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   Read More

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.   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.   Read More

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 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    Read More

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    Read More

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.   Read More

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.   Read More

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.    Read More

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   Read More

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

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

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

Creates a Morph between: Type 1: Outputs the sum and difference of the X and Y inputs. Type 2:  Outputs the sum and difference of the X and Y inputs summed with the X signal. Type 3:  Outputs the sum and difference of the X and Y inputs summed with the Y signal.     Read More

Encapsulation of the SSC example - "Basic Hard Sync Oscillator on zero crossings of signal at the hard sync input" Encapsulated by NeverEngineLabs - Source code by SSC https://kyma.symbolicsound.com/qa/5606/what-the-best-way-reset-phase-oscillator-with-sample-accuracy   Read More

The SECOND installement of my AudioLogic library - Logical Comparison. Big thanks to Ben Phenix! for being my first Patreon supporter and the sponsor of this collection. The new collection includes greater than and less than and the useful Between functions and a couple of fun examples. One of which has the sound of a circuit-bent MD16 - thanks, Opal.   Read More

This Sound does granulation of either a live or a recorded binaural source. I've included a binaural recording in case you don't have live binaural input. The Sound was built by Simon Hutchinson and I. It's a work in progress.   Read More

A straightforward, noisy, warbly, grain drone subject to your live input. I built this sound step-by-step in a tutorial and now it's available here to download, to modify and to have fun with.   Read More

Reverb example inspired by Christopher Moore’s Ursa Major Reverb. The algorithm implemented in this example is described in his patent, Time-modulated delay system and improved reverberation simulator. The Kyma example differs in several meaningful ways and does not attempt to model specific hardware limitations. Additional, the Kyma example adds in some elements not found in the original design, most notably, adjustable modulation, a random function, and a granular reverb within the modulation feedback network.   Read More

This sound flips or folds values that exceed the -1 to 1 range.  This is conceptually similar to AddWrap except that values greater than the -1 to 1 range 'reflect' or fold back down. To create a wrapping mixer add sounds and attenuate each sound by the total number of inputs. For example, 1/# of inputs.  Then set the minimum flip value to the number of inputs.  There is an example of this approach included. This sound works by reducing the internal resolution and using the ‘overflow’ bits to wrap down.  This results in the primary audio channel resolution to be 24-bits.  It also limits the maximum number of folds to 255 (8-bits). Usage Mix modulation signals and rather than having them clip, they wrap back.  One example would be a pan signal that reflects back when it hits the maximum L or R value rather than clip (or wrap back using the AddWrap). Add harmonics to a sound either to an oscillator or to complex sounds.  This can get harsh quickly so consider filtering, additional wave shaping, or a mix with the original signal. Collaborators:  Pete Johnston, Alan Jackson, Ben Phenix. Notes There are two version. The replicator was the initial attempt while second approach is cleaner and used within the encapsulation.   Read More

Modulations into the MIDI Time Index Various modulations.