This is a continuation of Tutorial D, Part 1. In this tutorial, we explore live spectral analysis/resynthesis and spectral modification.
This article addresses control signals at audio rate in the context of a working installation, Selector. Selector is an audio-visual installation that syncs audio changes (e.g. hard pan controls, audio triggers) with animations. The work uses OSC messages coming out of
In this tutorial, we explore spectral analysis and resynthesis. Before beginning this tutorial, please download the Kyma Tutorial Sound file that contains the Sounds discussed below. Completion of Tutorial A and Tutorial B is highly recommended. We will be using a keyboard to
My approach to ecosystemic programming has involved conceptualizing the final product as a physically navigable space, as a metaphoric sculptural mobile (audible-mobile) or as an orrery (a mechanical model of the solar system). Thinking about the behavior of sound in
In the previous article (part 1 of 2), we explored how to get a single column CSV [comma-separated-values] file working with Kyma. We used this single stream of numbers to generate internal MIDI messages that controlled pitch, amplitude, timbre, location, and note duration.
This is a continuation of Tutorial C, Part 1. Part 2 focuses on the SampleAndHold in several manifestations.
In this tutorial, we look at other ways to generate patterns in Sound parameter fields.
In this fourth tutorial, we continue our work with the StepSequencer.
In this third tutorial, we examine the StepSequencer and how it can be thought of as one big, resource-rich automated MIDI keyboard.
In the past, the Frequency Modulation technique was used widely in radio transmission but had not been applied to sound synthesis. In the early 1970s, John Chowning, a composer and researcher at Stanford University, developed some important new techniques for music