This is a continuation of Tutorial D, Part 1. In this tutorial, we explore live spectral analysis/resynthesis and spectral modification.
Bart’s Kyma Tutorial D: Spectral Concepts, Part 2.
Control Signals at Audio Rate
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
Bart’s Kyma Tutorials D: Spectral Concepts, Part 1
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
Ecosystemic Programming and Composition Part 2 – Mobile and Orrery models
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
Reading CSV/TSV files in Kyma: Part 2
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.
Bart’s Kyma Tutorial C: Generating Patterns Outside the StepSequencer, Part 2
This is a continuation of Tutorial C, Part 1. Part 2 focuses on the SampleAndHold in several manifestations.
Bart’s Kyma Tutorial C: Generating Patterns Outside the StepSequencer, Part 1
In this tutorial, we look at other ways to generate patterns in Sound parameter fields.
Bart’s Kyma Tutorial B: The StepSequencer, Part 2
In this fourth tutorial, we continue our work with the StepSequencer.
Bart’s Kyma Tutorial B: The StepSequencer, Part 1
In this third tutorial, we examine the StepSequencer and how it can be thought of as one big, resource-rich automated MIDI keyboard.
Thoughts on FM: behind the algorithms
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