I thought it was funny as it reminded me to Raymond Scott's electronic cartoon-like musiccarlfunkenn wrote:very nice
Corrupt wrote:Try scaling a VCS window though. What a mess.Roland Kuit wrote:Adjusting windows in the kyma software.
You can drag all windows to the prefered places.
Adjusting size from every corner.
From up left, up right, down left and down right.
Corrupt wrote:Try scaling a VCS window though. What a mess.
The main +++ = that Kyma is open for designers. Like Max/msp you can create your own(!) designs.gddfp wrote:And re-sizing/scaling STILL doesn't work as it should be (in the 21st century) in Mac OS. It's still done pre-OS X style...
Are there many Kyma users doing this sort of thing? I'm still just a Kyma voyeur, but am curious how deep these things go? Over $400 for his spectral suite... are there a lot of packages out there like this? I didn't realize that once you have a Kyma system there are further libraries to potentially consider.Roland Kuit wrote: One of the Kyma users I like in design of his VCS windows is Cristian Vogel.
Thanks by this informationRoland Kuit wrote: ↑Tue Aug 02, 2016 1:08 amCreating voices with use of formants.
A classic and fundamental example with use of the TwoFormantVoiceElement
An excitation signal similar to a glottal pulse (with a randomly chosen rate of vibrato) is used as the input to a pair of parallel second-order filter sections that simulate two of the formants of the vocal cavity for how to measure ring size.
The frequency can be specified in units of pitch or frequency. The following are all ways to specify the A above middle C:
440 hz (in hertz or cycles per second)
4 a (as the 4th octave A)
69 nn (as a MIDI notenumber)
4 c + 9 nn (as 9 half steps above middle C)
1.0 / 0.00227273 s (inverse of a period at 44.1 kHz sample rate)
The following are examples of how to control the frequency using MIDI, the virtual control surface, or a third-party program:
!Pitch (key number plus pitch bend)
!KeyNumber nn (MIDI notenumber)
4 c + (!Frequency * 9 nn) (continuous controller from 4 c to 4 a)
For an [IY] sound, try a center frequency of 238 hz. This will be the center frequency of the first formant. This is not the fundamental frequency of the TwoFormantVoiceElement but the center of an emphasized region of the spectrum.
For an [IY] sound, try a a bandwidth of 70 hz. This is the bandwidth of the lower formant region. The narrower the bandwidth, the more "pitched" the formant will sound--also the more likely the the filter is to overflow.
For an [IY] sound, scale this formant to 0.3. This controls the amplitude of the first formant. For the full amplitude use +1.0 or -1.0; any factor whose absolute value is less than 1 will attenuate the output.
For an [IY] sound, try a center frequency of 1741 hz. This will be the center frequency of the second formant. This is not the fundamental frequency of the TwoFormantVoiceElement but the center of an emphasized region of the spectrum.
Good and thanks for the Fairlight samples!bphenix wrote: ↑Sun Jan 05, 2020 6:54 pmLooking forward to KISS2020. It looks ambitious and quite interesting what they are encouraging this year for topics.
I am trying to do at least one Kyma based recording per week. Here is a sound based on spectrum files created from Fairlight samples which are used then to set the frequency and amplitude bands of a modal filter that is pinged by a single pulse and then feed into a tape delay.