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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.
From philosophy to science to .................. sound
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:
Cyclist on pedals:
Granular SSB RM bicycle bell:
Granular spokes-free wheel andromorph:
The Two Formant Element:
Cyclist on pedals:
Granular SSB RM bicycle bell:
Bicycle spokes-wheel spinning granular andromorph:
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:
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)).
GrainCloud - Vocoder - Stereo Reverb:
Special timbres and fragility:
Pulses into vocal:
Tuning the reverb:
Tuned harmonic reverberation:
Tuned reverb partials:
Spectrum Granular Partials:
What about a Buchla sound disintegrating in more than a thousand quadraphonic cosines?
Delay and filtering:
Creating patterns in speech:
A space in a space(tuned feedback):
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.
This allows you to:
Creating a Voice-Piano Spectral Morph:
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:
Time-Frequency scaled IFFT:
Time Scaled FFT and Feedback:
Ring Modulation and SSBRing Modulation 1:
Single sideband RM1:
Single sideband RM2:
Single sideband RM duplicated:
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:
Some simple FM techniquesAs a first example the basic FM patch. A Carrier with a LFO modulated Modulator:
Thoughts on FM: behind the algorithms
By Roland Kuit
Chowning and further on
Chowning and further on KYMA
The SlipstickA physical model of an object being dragged across a surface by a control point at the end of a spring.
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