KYMA - SONIC LAB SEEDS

Reaktor, MAX/MSP, VST/AU, etc. A place for all things soft....

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dubonaire
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Post by dubonaire » Tue Oct 08, 2019 2:03 am

Roland Kuit wrote:@OMN,

As you are an expert on Kyma, enlighten us with you examples in Kyma.
This is a Kyma examples thread.
Till now I have not seen any advice here from you, only trolling.
Sending but not connecting. Modular unworthy........

Edit:

@dubonaire,
I thought this too first, but as OMN is going on and on and bashing Kyma, Symbolic Sound Carla and Kurt, the examples and me, it must be something else.
Well my advice is just put him on ignore.

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Post by Roland Kuit » Tue Oct 08, 2019 2:11 am

------
Last edited by Roland Kuit on Fri Nov 01, 2019 5:37 am, edited 5 times in total.

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Post by Roland Kuit » Tue Oct 08, 2019 3:37 am

And again, as Kyma users asked several times, to place Kyma examples in this thread:

Yes, please do, and with your own created sounds.
All is considered sound in Kyma.


Image

You can find lots of info about Kyma on the Symbolic Sound website:
https://kyma.symbolicsound.com/

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Post by pianoscope » Tue Oct 08, 2019 1:49 pm

As for STFT being a cliche, so subtractive synthesis isn't?

OMN would you be willing to post some "not horrible" Kyma examples? as I have been enjoying Rolands work.
Last edited by pianoscope on Tue Oct 08, 2019 2:03 pm, edited 2 times in total.

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Post by chiavere » Tue Oct 08, 2019 3:44 pm

Hi All,

It may be "horrible" to some, but below is a Kyma piece I made for 3D ambisonic diffusion - this is a binaural version for headphone listening to somewhat approximate the spatial motion.

The sound sources are both hardware synthesis and native kyma sounds. I also used the Neverengine Labs Kyma Ambisonic Toolkit quite a bit.

The piece has three performances this fall, if you happen to be nearby. It is much more effective on a large multichannel system, IMO. :hyper:

27 September 2019 Audiorama/Geiger concerts Gothenburg, Sweden (24.4 channel diffusion)

16 October 2019 AGORA Festival for Music, Technology, and the Arts Grenoble, France (24.4 channel diffusion)

17 October 2019 Birmingham New Music Festival 2019 University of Alabama, Birmingham, Alabama, USA (8.1 channel diffusion)

http://soundcloud.com/freemovementarts/ ... 19/s-3ep5P

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Post by Roland Kuit » Tue Oct 08, 2019 4:54 pm

Thanks for placing your work here @ chiavere.
"Horrible" often says more something about the listener than the actual piece.
And the ambisonic diffusion is a great add on in Kyma.
And yes, it is worth mentioning Cristian Vogel and Anders Tveit's work in ambisonics.
Outstanding tools for diffusion.
Last edited by Roland Kuit on Wed Oct 09, 2019 5:07 am, edited 2 times in total.

peripatitis

Post by peripatitis » Tue Oct 08, 2019 5:55 pm

Frequency's manipulator video that was posted earlier is a good example of what is close to impossible in other programs (at least without being awarded a PhD for making something sounding half as good happen).
And yes kyma is not modular and neither is pd or max.
Supercollider, if you can imagine yourself plugin' code, instead of cables is though.

Reactor, vcv , etc are not that different to BEAP though so I don't see how they get to be "modular"

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Post by chiavere » Tue Oct 08, 2019 6:53 pm

I feel like this “is it modular?” kerfuffle is a red herring, and off-topic — much like listening to something and arguing if it is “jazz” or not.

Kyma is what it is — it’s a tool for working with sound — use it, don’t use it, like it, don’t like it.

One can get as granular as you want when programming Kyma sounds from scratch, using prototypes, Capytalk, and scripts.

Let’s make and hear more music instead! :tu:

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Post by pianoscope » Wed Oct 09, 2019 1:38 am

...perhaps but I think Roland's point was that Kyma can feel complex and abstract to those that don’t know it, (it does!) so here it is doing something that modular synth users are more familiar with. This is welcome, as the Kyma community can unintentionally seem a bit hermetic, and shows the platform is not that unapproachable.

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Post by Roland Kuit » Wed Oct 09, 2019 1:41 am

Modular is for me a way of thinking......combining things.
Combining synthesis techniques, hard - and software etc.
And even towards the speakers used.
Not narrowing things down as separate and exclusive tools or thoughts.
Last edited by Roland Kuit on Wed Oct 09, 2019 4:34 am, edited 3 times in total.

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Post by Roland Kuit » Wed Oct 09, 2019 2:16 am

In the analogue world of modular systems it is common to expand to an other analogue system(s) and processing tools. The whole studio is the system. Studying at the Institute for Sonology, Utrecht, the Studer tape recorders were part of the system too! And the reverberation plate in the garden as well :)

More and more digital modules are developed to work in between such systems. (Naming a few: 2hp - Grain, Befaco - Sampling Modulator)
Years ago I combined the Buchla 200 with Kyma whereby the last was used as sequenced FM carrier and for spatial processing:

Image

https://music.apple.com/nl/album/tecton ... /978063599

Analogue and digital complementing each other.

Followed with this album where I gave Kyma a much bigger role in this complementing system resulting in:

Image

The Eight Nerve about this:
http://news.symbolicsound.com/2015/07/n ... ilarities/

https://s.awa.fm/album/b5be4c7b83b2f080a916/

Modular is also combing different fields. F.i. philosophy, neuroscience and boolean logic creating different kinds of sequencers etc. etc. etc.


All is connected
Last edited by Roland Kuit on Thu Oct 10, 2019 2:44 pm, edited 2 times in total.

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Post by chiavere » Wed Oct 09, 2019 7:02 am

pianoscope wrote:...perhaps but I think Roland's point was that Kyma can feel complex and abstract to those that don’t know it, (it does!) so here it is doing something that modular synth users are more familiar with. This is welcome, as the Kyma community can unintentionally seem a bit hermetic, and shows the platform is not that unapproachable.
Agreed, that is an important thing to dispel! I’m just saying let’s not get hung up on a label/terminology.

There are layers in Kyma usage (which the “kyma revealed” manual lays out very nicely) - you can immediately get rolling by choosing a “preset” sound (of which there are well over 1000) and hitting the space bar to compile it, roll the virtual dice on the interface to randomize that patch, or you can build up a custom sound by dragging and dropping pre-made components/prototypes (dare I call them modules?) like LFO, LPF, Osc, etc., but also logic functions, utilities, etc. OR get down to the granular level of programming from scratch with Capytalk and scripts, as you can with supercollider, Max, or pd.

I’m only 5 years into my use of Kyma (first on a Capybara, now Pacarana), and I still discover new things every day - it’s extremely deep, and, like many of these tools, a massive field of possibilities.

I used supercollider 2002-2005, and still use Max for certain things, but as someone whose brain connects easier to hardware thinking and programming/patching, Kyma really spoke to me as a tool, and I think it is actually more accessible when starting out due to all the amazing preset sounds you have right out of the box - you can even very easily use it as a “preset machine” FX processor for external sounds, if you want.

Also, agreed, @Roland Kuit, “modular” can/should be a very broad/big picture way of thinking/approaching the combination of things!

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Post by chiavere » Wed Oct 09, 2019 7:34 am

Roland Kuit wrote: Years ago I combined the Buchla 200 with Kyma whereby the last was used as sequenced FM carrier and for spatial processing.
Great! Is there a way to order/hear the quadraphonic version of this album?

One of the primary sound sources for the “spatial study” piece I posted earlier was a Buchla 200/200e system (not mine - hahaha) - I also am a fan of combining these things.

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Post by Roland Kuit » Thu Oct 10, 2019 1:29 am

chiavere wrote:
Roland Kuit wrote: Years ago I combined the Buchla 200 with Kyma whereby the last was used as sequenced FM carrier and for spatial processing.
Great! Is there a way to order/hear the quadraphonic version of this album?

.
I had a special quad edition on DVD. Sold out. Only stereo download a.t.m.
So this reminds me updating stock for DONEMUS, Publishing house of contemporary classical music.

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Post by Roland Kuit » Fri Oct 18, 2019 5:06 am

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Last edited by Roland Kuit on Tue Nov 05, 2019 10:33 am, edited 1 time in total.

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Post by Roland Kuit » Sat Oct 19, 2019 5:33 am

Enveloped Power:

[video][/video]

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Post by Roland Kuit » Sat Oct 19, 2019 3:42 pm

Back to some drum mangled beats:

[video][/video]

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Post by Roland Kuit » Sun Oct 20, 2019 5:38 am

The last example can be applied in combination with the Buchla 200:

[video][/video]

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Post by Roland Kuit » Mon Oct 21, 2019 2:46 pm

12 Inventions W.T.C. Part II J.S. Bach.

All at once! 8-)

[video][/video]

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Post by Roland Kuit » Wed Oct 23, 2019 2:41 am

Roland Kuit wrote:12 Inventions W.T.C. Part II J.S. Bach.

All at once! 8-)
In addition to this time-efficiency, it naturally also serves a specific purpose.
I have been researching all kinds of chaotic systems and their applications in music for years. In this example you can hear that this chaos is actually an accumulation of beauty. What these 12 mathematically perfect compositions are. Everyone can decide whether this 'accumulation' is also of beauty or composition.

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Post by Roland Kuit » Wed Oct 23, 2019 6:16 am

Modular Counterpoint Reverberation by extending the Jaap Vink Reverb:

[video][/video]
Last edited by Roland Kuit on Fri Oct 25, 2019 3:55 pm, edited 1 time in total.

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Post by Roland Kuit » Thu Oct 24, 2019 12:27 pm

Did you know chaos is full of patterns?
Information that is not immediately visible / audible.
E.g. the Bach Inventions example with all 12 at the same time.

In modular Synthesis , a Noise Generator, a clock, and the Sample & Hold module are used to create chaos/randomness. The Sample&Hold module holds a control voltage until the next clock pulse. If you use a LFO module instead of the Noise Generator, something else happens. Random becomes patterns. Certainly when the LFO module is synchronized with the clock signal.

In this modular example a Zen LFO, designed by Carla Scaletti, in which all available waveforms can be controlled simultaneously. Copy this 4x and you will get something like this:

[video][/video]

Picture of this modular build LFO:

Image
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Post by Roland Kuit » Fri Oct 25, 2019 10:05 am

Let's talk modular.........an other kind of 'sequencing':

Self running Kyma patch.
Roland Kuit - KYMA
The Krell patch is Todd Barton’s modular interpretation of the Ancient Music of Krell song from the 1956 Forbidden Planet film soundtrack.

[video][/video]

Download at Symbolic Sound:
Kind of Krell

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Post by Roland Kuit » Thu Oct 31, 2019 4:39 am

I noticed this tweet from Symbolic Sound about Making Waves.
The Art of cinematic sound.

Sound Design for movies is except very interesting also a lot of fun!

2 video's of the creation of the Wall-E sound by Ben Burrt on Kyma:

[video][/video]

[video][/video]

Lot's of different and interesting examples!

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Post by carlfunkenn » Fri Nov 01, 2019 4:16 am

Roland Kuit wrote:Did you know chaos is full of patterns?
Information that is not immediately visible / audible.
E.g. the Bach Inventions example with all 12 at the same time.

In modular Synthesis , a Noise Generator, a clock, and the Sample & Hold module are used to create chaos/randomness. The Sample&Hold module holds a control voltage until the next clock pulse. If you use a LFO module instead of the Noise Generator, something else happens. Random becomes patterns. Certainly when the LFO module is synchronized with the clock signal.

In this modular example a Zen LFO, designed by Carla Scaletti, in which all available waveforms can be controlled simultaneously. Copy this 4x and you will get something like this:

[video][/video]

Picture of this modular build LFO:

Image
very nice :bananaguitar:

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