Shift register based loosely on the CD4015. Can be used to build instruments in the vein of Lorre Mill's DoubleKnot (hence the name). Also included is a LSFR with optional feedback tap options.

A sample rate version of the SetRange class.

RdSP uses the chaotic output of a Rungler to select samples from a pool and schedule playing them.  Given an appropriate set of samples it can sound quite musical (or not, if that's your preference).  You can leave it in self-driving mode or play it as an instrument using the VCS controls.   Read More

Updates on the original Kata Imagination Machine v10 changes up and down band mixing and panning kata filter in feedback path with 6 topology options and additional controls soft wavefolder / drive in loop allpass / phaser in loop audiorate controls in key areas See sound description for notes on running sound on Paca / Pacarana machines.   Read More

The core of the PowerPhasor is a traditional allpass phasor wrapped with an additional feedback topology to enable prominent ringing and phasor effects. Concept by Pete Johnston with refinement and contributions from Kyma Kata members.

In reference to Kyma Q&A (https://kyma.symbolicsound.com/qa/6616/have-replicator-ignore-elements-script-file-dialog-prompt) A script prompts you to open a CSV file, and then creates an ordered collection of individuals columns as arrays. The arrays are set as parameters in other Sounds accessed using Replicator's individual voices as the index (?VoiceNumber - 1).   Read More

A generative instrument based on Rob Hordijk's Benjolin (once described as "a chaos synth with two oscillators, a filter and a feedback system"). Updated from v1.0 to v1.02/v1.05 27-Jul-2024

A super clean pitch shifter. This Sound does phase aligned pitch shifting. By aligning the phase of the grains it gives a smoother result. Works great on non-polyphonic signals and not too bad on polyphonic ones too. The KYM file comes with a number of examples including a chord generator and polyphonic keyboard driven pitch control.   - Kyma Kata 2024   Read More

A looper vaguely based on the Soma Cosmos with four asynchronous loops.  You can record and overdub to selected loops, run in forward and reverse, send feedback between loops, apply effects and generally mangle the input.

******************************************************************* IMPORTANT NOTICE KymaConnect 2 is discontinued and no longer available. ******************************************************************* For a decade, KymaConnect 1 has expanded, simplified, and reduced the cost of Kyma setups on-stage and in the studio. KymaConnect 2 builds on this legacy with new features plus support for macOS 10.14 (Mojave), 10.15 (Catalina), and 11 (Big Sur), including native operation on either Intel-based or Apple Silicon-based Macs. KymaConnect 2 is a free upgrade for current KymaConnect licensees. KymaConnect 2’s integrated networking and MIDI functions work in concert to reduce or eliminate additional MIDI interfaces and networking hardware. Paca(rana) owners can obtain full MIDI connectivity between their Mac and the sound engine without additional MIDI interfaces. The built-in MIDI patchbay and router support up to eight external MIDI devices, and provide virtual MIDI ports to simplify MIDI exchange between the Paca(rana) and a DAW or other application. Networking setups to accommodate Wi-Fi based OSC controllers have less components and cables. KymaConnect 2’s “PacaProxy” “bridges” clients on one network to the Paca(rana) on another, with full bi-directional OSC support. Enjoy the benefits of tablet and smart phone apps like Symbolic Sound’s Kyma Control, Lemur, and TouchOSC without the complexity of additional network routers or Wi-Fi access points. A single CAT-5 Ethernet cable between the Mac and Paca(rana) is all that is needed for MIDI, OSC, and Kyma 7+. More advanced set ups are possible when the Mac and Paca(rana) are connected over a local network, even if the Mac and Paca(rana) are in different rooms! Whether on stage or in the studio, KymaConnect makes a Kyma system simpler, less expensive, and more reliable. KymaConnect 2’s “virtual MIDI patch bay” provides an always available connection between up to eight (four more than KymaConnect 1) MIDI devices and the Paca(rana). With KymaConnect 2, the Paca(rana) can be controlled from an external MIDI keyboard or other controller without running a sequencer or other software. It also provides a handy “virtual MIDI port” that software music applications may use to send and receive MIDI from the Paca(rana). KymaConnect 2 also has advanced MIDI channel mapping capabilities. The channel can be specified for each source to destination, and altered in an easy-to-use routing table. Channel mapping can be used to “mute” (disable) certain channels, or relocate one channel to another. What’s new in KymaConnect 2? macOS 10.14 “Mojave”, macOS 10.15 “Catalina”, and macOS 16.0 “Big Sur” support. 64-bit operation; 32-bit operation is not supported. macOS “Universal” application that runs natively on Macs using either Intel or Apple Silicon processors. Four additional external MIDI device slots, bringing the total number to eight. Enhanced MIDI routing, including selectable routing between external MIDI devices on a device by device basis. Additional MIDI command filtering options. A new virtual MIDI port, Haken2Kyma, for dedicated use with the Haken Audio’s Haken Editor. Support for IPv6 direct-to-Pacarana connections, and IPv6 local networks. This will reduce initial connection time in some situations. KymaConnect 2 replaces the now discontinued KymaConnect 1. It is available for $39.95(USD); KymaConnect 2 is a free upgrade for current KymaConnect licensees. KymaConnect 2 requires at least macOS 10.14.6 (Mojave). See the KymaConnect 2 for details how to purchase or upgrade. There is also information for users wishing to use KymaConnect 1 because they must use macOS 10.13 (High Sierra) or older.   Read More

Say Hello to Daphne and hit the "r" key. 16-points delay.

This Sound attempts to boost the level of your incoming signal as much as possible without exceeding the headroom setting. The goal is to have a good level set automatically without changing the dynamic range like a compressor would do. It's kinda rough so don't expect it to be very accurate. I made it for easy control of Kyma's AudioInputs. Just slap this on and don't worry too much about setting gain.   Read More

Here's another one of my favourite Sounds that doesn't make any sound. MorphGroup was inspired by the parameter morphing on the Nord Modular, although it's not the same and in some ways goes beyond what the Nord can do. The purpose of MorphGroup is to allow you to control several VCS faders with a single fader, thereby simplifying your VCS interaction. I use it a lot. Kyma is amazing at letting me throw some Sounds together and rapidly make something new, unique and interesting. It's then easy to pepper my flow with !HotValues to find all the interesting control points. But then I usually end up with a very busy VCS. MorphGroup then lets me simplify how I control the Sound by letting me group !HotValues together in interesting ways. Of course you can do this by editing your Capytalk expressions throughout your sound. MorphGroup lets you keep all that logic together in one place. MorphGroup lets me specify the input range and output range for each !HotValue it controls as well as the shape of the output response. So a single !Morph fader going from 0 to 1 could control one fader in a range 1 - 10 linearly and another fader from 20 to 20000 using a squared relationship (which you could think of as a rough approximation to logarithmic). As an example the other day I was using a wave-folder and Saturator in a feedback flow. Using MorphGroup it was easy to create a control called !Drive that between 0 and 0.5 progressively increased the Saturator's curve and the from 0.5 to 1 continued increase the curve and also geometrically brought in some wavefolding. The KYM file has a number of examples to show how it works.   Read More

This class is one I use the most. I'm always reaching for it. And it doesn't have any audio output. It's a Capytalk thing really, packaged up as a Sound. It might have a weird name but what it does is a straightforward idea. It forces a !HotValue to a simple fraction or whole number. It's easy to force a fader in the VCS to whole numbers just by setting the control's grid. What this Sound does instead is force the !HotValue to a simple ratio. For instance 1/2,  3/4,  16/9 etc.  I find these simple ratios really musically useful. The way you specify the allowed ratios is using a "prime limit" which is something you might hear about if you're using just intonation. The prime limit is the largest prime number you can use to make the ratio. The ratio is constructed by using primes up to the limit and taking them to a power. For instance: 2**2 / 3**3 = 4/27 Even using a prime limit there is still an infinite number of ratios you can create by using ever higher powers, which isn't useful as a quantizer. So in my class you also specify what the maximum coefficient is, which then produces a finite set of ratios. This class also lets you control how strictly you want to force to these ratios using the Conform parameter. If Conform is set to 1 then the Sound forces its output !HotValue to precisely the allowed ratios. If Conform is 0 then it passes the input !HotValue straight through without quantizing at all. With Conform set between 0 and 1 it will constrain to the allowed ratios with some wiggle, which is nice for a more natural pitch quantization with a bit of variability.   In the audio example I'm using two PrimeLimitConformers to perform the tune using two knobs on a midi controller.   Read More

Speech Synthesis voice recordings of common markers found in axes of graphs. Voice recordings for (re)creating axes in data sonifications. Includes Kyma examples for various playback mechanisms.

A Delay that can smoothly vary between Comb and AllPass modes. Implements the AllPass delay in a way that avoids internal saturation. It also has a stereo option, wet/dry control and implements a by-pass option for zero length delay. From the Kyma Kata.    Read More

This is a Dual Biquad filter. Compile selectable stereo Compile selectable single/dual biquad mode Runtime selectable high-, low- and all-pass The Slopefactor can be used to gradually change the filter from 2nd order to 4th order at runtime for the high- and low-pass modes. Slopefactor is only active in dual mode Built by the Kata under the kind guidance of Pete Johnston 2022   Read More

This FilterBank Sound is inspired by the Eurorack Modul Fumana by Fraptools. Although it does not reflect the complete functionality, the approach to scan the various filter bands is implemented. Grazie mille goes to SSC which did the elegant coding! Three Sounds are ready to play! Greetings Martin   Read More

This version has been superceded by V2.3 in the KkPitchShiftTimeStretch Bundle which has more smoothness. Similar to the KkPitchShiftTimeStretch, this is a granular pitch shifter and time stretcher that works with static files (and MemoryWriter buffers). This version has more sample rate control of parameters such as WindowSize and ScalePitch. You also have manual control of the playback position and can slow the rate as much as you like for as long as you like or even freeze the position with a Rate of zero. You can have forward playing grains while moving backwards through the buffer. Or backward playing grains while moving forward... or backward. You can even control the pitch of playback from a keyboard (see the included example which has a polyphony of 8). It's in stereo too. - by the Kyma Kata group   Read More

This version has been superceded by V5.1 in the KkPitchShiftTimeStretch Bundle which has more smoothness.   A live stereo, pitch shifting time stretching and time squeezing effect. The Sound uses a memory buffer to stretch into and squeeze from. If you want to squeeze time you've got to stretch first or be patient and wait for the buffer to fill from the live signal. You can use large buffer sizes! We've tested this on a 2GB pacarana with 15 minutes in stereo. That will give you at least 15 minutes of stretching time at the slowest stretching rate.  Just to emphasize what this means. You could take your live input from a microphone and at an interesting moment stretch out the audio signal to a thousandth of the original speed, without changing pitch, and keep that going for 15 minutes. It has a variable grain window size that lets you get interesting effects. It can also stretch backwards! (Don't ask me how. It hurts my head just thinking about it). Just set the StretchRate to a negative number.         Read More

We had complaints! Andreas wanted less gritty-ness. Outrageous. Anyway it's done. We've added audio-rate smoothing to the WindowSize and ScalePitch parameters so you don't get any capyrate fuzz any more when animating those parameters. You might want to add a bit of Capytalk smoothing to your faders too (using "smoothed" etc), for wonderfully velvetty manipulations. This contains both the static file based and live input versions of the Sound. -The KK team, 2022   Read More

Updated version! Leverage embedded markers in audio files to create an array of time stamps that can be used inside "tripWires: #()" array as timing gate for sample-accurate triggering. Link to my initial Q&A question: https://kyma.symbolicsound.com/qa/6074/markers-as-audio-sample-triggers?show=6077#a6077 Steps for using 1. Embed markers in audio 2. Run the Capytalk in this file and write down the times that are shown in debug window. 3. Either copy the times into "tripWires: #()" array, used as gate for audio sample trigger (so you can select which ones to use) OR simple use (1 ramp: !Length s) tripWIres: #(markers asArray) 4. Playback. sounds are triggered exactly when they should be. no matter how much time stretching you do on the audio file. Examples show how it's done.   Read More

KkVarislopeEnvelope The VarislopeEnvelope is a multi-stage envelope where the shape of each stage is independently configurable. The number of stages can be set and the levels and spacing of the envelope's points can be changed at run-time. A variable amount of overall smoothing can be applied to the envelope. The envelope can be triggered at sample rate and can cyclicly auto-retrigger. The envelope is bipolar and can output audio rate waves. Built by the Kyma Kata group including: Pete Johnston, Alan Jackson, Andreas Frostholm v 22.0   Read More

This tool implements an algorithmic composition technique based on Genetic Algorithms as originally developed by John Holland.  It does not create a composition, but drives a process over time whose evolution may be sonically interesting.  As with many things, it is all about the journey and not the destination, so interesting sonic events can occur as the algorithm moves toward its goal state.  This goal state and many parameters may be changed over time. Genetic Algorithms are a type of heuristic search, where a large search space is explored via a generate-and-test procedure. At each generation, a population of chromosomes are evaluated based on some fitness criterion. Based on this fitness criterion, pairs of chromosomes are selected for mutation and crossover, then added to the population.  In the context of heuristic search, this process continues until a suitable (but not necessarily optimal) solution is found. In our case, the goal is to hear the evolution. Chromosomes are a collection of pitches (6) which are played at each generation, with the fitness criterion being consonance: defined as a relationship to the reference frequency that is closest to ratios of small integers, with smallest integer ratios such as 2:1 and 3:2 being ideal.  This can also be inverted to seek dissonance.  As in the heuristic search application, selecting pairs of chromosomes for mutation and crossover also occurs. As expected, this process will converge on consonance at some point, but increasing the mutation and crossover probabilities as it runs can cause it to wander away, or the goal could be changed to dissonance for a different sonic direction.  Another way to drift away is by changing the reference frequency, either in the tool, or following some external source. This tool does not create sounds but changes event values as it runs along with an associated multigrid. !Freq1 !Freq2 !Freq3 !Freq4 !Freq5 !Freq6 event values reflect the contents of the 6 elements of each chromosome as it evolves, and are presumed to be associated with 6 tracks of an associated Multigrid. !RefFreq is used as a reference when evaluating the fitness of each chromosome and can be changed externally or in this tool.  If !RefFreq is changed, the genetic algorithm tool with reorient toward the new value, i.e. the !FreqN event values will begin to seek the new target. !Level1 !Level2 !Level3 !Level4 !Level5 !Level6 simply control the levels of each track by convention.  The associated Multigrid tracks are selected and triggered as appropriate during evolution. The display area shows a column for each chromosome with each of the 6 frequency components represented by a red bar at a height corresponding to its frequency, with brighter red indicating instantaneous fitness of a particular chromosome column.  The yellow arcs indicate the pairs of chromosomes selected at each generation.  The green box indicates the chromosome chosen to "play" at each generation, and is randomly chosen from among the more "fit" chromosomes that are the products of a previous generation. An associated Multigrid is provided as an example (GA-test.mgd). For pedagogical purposes, this Multigrid is fantastically boring, simply playing a voice using the !FreqN values described above.  You can, of course, do anything you'd like with these event values to savor the emergent sonic experience. See GA.kyt to get started.   Read More

This upload contains two sounds, designed to work well together. The first is a simple upgrade to Kyma's OscillatorTimeIndex, adding sample-rate sync to its existing sample-rate frequency and phase modulation parameters. The second sound can be used to address multi-cycle wavetable files (with waveforms of any consistent duration, not just 4096 samples), and morph between successive waveforms and across the wavetable at sample rate. For additional madness, the waveform length can be modified while the sound is running. Sound by Ian Fenton with help from Alan Jackson (whose prototypes are used extensively within) and Andreas Frostholm. Initial inspiration came from NEL ROM Tools along with the Kyma Kata's inexhaustible drive to make everything work at sample rate.   Read More

This is a mix between the MemoryWriter and the new amazing MemoryWriterWithTimeIndex. I was thinking of calling this MemoryWriterWithTimeIndexAndStreamingRecord... but... From it's description: "The MemoryRecorder is a hybrid mix of the MemoryWriter, MemoryWriter in cyclic mode and MemoryWriterWithTimeIndex. Like the MemoryWriter it lets you stream continuous audio into the buffer using the Record function. Like the MemoryWriterWithTimeIndex it also lets you write a single value at a specified location within the buffer using Gate or Trigger. It can also act like a hybrid of the two by letting you specify a starting point within the buffer using the TimeIndex input and then stream audio from that location onwards using Record. It has a stereo mode and has options to emit a TimeIndex ramp on channel 3 and End Of Cycle trigger on channel 4."   I'm rushing to get this out because I'm so excited about the new MemoryWriterWithTimeIndex! I've done a fair amount of testing on this Sound but if you do find any glitches or bugs let me know.   Read More

Function generator with SR params through out . SSC original https://kyma.symbolicsound.com/qa/5965/is-the-duration-parameter-of-functiongenerator-updateable This encapsulation by Cristian Vogel www.neverenginelabs.com v1.0b1

Discussion at https://kyma.symbolicsound.com/qa/5874/is-there-some-internal-clipping-on-the-delay-in-allpass-mode?show=5874#q5874   This is an encapsulation of PJs AP for experimentation, its stereo or mono

IronmanReverb by Ian Fenton. IronmanReverb is a DSP-efficient experimental reverberator based on a large feedback loop of all-pass filters, with multiple taps. Its controls allow for conventional, familiar reverb settings, and way beyond.

The PDF in this ZIP file contains important information about how to confirm, before you install, that a KymaConnect installer is authentic. It also provides some general information about macOS GateKeeper and notarization.

The KkImaginationMachine Sound. This is a Sound we started working on in the Kata in 2019. What is the KkImaginationMachine? That would be telling... ...basically it's a frequency shifter inside a delay feedback loop with a couple of filters. The Sounds own description says: Hilbert single sideband ring modulator with feedback with optional negative/positive frequency killer. - by the Kyma Kata group     Read More

Mutes and unmutes incoming audio at the next zero crossing, eliminating any clicks from sudden amplitude changes. Muting and unmuting can be performed at sample rate.

Here is a new version of the MultiTapDelay from Pete's DSP Modules which now works on the paca(rana). In the Kata meetups we've been getting interested in reverbs and made this new version of the MultiTapDelay to help with early reflections. Made by Pete and the Kata team.     Read More

Sounds and analyses to accompany Bart's Melodic Sculptor Tutorial Insights article.

A sample-rate controllable, stereo state variable filter with three-times oversampling! It simultaneously creates the four types of filter (low pass, high pass, band pass and band reject) which can be mixed into the output allowing you to cross fade between different filter types. The Sound has sample rate control of filter frequency, resonance (bandwidth) and filter type. There is a waveshaper in the internal feedback path and you can replace the waveshaping function in realtime using a MemoryWriter. The Sound file contains the encapsulated class as well as the un-encapsulated development source flow and several examples. : by the Kyma Kata group   Read More

SRMemoryWriter is a small upgrade to the standard Kyma MemoryWriter. It can now be triggered at sample rate regardless of cyclic behaviour. In addition, cyclic mode can be activated or deactivated while the sound is running, also at sample rate.    Read More

This delay simulates the pitch shifting behaviour of a STEREO mechanical tape delay with a single playback head. You can control the speed of the tape at sample rate. - by the Kyma Kata, 2021

Extension of the wonderful Mike Daliot's Resochord, from his Metaphysical Instrument. 8 Karplus-Strong Resonators in parallel. Patch + encapsulated class ready to use.

Another reverb. A classic FDN with added modulation. 8-delay Feedback Delay Network. 4 outputs (easily modifiable to 8 outputs).

This Sound is a slope generator inspired by the Serge Universal Slope Generator. You can control the attack and decay times at sample rate. There's also an internal feedback loop you can use to change the shape of the attack and decay slopes from linear to exponential or logarithmic. You can trigger the slope with its sample rate trigger input. Or you can feed it an audio signal in which case it acts like a slew rate limiter. The Sound's main output is the slope. It also has three other optional outputs that can be enabled (on channels 3,4 and 5) which give you an end of attack trigger, end of decay trigger and a square wave output where the attack and decay times govern the mark space ratio. The Sound file contains the Source and a few examples. -- by the Kyma Kata group     Read More