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Kyma Sightings

Have you sighted Kyma in print? Or cited Kyma in something you've written? Or "sited" it on the web?

For more information or to write a review of an item, click on its publication date. Or, add a new sighting to the list.

Publication Date Title Author Excerpt
11 Nov 2010 35 Inventions that will change our lives (Des inventions qui vont changer nos vies) Véronique Robert Kyma was identified in the November 11 2010 issue of the Montréal newspaper L'Actualité as one of 35 inventions that are going to change our lives. The associated web content for the article focuses on the concept of live control, featuring a video of Kyma controlled by the Nintendo Wiimote (via Osculator). According to L'Actualité correspondent Véronique Robert, "Kyma fans adore this type of complex computer that can create new sounds as well as reproducing a complete orchestra. For a composer, it's like playing God"(!)
20 Jul 2009 Brain Explosions CarlaScaletti Kyma/Pacarana is reviewed in the July 2009 issue of Future Music. A few of the more memorable quotes include:

...everything Kyma-X can do will make your brain explode in a very messy but not necessarily unpleasant kind of a way.

...it's not so much a soft synth, more of an audio construction kit, like Reaktor or SynthEdit, but on a shop full of steroids.

...You don't just get total control over audio, you get a brain-expanding education in how to think about sound.

...it's a few hundred steps beyond what's possible with a synth construction kit.

...Kyma has the unique ability to morph sounds, melting them into each other like plastic. This is completely different to the usual crossfade effect, because pitch, timbre and rhythm all change simultaneously.

15 Jul 2009 Small furry and exotic Richard Wentk Richard Wentk reviews Kyma running on the Pacarana in the May 2009 issue of Audio Media, concluding that working with Kyma makes you realize just "how unadventurous most of your experience with audio has been." Richard notes that "most audio engineering and sound design happen within a small creative space, and Kyma blows that space wide open."
10 Jul 2008 The Guitar Heroes? EdmundEagan, CarlaScaletti and LippoldHaken An article on alternative music controllers published in the July 10, 2008 online version of the New York Times includes videos of Edmund Eagan and Carla Scaletti using the Continuum Fingerboard to control Kyma.
01 Jun 2008 OSCulator Embraces the Controller CamilleTroillard On pages 11-14 of the June 2008 of the SEAMUS newsletter, Camille Troillard discusses the past, present, and future directions of his OSCulator software.
01 Nov 2007 Kyma in Interface ChristiaanGelauff Christiaan Gelauff is featured in the November 2007 of Interface Magazine in an interview with Allard Krijger exploring his CAG microsounds for Kyma. The interview, which left the interviewer "deeply impressed by the stuff Christiaan designs on this system," also includes a CD with audio and video demos. "Christiaan loads a few files in Kyma and explains how he created the filters and what the problems are in designing the filters. Mainly it is about advanced mathematics...Then he plays the result and I am astonished by the beautiful sound of the filters he has created."
13 Oct 2007 Sound and the City—The Anthology Yan Jun and Louise Gray, Editors Sound and The City was an innovative sound art project, conceived by the British Council and realised across China between 2005-2006. Seven leading UK sound artists—Brian Eno, David Toop, Peter Cusack, Clive Bell, Scanner, Kaffe Matthews and Robert Jarvis—were invited to create new work inspired by the civic sound environments that they found in four cities—Beijing, Shanghai, Chongqing, and Guangzhou. The artists’ experiences are documented in this book, along with essay contributions from UK and Chinese critics.

The project also invited the Chinese general public to describe their favourite sounds of the cities that they live in. Those descriptions, along with audio recordings, are contained within the book and accompanying CDs. Many of those favourite sounds are ambient ones, less and less frequently heard as Chinese society changes at its current ferocious pace.

200 page book (English and Chinese) + 2 audio CDs, Edited by Yan Jun and Louise Gray. Published by Horizon Media in Beijing, China.

"Sound And The City might be termed an intimate art project. It speaks to the general public, not the selected public, instead of being proudly ahead of it’s time, it intervenes in the lives of the contemporary Chinese public; it encourages people to feel and share, rather than criticize or display miracles. The seven UK artists who made projects for Sound And The City have composed sounds in the most environmentally friendly ways. They invite us to listen again to our own cities and our lives. We have made this book because we want to share and listen with more people." – Yan Jun

02 Apr 2007 Chadabe Wins 2007 SEAMUS Award JoelChadabe Joel Chadabe was recently honored with the 2007 SEAMUS Award in recognition of his pioneering work in interactive composition and instrument design, his book Electric Sound, his advocacy for electronic music through the Electronic Music Foundation, and his work on raising awareness of environmental issues through sound art. Composer Kurt Stallmann interviewed Chadabe for the April issue of the SEAMUS newsletter where the two of them discuss models for new musical instruments, ranging from simple triggers to complex interactive systems: "These models suggest a fundamental questioning of what it means to compose and realize computer music. He [Chadabe] makes a clear distinction between the rendering model and the interactive model. The 'rendering' model uses technology to create an idealized performance of the composer's structured ideas. The interactive method defines a system of instrument behaviors associated with varied input from performers whereby the process of mutual engagement through performance forms the work. In line with systems developed to support this way of composing, he mentioned the visionary developers of the Kyma/Capybara system (Scaletti and Hebel) where real-time, open-ended responsiveness to live input was an initial design goal of this integrated digital system extending back to the late 1980's."
09 March 2007 Mathematics & Music BrianEvans Matematica e Cultura 2007, published by Springer and edited by Michele Emmer, includes two chapters on mathematics and music written by Kyma users: Simple mapping e la dimensione estetica by Brian Evans (which addresses the connection between music, graphics, and number), and La metafora nella matematica e nel suono by Carla Scaletti (which equates the act of mathematical discovery with that of musical composition). Other topics in the book include infinity, architecture, soap bubbles, graphic novels, mathematicians and autism, front-back symmetry in pre-Incan Peruvian weaving, and many others. An English version of the text is to be published in October 2007. The Italian version can be ordered online from Springer (or from Amazon).
01 Apr 2007 New aesthetics and practice in experimental electronic music Tony Myatt Issue co-ordinator, Tony Myatt, is seeking articles on the work of Autechre, Taylor Deupree, Mark Fell, and others for a special issue of Organised Sound, titled "New aesthetics and practice in experimental electronic music."
01 Feb 2007 Why is everyone so keen on Kyma? DouglasKraul In the February 2007 issue of Future Music, Doug Kraul answers the question "Why is everyone so keen on Kyma?" (see page 102 of the magazine). A couple of excerpts from his extended response: "In my experience there isn't one product that provides the same facilities and workflow that Kyma delivers," and "Kyma is especially agile at analysing a sound and then letting you resynthesize it in ways that afford you a broad palette for making creative changes while you're performing, including 'morphing' one sound to another." Pick up a copy of FM at your local booksellers or newsstand to read his discussion of the advantages of using a dedicated sound computation engine.
31 Dec 2006 15 Questions RichardLainhart Richard Lainhart is featured in an interview by Tokafi, the online classical and experimental music magazine. The interview focuses on Richard's ongoing collaboration with his friend (and next door neighbor) Jordan Rudess.
03 Oct 2006 Recombinant Media Labs Naut Humon Naut Humon's new Recombinant Media Labs (RML) facility is featured in the October issue of MIX magazine. Created as a bridge between cultural, commercial, and educational worlds, RML features a traditional recording studio, a video editing suite, a modular analog and software synthesizer chamber, and a large flexible black box theater with 16.8.2 surround sound, a 10-screen high definition video system capable of projecting panoramas of up to 360 degrees, and 32 transducers in the floor for that ultimate infra-bass experience. Reflecting Naut's long-standing interest in spatial audio, Recombinant Labs employs a hybrid of several techniques for sound spatialization, including vector-based panning, Ambisonics, and wavefield synthesis using clusters of speakers to pixelate a localized sonic 'image'. A fully-loaded Kyma system is on hand for artists in residence interested in doing customized synthesis, processing and spatializing. Naut's dreams for the facility include collaboration, creation and education: "We fully welcome any organization or individual interested in the prospect of a creative collaboration." Check out the RML website and consider making a proposal to Naut at Recombinant Media Labs.
01 Oct 2006 Continuum in CMJ LippoldHaken Computer Music Journal, Fall 2006, includes an announcement of Lippold Haken's Continuum Fingerboard including a mention of the fact that it can communicate with Kyma over FireWire.
01 Sep 2006 Power Tools DennisMiller Check out the final page (152) of the September 2006 issue of MIX magazine to read Dennis Miller's tips and tricks for getting the most out of your Kyma sound design workstation. In keeping with the sound-for-picture focus of the issue, Miller covers topics like synthesizing water drops, metalizing, cross filtering, and Doppler-shifting live to picture. A favorite quote: "Kyma's Tau Editor is so much fun it should be illegal."
04 Jan 2006 Visual Music BrianEvans The Winter 2005 issue of Computer Music Journal is dedicated to Visual Music, and features several Kyma users including articles by Brian Evans and Joran Rudi, a still from Dennis Miller's Cross Contours on the front cover, and excerpts from Agostino Di Scipio's Pulse Code (on Wood), and James Hegarty's Aerial on the enclosed disc.
01 Jan 2006 Linguaggi di programmazione MatteoMilani Matteo Milani reviewed Kyma and interviewed Carla Scaletti for the January 2006 issue of Strumenti Musicali magazine. In a sidebar, he also describes Recombinant Art 01, a 5.0 surround DVD of artists using Kyma that was produced by Edmund Eagan.

Milani writes that he appreciates the relationship that Symbolic Sound has established with its customers, the familiar climate of the company, and collaboration with the customers in programming the software as the characteristics that distinguish this brand from others in the sound design market. He describes Kyma as a purchase that will repay you immediately but even more importantly, over time as terms of the tens of plug-ins you will not have to buy in the future.

01 Nov 2005 Metamorfosi LorenzoBrusci Brian Marley reviews the Timet/Mariposa CD Metamorfosi di canzoni napoletane I Dischi Forma, 2004 in the November 2005 of The Wire. Metamorfosi, edited and composed in early 2003, was one of the first works that Lorenzo Brusci produced with Kyma.
20 Sep 2005 Di Scipio in CMJ AgostinoDiScipio Composer Agostino Di Scipio is interviewed in the Fall 2005 issue of Computer Music Journal. Interviewer Christine Anderson focuses on Di Scipio's recent work in which he creates sonic interactions between a source, real-time digital signal processing in Kyma, and the acoustics of the room hosting the performance in order to create a dynamic, self-organizing system, symbiotically connected with the surrounding environment. Di Scipio's work takes into account not just sound-source and the sound-receiver, but the space in between.

In answer to one of the questions, Di Scipio states: I should mention that, in composing these pieces, I started working with the Kyma sound-design language and its number-crunching engine consisting of several Motorola processors. I enjoyed working with it so much, it then became for me a rather stable computer music platform with which to work.

13 Sep 2005 Sound objects in the garden LorenzoBrusci The September issue of Ville Giardini magazine includes a page dedicated to Lorenzo Brusci's Giardino Sonoro La Limonaia dell'Imperialino. On archphoto.it you can be transported to the hills of Florence and experience the sonic garden by way of a video and an interview with Brusci discussing the integration of music and nature, the creation of sound and light objects, the navigation between chaos, order and causality, and the concept of a garden as a venue for the public presentation of music.
12 Sep 2005 Digital Songlines from Australia PaulDoornbusch A limited number of copies of Paul Doornbusch's book on the music generated by Australia's first computer (CSIRAC) are now available from Common Ground Publishers and also from Amazon.

The Music of CSIRAC charts the history of computer music starting in Australia in the early 1950's, bringing to life the inventive spirit and imagination of the engineers and programmers who decided to make music with a computer. The book includes a CD so you can hear a reconstruction of the original sounds.

11 Sep 2005 Mosc online HowardMoscovitz Find out how Howard Moscovitz, founder of http://www.electro-music.com, participated in the development of the first DSP at Bell Labs in this online interview.
06 May 2005 Theremins, Clarinets, and Kyma RolandKarnatz Not only has Roland Karnatz performed live with Kyma, he has also taken the time to reflect on the process and summarize some of his observations and discoveries. In Interactive Computer Music: A Performer's Guide to Issues Surrounding Kyma with Live Clarinet Input (available as a free PDF download), Karnatz describes some of his discoveries, including his observations on audience perception of interaction and the differences between using an acoustic instrument as a controller or as a source of sound. Karnatz believes that technology is blurring the distinction between composer and performer, and he wants to encourage more performers to compose interactive environments for themselves. Thus, his document is written from the player's point of view and contains descriptions of various models of interaction between Kyma and a live performer. He also includes practical information on issues such as speakers and amplifiers, performance-space acoustics and diffusion options, interactive inputs, and microphone choices for clarinet. There's even an audio excerpt demonstrating his "prepared clarinet" concept. Karnatz' philosophy is summed up in his quoting of Jacques Attali who predicts a time when the "bulk of commodity production then shifts to the production of tools allowing people to create the conditions for taking pleasure in the act of composing."
15 Apr 2005 Fruit flies like bananas PaulSop Paul Sop has created a one page photographic overview article on Kyma at his website where he writes, "The Kyma/Capybara combination is a 'whole is bigger than the sum of its parts' kind of ultimate electronic musical instrument and sound design tool." And if you visit his blog right away, you can still catch the photograph of a bullet going through a banana in the April 5 entry.
08 Apr 2005 Freaky and exciting ScottMiller Composer Scott Miller is mentioned in an article from the Grand Forks Herald newspaper in connection with his participation in the Third Festival of Women in the Arts at the University of North Dakota. Composer-in-residence Michael Wittgraf, who also uses Kyma, describes it as "very freaky sounding and very exciting."
14 Mar 2005 Music shapes your brain Harvard Medical School Ever wonder how all that sound and music you've been making is altering your neural nets? The researchers at the Music and Neuroimaging Laboratory at Beth Israel Deaconess & Harvard Medical School write: The human brain has the remarkable ability to adapt in response to changes in the environment over the course of a lifetime. Yes, it's true, music really does make parts of your brain grow larger (though it is not clear whether this enlargement might be at the expense of other areas of the brain)!
02 Mar 2005 Wands and sparks in Minnesota ScottMiller Scott Miller's Shape Shifting is reviewed in the Minneapolis St. Paul City Pages. The article describes how Miller used his "space-age sound-bending machine" Kyma as a magic wand that "disables the discerning listener from matching sounds to the instruments they came from—and that's precisely what Zeitgeist finds so alluring."
01 Jan 2005 Kyma X Andreas Monopolis The January 2005 issue of Sound Maker magazine features an article on Kyma X by Andreas Monopolis. A free CD included with the magazine features audio samples from Kyma and a "music video" summarizing the November 2004 seminar organized by Andreas Mniestris at Ionian University. The video opens with a moving shot travelling down a stone path and over the moat into an old castle where the music department is housed and includes several action shots of seminar presenters Carla Scaletti and Kurt Hebel demonstrating Kyma X.1, seminar participants using the Continuum Fingerboard (http://www.hakenaudio.com), and Scaletti using a bifurcation diagram overlay on the Wacom tablet interface controlling Kyma (http://www.symbolicsound.com/cgi-bin/bin/view/Company/KymaX1Released).
23 Oct 2004 Intervista a Carla Scaletti MatteoMilani Ora disponibile anche in versione italiana l'imperdibile intervista a Carla...
08 Oct 2004 Interview with Carla Scaletti MatteoMilani The Graphicalsound web site is hosting an exclusive interview with the creator of the Kyma language, Carla Scaletti. She and sound designer Matteo Milani look behind the sounds and discuss the history and future directions of Kyma. You can download the pdf files at http://www.graphicalsound.com/Journal.html.
01 Oct 2004 Kyma X Reviewed DennisMiller Check the October 2004 issue of Electronic Musician for a review of Kyma X. Reviewer Dennis Miller writes: Kyma X is a perfect example of how hardware-accelerated tools can still beat software by a wide margin. There is no software or bundle of soft tools that can come close to the power, expandability, and flexibility that Kyma offers.
05 Aug 2004 Sound Design - New Frontiers Forged with New Tools SkipSoRelle Skip Sorelle of Team Sound and Vision in Washington, DC was interviewed for an article titled "Sound Design - New Frontiers Forged with New Tools" in the August issue of icom: Film & Video Production & Postproduction Magazine. Sorelle is quoted as saying that "Kyma's browser-based drag and drop environment invites experimentation."
01 Aug 2004 Quiet Please! FerdinandoArno Ferdinando Arno's beautiful Milan-based studio Quiet Please! is featured on page 14 of the August 2004 edition of Pro Sound News-Europe. Described as "the ultimate in retro sci-fi chic, as well as some cool kit," Arno's studio is the source for sounds and music for 40% of all Italian television commercials on the air. Arno enlisted studio designer Andy Munro to deal with some of the acoustic isolation challenges posed by the studio's underground location and to advise on the acoustic properties of Arno's materials of choice: wood, glass, plastic, and vinyl. The result is a clean minimalist look that suggest the orbiting space station in 2001: A Space Odyssey or Number 2's interrogation room in The Prisoner. Or, as Munro describes it, "a deliberate tribute to the over-the-top sensibility of some 60's and 70's iconography." When it comes to gear, Kyma user Arno's philosophy is simple: "...we only have what we need and make sure it's both top-quality and practical."
24 Jul 2004 Open Country RobertJarvis Listeners to BBC Radio Four's 'Open Country' heard some Kyma-produced sounds when sound artist Robert Jarvis was interviewed in July about his installation and educational based work that encourages people to listen afresh to the sounds around them. More information on the program is at the web site where you, too, can listen afresh by clicking the Listen Again link.
20 Jun 2004 The Holy Grail ScotSolida For an in-depth Kyma review by composer/sound designer/author Scot Solida, check out pages 54-59 of Future Music magazine (the June edition). The verdict? This hardware-meets-software audio construction kit is, quite simply, the Holy Grail of sound design. Comprehensive and balanced, the review makes it clear that Kyma is not for everyone, but instead is intended for those intrepid few that feel that innate urge to get inside of sound itself. Speaking of his own experience, he writes: I find that Kyma has infiltrated my daily thought processes in an almost disturbing fashion. It's even become a bit of a pastime to dream up new processes and bizarre ideas with which to challenge the system. And to my continued astonishment, Kyma always seems to meet those challenges, no matter how outlandish.
19 Jun 2004 Making the Game: Audio/Sound FX Production SimonAmarasingham Vincent Stefanelli, Kemal Amarasingham, and SimonAmarasingham, co-founders of dsonic (http://www.dsonic.com), were recently interviewed in the Digital Media Developer newsletter. Stefanelli describes games as the leading edge for both music composition and sound design and, when asked about what gear they use, he responds, "We have an arsenal of hardware and software tools, but our favorites are Gigastudio, Logic Audio and Kyma, the latter being an especially great sound design tool."
18 Jun 2004 Under the Waves HamiltonSterling There seems to be a watery theme to the May/June issue of Sound Editors Guild Magazine which features a photo of MPSE Best Sound Editing award-winner HamiltonSterling (Master and Commander) on page 30 and, starting on page 27, an in-depth interview with Finding Nemo sound designer Gary Rydstrom.
25 May 2004 Yasuski & Yuhoh photos YasushiYoshida Pro Audio Asia (the May-June 2004 issue) has some beautiful shots of collaborators Yasuski (playing various instruments live through Kyma) and dancer Yuhoh (rhymes with UFO) in their multimedia performance of Genji Monogatari at the Alti Buyoh Festival in Kyoto (See pages 6-7).
20 May 2004 Sonic Surgeon Brian Transeau Producer/composer/performer and "Sonic Surgeon" BT is interviewed by Mike Levine in the May 2004 issue of Electronic Musician, discussing the "almost surgical precision" of the cutting and time-correction work Transeau performed on the Emotional Technology album. The subject of Kyma also comes up in the interview:  "My main sound-design box is Kyma, the Capybara system ...Every instrument you build in Kyma is unique unto itself...It's the wormhole. It's the sort of door you open, and on the other side are infinite possibilities in sound."
15 May 2004 Tale of Genji YasushiYoshida Yasuski's Tale of Genji is featured in a story by Tim Goodyer in the May issue of Pro Audio Asia magazine. Tale of Genji is a work for solo dancer and solo musician, a multimedia performance employing Japanese traditional dance, electric guitar, kora, and Yasuski's audioHologram—a Kyma-controlled five-channel surround panning and processing system where the speakers literally surround both the audience and the performers. Yasuski took the musician's role accompanied by dancer Yuhoh, (pronounced 'UFO', a name she adopted after seeing a UFO near her house) supported by a troupe of traditional Jiutama dancers.  The Tale of Genji is based on the ancient Japanese tale Genji Monogatari—a novel written in the 11th Century by Murasaki Shikibu of the Heian royal court.
01 Dec 2003 Belet & Di Scipio in Organized Sound December 2003 AgostinoDiScipio and BrianBelet The December 2003 issue of Organised Sound is dedicated to the topic of live computer music performance. Articles by two composers using Kyma in live performance are featured in the journal: Agostino Di Scipio and Brian Belet.

In Live performance interaction for humans and machines in the early twenty-first century, Belet observes that the dualistic way in which computers have been portrayed in films and literature ("time-saving miracles" vs "diabolical threats") pervades the application of computers in music as well. Belet champions the creation of "genuine interactive performance environments" which achieve "equal balances between human performer and machine" and in which sound and structure are inseparable.

Di Scipio's Sound is the interface: from interactive to ecosystemic signal processing is a manifesto for a new paradigm for computer/human control systems: one in which the audio signal in a performance space controls the parameters of its own production. In Di Scipio compositions (as in biological ecosystems) large-scale structure evolves as an emergent property of simple rules for local interaction, feedback, and excitation by noise. Di Scipio composes the local rules; the evolution of the composition depends upon the live performer, the performance space, and ambient noise present in each unique performance.

26 Nov 2003 Listening: Sound Stream as a Clock Laura Tedeschini-Lalli Our act of "listening" has the ability to extract patterns, assigning them, in real time, to several different time-scales... We claim that this hierarchical storage, in turn, affects our ability to correctly synchronize events in a sound stream... (The processing of the audio-samples was done on a Kyma-Capybara system in the Dept. of Mathematics, Universitá Roma Tre.)
17 Oct 2003 Kyma X! Eigen Vector I just got the e-mail letting me know that my Kyma X upgrade is in the mail!! Looks like now is a really bad time to have a full time job :)...
01 Aug 2003 bt 3AM Artists Management His new album, Emotional Technology, is the latest milestone in his sonic trek and electronic innovation. It's a huge leap forward for me, says BT. I've grown as an artist, a vocalist and a producer, which is all reflected in the new album. Not only did I sing on six tracks, I also experimented more with traditional and aleatoric/contemporary string writing, and break-step beats, and learned more about coding for proprietary sound-design systems such as Kyma.
01 Sep 2002 Review: Kyma 5.0 David Ozab ...Kyma 5.0 is an exceptional piece of software...
01 Sep 2002 Aural Rendering Systems William R Sherman and Alan B Craig A programmable sound processor can be used to compute sounds (rather than playing back stored ones). This requires a powerful computer or Digital Signal Processing (DSP) system. The Symbolic Sound Kyma/Capybara system consists of Kyma software, which allows one to visually design algorithms for computing wave- forms, and the Capybara hardware, which consists of multiple DSP chips computing in parallel for a display featuring a multitude of complex sounds in real time...
05 Jun 2002 Music from Mainframes Thom Holmes One of Chadabe's more recent electronic music tools of choice combines Kyma (Greek for "wave") software running on a desktop computer with a proprietary audio-processing system called Capybara (named after a Patagonian, aquatic guinea pig). In a 2001 performance at Engine 27 in New York of what Chadabe dubbed his 'audiomagic interactive environment', several solo musicians took turns interacting with sounds that were triggered by Kyma and generated by Capybara
01 May 2001 SYMBOLIC SOUND KYMA SYSTEM 5.11 (MAC/WIN) DennisMiller The Kyma System is a real engineering feat, and its designers are to be commended for the ongoing and significant enhancements they have provided during the past ten years. The system is remarkably stable — I can't recall a single system crash in the many years I've used it — and when its price is compared with that of even a moderately loaded hardware sampler, it looks like a real bargain.
01 Mar 2001 Mother of All Sound Design Brent Edstrom Now in its fifth generation, the Kyma system is a massively powerful "black box"...
28 Oct 1998 Photo Report of Kyma Users Yoichi Nagashima We will power-up our Kyma system, and we will challenge future scene of live signal processing !
01 Oct 1997 American Women in Electronic Music Gavin Borchert My motivation in writing Kyma was originally one of necessity — I couldn't find any other system that did what I wanted, so I was compelled to make the system myself; but I discovered along the way that designing a composition language was itself a kind of composition. At times it becomes difficult to distinguish when I am working on a composition and when I am working on the idea of composition as embodied in Kyma...

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