About a year ago while working as an advisor for an undergraduate student’s thesis about foley sound design, I discovered an interesting online tool— Krotos Footsteps Creator. It wasn’t so much the mixing of four different footstep sound banks that
Capytalk is a Functional Reactive Programming Language that you can use to define interactions between internal or external data streams and Kyma Sound parameters. Reactive programming is a paradigm for computing and modifying asynchronous data streams. Some examples of asynchronous
Introduction: I have developed this Kyma Sound over a yearlong time period to work specifically with melodic material as a sculptor might work with a raw slab of stone, the raw material here being a single instrument or voice line
There are several circumstances in which you might want to stream audio from your Paca(rana) onto a network, for example, you may want to: Share a Paca(rana) or a small number of Paca(rana)s among a group of sound designers working
Networked collaboration, telematic performances, and online learning have been growing in popularity for several years, but the lockdowns and social-distancing guidelines precipitated by the global COVID-19 pandemic have accelerated the adoption of these modes of interaction. This is a brief
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.