtering, convolution. phase-difference, resynthesis, Interaction, Time, Morphology, Singularities. All on a time line."

From philosophy to science to .................. sound

Kyma software

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.

phase index roland kuit

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:

Kyma patch 1160 Roland Kuit


Cyclist on pedals:

Kyma sound


Granular SSB RM bicycle bell:



Granular spokes-free wheel andromorph:




The Two Formant Element:

Roland_Kuit_Formants 3


Granular SSB RM bicycle bell:



Bicycle spokes-wheel spinning granular andromorph:

Kyma sound




Added an extra formant:




Resynthesizes sounds from the spectral analyses stored in Analysis0 and Analysis1. The dbMorph parameter interpolates between the amplitudes of Analysis0 and Analysis1, and the pchMorph parameter interpolates between the pitches in Analysis0 and Analysis1.

A few tweaks with duration and frequency scale.



The voice of a weather man:

Roland Kuit Resynthesis 1  

We can add an imaginary spectrum to a female voice:

Roland Kuit Resynthesis female voice


1st Step to composition.

Added a 128 partials frequency scale and spectral smearing:

Roland Kuit 



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

Kyma 128_Partials_C_Roland_Kuit


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.

Roland_Kuit Cloudbank Resynthesis 


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)).

Roland Kuit


The Vocoder

GrainCloud - Vocoder - Stereo Reverb:



Special timbres and fragility:

Roland_Kuit_Drippy Bach


Tuned Reverbs:

Pulses into vocal:

vocal responce Roland Kuit


Tuning the reverb:

Tuning reverb Roland Kuit


Tuned harmonic reverberation:

Roland Kuit


Tuned reverb partials:

Tuning Reverb Partials Roland Kuit

Roland Kuit Tuned Reverb partials


Partial movement:

Buchla Partials Swarm_Roland Kuit


Spectrum Granular Partials:

Resynthesized Spectrum Granular Partials_Roland Kuit


What about a Buchla sound disintegrating in more than a thousand quadraphonic cosines?

Other spaces

Synthetic Spectrum as a glottal pulse for the Formant Bank-Element:



Harmonic Resonator:

Roland_Kuit_Harmonic Resonator


Delay and filtering:

Phase and difference_Roland_Kuit


Creating patterns in speech:

Roland_Kuit_Speech Patterns


A space in a space(tuned feedback):



FilterBank Resynthesis

Roland_Kuit_Modal filter formants


FilterBank Resynthesis:

Roland_Kuit_Speaking Guitar


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:




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.

Kyma impulse response test

Gunshot Impulse Response:


Vocal Tap Impulse Response:


Bagpipe chord Impulse Response:


Metal scratched string Impulse Response:


A polynomial shaped Impulse Response:

Polynomial Impulse Response


Time-Frequency manipulated Impulse Response:

Time-frequency impulse response Roland Kuit


Brightness following time-frequency Impulse Response:

brightness following Time Frequency IR Roland Kuit



Time-Frequency scaled IFFT:

Roland Kuit Time-Frequency scaled IFFT


Time Scaled FFT and Feedback:

Roland kuit - Time Scaled FFT and Feedback


Ring Modulation and SSB

Ring Modulation 1:
Voice and ring modulation

Ring Modulation 1_Roland Kuit

Single sideband RM1:

Single Sideband Ring modulation 1 Roland Kuit


Hilbert Transform

Single sideband RM2:

SSB Roland Kuit


Single sideband RM duplicated:

Dublicated SSB RM Roland Kuit



In the next example, the Replicator is placed after the Quad Oscillator. Instead a 90 degrees phase shift, a sine and cosine OscBank module is used:

Resynthesis-Quad Osc-Replicator_Roland Kuit


Some simple FM techniques

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

Roland Kuit Kyma FM1

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

Roland Kuit Kyma FM2

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

Roland Kuit Kyma FM3

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

Roland Kuit Kyma FM 5

Adding a 2nd Feedback line:

Roland Kuit Kyma FM 6

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:

Granular FM Roland Kuit

And creating feedback in this patch:

Granular FM FB Roland Kuit

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:

Cross filtering

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

Simulated Annealing Roland Kuit

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

Kyma Roland Kuit

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":

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

I designed numerous cutting-edge sequencers with the Clavia NMG1/2 systems.
The sequencer on board of the Kyma system are well designed and you can adjust them further using scripts.

Here is a start I call Wacko Sequencer:

After these heavy sounding sequencer I wanted to make a kind of Buchla or EMS sounding one:

Used sound sources are the Xen Oscilator and FM.

This one is good for melodies:

Or what to think of my 70 Sequencer?

This FM Drum sequencer is getting some great Delay:


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