k y m a • t w e a k y — the kyma collective

SOSOscillators together with SpectralShape? can be used to create a massive unison oscillator. Use a constant wavetable in SpectralShape? (say, all amplitudes = 0.1), and in SOSOscillators, use the wavetable you would like to play in unison. Set "spacing" in SpectralShape? to the frequency offset between unison voices (i.e., very small relative to the playback frequency). The number of partials will then correspond to the number of unison voices you get. Modifying the spectral shape lets you set a different volume balance among the voices. Very economical, compared to running actual unison oscillators. (There are more artifacts and aliasing occurs at a lower frequency compared with freestanding oscillators however.)

[deleted my last tip as it was already done in a prototype!]

Cache files are a handy way to bounce down sounds in Kyma for subsequent mixing in a DAW. In Logic for example, simple add the cache files to the project via the Audio Bin window, drag them to an audio track at the same time position that they had in the Kyma timeline, and mix away.

-- LuddyHarrison - 25 Dec 2007

-- LuddyHarrison - 03 Feb 2008

SOSOscillators together with SpectralShape? can be used to create a massive unison oscillator. Use a constant wavetable in SpectralShape? (say, all amplitudes = 0.5), and in SOSOscillators, use the wavetable you would like to play in unison. Set "spacing" in SpectralShape? to the frequency offset between unison voices (i.e., very small relative to the playback frequency). The number of partials will then correspond to the number of unison voices you get. Modifying the spectral shape lets you set a different volume balance among the voices. Very economical, compared to running actual unison oscillators.

SOSOscillators together with SpectralShape? can be used to create a massive unison oscillator. Use a constant wavetable in SpectralShape? (say, all amplitudes = 0.1), and in SOSOscillators, use the wavetable you would like to play in unison. Set "spacing" in SpectralShape? to the frequency offset between unison voices (i.e., very small relative to the playback frequency). The number of partials will then correspond to the number of unison voices you get. Modifying the spectral shape lets you set a different volume balance among the voices. Very economical, compared to running actual unison oscillators. (There are more artifacts and aliasing occurs at a lower frequency compared with freestanding oscillators however.)

SOSOscillators together with SpectralShape? can be used to create a massive unison oscillator. Use a constant wavetable in SpectralShape? (say, all amplitudes = 0.5), and in SOSOscillators, use the wavetable you would like to play in unison. Set "spacing" in SpectralShape? to the frequency offset between unison voices (i.e., very small relative to the playback frequency). The number of partials will then correspond to the number of unison voices you get. Modifying the spectral shape lets you set a different volume balance among the voices. Very economical, compared to running actual unison oscillators.

-- LuddyHarrison - 25 Dec 2007

A trick related to the one above: InterpolatePresets? is great for modulating an entire sound, but it cannot be used to modulate the individual voices of a polyphonic sound; the hot values that it controls are global to the sound. However, if you expand an InterpolatePreset? sound (using CMD+E), and examine the parameter fields, you will find that each hot variable has been replaced by an into: expression; Kyma creates an array of the values that the hot variable has in each of the presets. You can cut and paste this expression to create preset interpolation within an individual voice, e.g., !KeyVelocity into: #(... values taken from presets ...).

-- LuddyHarrison - 22 Dec 2007

Any parameter that is recorded in the timeline can be extracted for use as an controller in another sound. Save the timeline into a sound file by opening a new sound file and pasting the timeline there (after playing a timeline, Kyma creates a paste-able version of it in the clipboard). Now open up the pasted sound in the sound editor, and find a parameter that uses a hot variable that is automated in the timeline. Kyma has created a time-dependent function (using an into: expression with an array) for the automated variable's value. You can cut and paste this function into other sounds. The advantage of this is that whereas the timeline automation can control a single instance of this controller (one instance for the entire sound and all of its MIDI voices), the capytalk expression can be used anywhere, for example, as an amplitude envelope on a single oscillator.

-- LuddyHarrison - 11 Oct 2007

On Mac OS X, when you read the PDF version of the Kyma Revealed book in the Preview application (for example), many examples can be copied and pasted into Kyma, but many columns are selected at the same time. If you want to select only the portion of code that you need, hold the Option key (aka Alt key) and drag a selection around the text. You can now copy the relevant text with the Copy command. This tip also applies for other Mac OS X 10.4 (and higher) applications.

-- CamilleTroillard - 20 Jan 2007

Perhaps a Radio Baton? =) This calibration feature is gold! I use it in all my Baton sounds! Thanks!

TobiasEnhus - 08 Dec 2003

When using the Sound editor, always start with an Annotation as the right most Sound. Not only does this encourage the habit of leaving notes and explanations for yourself, but when you make changes to the signal flow, it won't change the icon or name of the entire Sound.

When using the Sound editor, always start with an Annotation as the right most Sound. Not only does this encourage the habit of leaving notes and explanations for yourself, but when you make changes to the signal flow, it won't change the icon or name of the entire Sound.

When using the Sound editor, always start with an Annotation as the right most Sound. Not only does this encourage the habit of leaving notes and explanations for yourself, but when you make changes to the signal flow, it won't change the icon or name of the entire Sound.

When using the Sound editor, always start with an Annotation as the right most Sound. Not only does this encourage the habit of leaving notes and explanations for yourself, but when you make changes to the signal flow, it won't change the icon or name of the entire Sound.

If you option drag a sound into a !hotparameter field of second sound, it will copy the value from the matching field from the first sound.

!cc02 into: #({0.1@0} {0.5@0.5} {0.9@1.0})

This would map an input controller value of 0.1 down to a true value of 0. And it would map an input controller value of 0.9 up to 1.0. Input value inbetween will be linearly interpolated.

-- CarlaScaletti - 25 Nov 2003

If you option drag a sound into a !hotparameter field of second sound, it will copy the value from the matching field from the first sound.

-- BenPhenix - 21 Nov 2003

%META:TOPICINFO{author="CarlaScaletti" date="1069282140" format="1.0" version="1.1"}% %META:TOPICPARENT{name="WebHome"}% The students at CCMIX came up with this one:

When using the Sound editor, always start with an Annotation as the right most Sound. Not only does this encourage the habit of leaving notes and explanations for yourself, but when you make changes to the signal flow, it won't change the icon or name of the entire Sound.

-- CarlaScaletti - 19 Nov 2003