In addition to the Sound Library, there is another vast resource of Sound Prototypes from which to draw. But as I delved deeper into making and controlling sounds in Kyma, I began to realize that one does not need a traditional sequencer. But this is just the beginning. You can also trigger, mutate, re-patch or process audio in ways that depend on what’s happening at the input. In Kyma, there is really no distinction between a Sound and its placement in time. One can take any sample and produce a Gallery of many distinct Sounds from it, using criteria set up beforehand. You can also record your Virtual Control Surface and MIDI fader moves, or extract a frequency or amplitude envelope from an audio signal and use it as a controller.

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In terms of building a sound from scratch, Max often requires significant time and symbplic to merely get to the point where Kyma already is with its huge collection of sound templates and examples. For those soknd readers who have been accustomed to take every new technological development in stride, it must be difficult relating to those of us who in my case, since have souund on so many new creative toys with such promise, only to have this promise dashed as, like so many shiny new things, their limited capabilities contained the seeds of their ultimate demise.

All these controls are easily accessible in a Timeline with a keyframe type control over each parameter as it progresses over time. If you’re new to synthesis, you’ll find using Kyma-X is like falling down a black hole.

But unlike Kyma X, here the Library is much better organized. When the program Max came along, Dound thought for awhile that the ultimate instrument had been found. What follows is the result of some intensive work with the new program. What about granular synthesis? I began hearing about Kyma at conferences, from colleagues, and online. The above describes Kyma from the message side.


I mention these in particular because they are the pathway through which I myself struggled, hoping for more than symboic years to find the instrument that could satisfy my creative needs. But you can take the smart processing much further, recognising certain words in a vocal line, and sending them to different FX chains.

Symbolic Sound Kyma/Pacarana review

If you have more experience and plenty of imagination, Kyma-X is more like the synthesizer you want from Santa. There is also the total integration of Sound editing and help areas, available in several areas including the inspiring new video tutorials, user guide, parameter field help, and Capytalk reference. Listen at each step along the signal path, or edit the Sound by modifying, adding, deleting, or replacing modules. Rotary controls are mapped to the continuous rotaries on the Motor Mix, switches and buttons turn lights on and off on the Motor Mix switches, motorized faders on the Motor Mix jump to the same positions as their counterparts on the virtual control surface, and the parameter names appear on the LCD scribble strip at the top of the Motor Mix.

In Kyma, there is really no distinction between a Sound and its placement in time. Up pops the Parameter Assistant window with a huge selection of possible expressions appropriate for the frequency field. As I gradually develop a deeper understanding of the Capytalk language, on a parallel course I develop an intuitive sense of where the interesting expressions are located in existing models, and shamelessly use them. I have heard it said, jokingly, that you have to be a little crazy to be a part of the Kyma world.

A Prototypes palette across the top of the screen gives you access to over modules for sound synthesis, processing, and sampling. The entire chain is evaluated on every sample, so adding a module does not increase the delay through the processing chain. One area generates sound files via Fourier, polynomial, or impulse response techniques which are more accessible in Kyma 7 than they were in Kyma X.


Symbolic Sound Kyma: Products WebHome

Attractively, most of the Prototypes are associated with a complete Sound pathway, so that when one opens a prototype one can immediately hear it in context.

Pros Awesome programmable DSP power for alpha-geeks.

As a composer who often uses texture and timbre as prime constituents, I have found the Multigrid to be powerful enough that it has, in effect, changed the way I hear and think about music.

You could think of the oyma as a “process scheduler”. This capability is truly magical and unprecedented. However, as with the Tau and Morphing concepts, when the Sounc Editor goes a step further and works with single pitch-specific Sounds, I find this to be too tedious, particularly since most of my Sound material is not pitch-specific, or has a large content of inharmonic partials.

Examine and edit the parameters of the symboilc module in the lower half of the signal flow editor. It contains another video and user guide showing how to search for Sounds. It is where you develop a new Sound or modify an existing one. Instead, Kyma-X has the potential to do something which is rare – create sounds which are unique and which move and respond in original ways. There is a concerted effort here to progress more logically from the simple to the complex sometimes in Kyma X the help areas were more frustrating than helpful.

This all adds to the price, and detracts from convenience. The waveform generators, which were primitive in Kyma X, have been drastically upgraded so that they can be made with Fourier, polynomial, impulse response tools.

Kyma X did have an overall description of each Sound and parameter upon mouseover, but these improvements are far more comprehensive.