Here is a small collection of sounds that Carla sent to me as I was working on Favorable Odds. I was having trouble with choppers falling out-of-sync with the BPM in my Timeline. Enjoy!

Here are main sounds that I shared with during my presentation at KISS 2018 in Santa Cruz. unconventional ("unreliable") delay, using granular synthesis with very long grains (i.e. more than 1") My prototype for click-free granular synthesis with pitch-shifting of live input, by doing the pitch-shifting first, then the granulation (without pitch-shifting). My choppers (that stay in sync "forever") and with multiple levels of random control. Euclidean rhythmic machine with "chaotic" bass line.   Read More

This tool implements an algorithmic composition technique based on simulated annealing.  Simulated annealing belongs to a class of probabilistic  algorithms where large search spaces can be explored using a generate and test approach, and an optimal solution is not required.  In a musical context, the initial state is an arbitrary set of pitches.  These pitches are tested according to a criterion, such as relative consonance, then microtonally perturbed and re-tested according to this same criterion.  This process continues until a goal state or some arbitrary practical limit is reached.  Thus, the resulting music is an emergent property of the search process.  Unlike optimization problems where the goal is a solution, algorithmic composition using simulated annealing is all about the journey and not the destination. !Freq1 !Freq2 !Freq3 !Freq4 event values reflect the contents of the 4 elements of each generation as it progresses, and are presumed to be associated with 4 tracks of an associated Multigrid.  !RefFreq is used as a reference when evaluating the 4 frequencies of an iteration and can be changed externally or in this tool.  !Level1 !Level2 !Level3 !Level4 simply control the levels of each track by convention.  The associated Multigrid tracks are selected and triggered as appropriate during the process. An associated Multigrid is provided as an example (SAT-Example.mgd).  This example is naturally quite simple.  It will "discover" something like a major chord around generation #55, then stop the perturbation process for the remaining generations.  If you find major triads disturbing, you can then change the reference frequency, and more wandering will occur. You can of course use any sounds in your multigrid, and there is infinite musical exploration available to you in the tool.   Read More

A step sequencer that defines rhythmic values as a relative proportion of the total bar length. Made at KISS 2018 by a team of rhythmically challenged/challenging scientists.

A simple encapsulation of a bitcrusher and sample rate reduction. Setup for Pacarana as has 32 bits.

Wacom Pen and Finger controls tester

This Clavia G2 recorded sound bank (2012) is still actual for today's music. I hope you enjoy these samples for your spicing up your productions.

Example of 2D modulator which combines an offset, LFO with variable rate / shape / phase, envelope, random source and 4 step sequencer. You can use it to create Lissajous curves or other complex modulation shapes. For the example included here, I used the morphing grain cloud prototype with one axis controlling the morphing between different granular envelope shapes and the other axis morphing the granular waveform.  While the include sound provides a lot of fun as a standalone example. the 2D modulator was created in a manner to be easily added to other sound examples.   Read More

A basic example for creating the sounds of physical instruments not yet created. A granular oscillator is shaped by a tracking 3-part harmonic resonator and granular feedback path. Expand the sound palette with: Your own waveforms Chorus and reverb Modulation This sound works well with Madrona Soundplane.   Read More

In this part of the year, a little gift is in order … samples of fretted double bass, called "Farkash" (after it's builder/inventor) only two strings (metal) , G&D, but in octaves like very big double six guitar, if you will there are some photographs from the recording session, so you can see how it looks … on web, one can find some information (pictures, and history) about it , but not the sound recorded in professional studio played by professional player  (http://www.lado.hr/en/members-of-the-ensemble/orchestra/mladen-trcak/) 44.1/24 up to 5 rr per note, chromatically sampled, 3 dynamics played with fingers and 2 dynamics played with plectrum (special for that instrument, made from 2 layers of leather) 3 mics, each set to a different position: Km 84 Finger Board Km 184 Strings U 87 Hole 3 files: (Fingers.zip 1.31 GB, Plectrum 866.7 MB, Pictures 11.5 MB) needs editing! notes (each mic, string, dynamics) are in one file, so one should do some cutting to use it in SamplePlayer I have the copyright for the samples please, do not share them outside of Kyma community I wish you all happy and successful New Year!!!! S   Read More

This is a book about the Library we have just published. The library itself is available here http://www.cristianvogel.com/neverenginelabs/product/wireframes-library.

drumsFormer is quite simple but colourful convolution based stereo Sound. Eight folders containing each one different custom made Impulse Responses (Doors, Glasses, Metals, Papers, Percussions, Plastics, Rocks, Synth) are fed into a CrossFilter prototype. The relative triggers and the global interpolation are algorithmically controlled, but it's possible to override both of them by clicking the "Freeze IRs" and "ManualFade" buttons for further sound explorations. Spatial width and the fresh tilt EQ will be also useful to sculpt the spectrum. Try it with different harmonic sources or live inputs. Be inspired! Matteo unidentifiedsoundobject.com   Read More

Boolean trig/ticks maker with use over NevLabs Logic modules

Multi Live input for MultiSampleCloud example.

Old trick from the analogue modular synthesis field. Here with Sequencer.

Transform four rotated quad files into a stereo (binaural) mix using HRTFs that I recorded using in-ear microphones. Note that the newer SphericalPanner Prototype has better HRTF impulses than the ones I recorded with in-ear mics in my studio (back before the SphericalPanner was created).   Read More

Beat Repeater is a Sound that manipulates the wet, dry, and feedback gains of a simple delay line. When on, the plugin cuts off the input to the delay, cuts the dry output signal, and increases the feedback to 100%; in short, the sound “stutters” or repeats the beat according to a BPM setting selected by the user. A second Sound has a Probability fader that dynamically turns the effect on/off. A third Sound randomly selects beat divisions for a further glitchy breakdown of the sound.   Read More

Based on Anne La Berge's Assail Sequencer, this is an example of how to create a StepSequencer where each parameter sequence (KeyDown, KeyPitch, KeyVelocity, KeyTimbre) has a different (and adjustable) length. This allows for patterns of parameters that 'drift' or 'go out of phase' with respect to each other.   Read More

A demonstration of how to generate a gate that is negative for 5 millisecond to activate voice-stealing behavior in the Multisample. Also works on Sample and ADSR/AR. See Q&A for the question that motivated this solution.    Read More

Essentially the same Sound as the prototype "ModalFilter Vocal Formants BPFs" but I changed the code so it's easy to tweak.

Background I was reading a bit about the Wogglebug and Noisering and decided to try and make something similar.  Then I got sidetracked. Probable Values Sequencer Overview The basic idea here is a sequence of random or pseudo-random events where the value for each step can change based on chance.  This is accomplished via a stepped series of triggered S&Hs that sample a common input. This sound can be used to create sequences that range from fully random to shifting pseudo-random to fully periodic. Chance A chance value of 1 will always trigger the S&H.  When used with the LFO input, you'll get a periodic stepped sequence. A chance value of 0 will never trigger and continue to output the previously 'stored' value. A freeze toggle will immediate set the chance for all steps to 0 and the values will not change until the freeze toggle is released. A visual step indicator displays which step is being outputted. Input section The input is mix of different types random values and a LFO that can be modulated by a second LFO oscillator. The second LFO can also modulate the input mix between the random source and LFO. The LFO is synched to the master BPM with the ratio value that divides the master clock by that amount. Random source can vary from white > pink > walk (with adjustable step size & reset).  Walk is synched to master BPM. Zero input toggle silences the input and if the step is triggered, the stored value will return to zero. Output section Output can be smoothed (with wet/dry mix) and also has a scale & offset. Notes There is no sound generation included with this sound but, if you want to see what is happening, view with the oscilloscope. Included are two helper wave files for the LFO section that allow you to switch between triangle and saw values for the main LFO and sine and triangle for the secondary LFO.   Read More

Slightly updated version of an old sound published to the wiki years ago.  Based on the Prophet 5 architecture but obviously doesn't sound quite the same since it doesn't try to model the SSM or Curtis filter sound. Uses waveforms included with Kyma X based on raw oscillator samples made from my Prophet 5 rev 3.2. This updated version improves (fixes) FM behaviors. To do:  added missing dedicated LFO, 'expanded' version with additional routing & functionality.   Read More

  3-operator FM synth with a focus on different but related ways to create varying timbres. Overview primary & modulation oscillators have continuous waveform shaping primary oscillator amplitude modulation (modulated by the B oscillator) modulation B can be mixed with noise modulation B can be filtered, filter frequency set based on ratio & offset settings.  Useful for filtering noise which FMs primary. output (pre filter & vca) can be feedback to FM ModB oscillator. Includes selectable filter option to tame FM behavior. 2 LFOs with selectable waveforms amp envelope env A:  exp env B: lin env C: lin w/legato multiple cross-modulation points voice detune width (detunes each voice from each other) Notes / future paca users may need to lower the voice count no presets meant to add a per voice pan control waveform shape modulation may be interesting voice detune is tricky and most will find narrowing the min/max range more to their liking     Read More

Changed Symbolic Sound Spectrum FM patch

Use a spectral analysis to control the parameters of several frequency-modulated oscillators. An example of a more general pattern of using a SpectrumTrackSelector with ?VoiceNumber as the track number and a Replicator to create the sum of a large number of Oscillators.   Read More

Happy New Year, fellow Kymanauts! As a small gift, here is “diplica” , old double reed instrument, now nearly extinct .... Samples were recorded in studio, by professional player of traditional aerophonic instruments. Two RoundRobins per note. Tuning is ... autochtonous :). More details: http://www.gajde.com/en/instrumenti/diplica-2/ Enjoy, and all the best! Sacher Samuel   Read More

A simple but encapsulated stereo stuttery buffery machine.

An experiment into complex noise. Now at V2 6 Square waves in inharmonic ratios and some white noise into some filters. inspired the Gordon Reids Article. It is a little unpredictable: I'm still working on the filter section. Now has slightly better ranging and new features! Proceed with caution.   Suggestions for evolution are welcome.   Read More

This is the Sound file that accompanies Bart’s Kyma Tutorials D: Spectral Concepts.

ROM Garden created string and env files into Morph1dGrainCloud with spheric quad panner example.

Play Carla vs. Kurt in an exciting Pong game :D

  The Sound uses CapytalkToSound, which helps synchronize control signals with audio recordings (for installations or collaborations where a Paca is unavailable). To export our control signal in parallel with audio, we can use SelectableAudioOutput after a CapytalkToSound. Changing SelectableAudioOutput to any channel between 3-8 (not the stereo file), will allow us to save both the audio file of sound and an audio file of our control signal.   Read More

The Complexity Lab was launched in July 2015. It ran for one year developing advanced sound designs exclusively for Kyma. We focussed on one of the most powerful areas of Kyma – the algorithmic construction of complex signal flows using Replicators, Scripts and Frames. During one year of sustained research and development, we published over 230 Kyma Sounds, source code and samples ranging from complex noise generators to advanced swarm simulations, only available exclusively to our subscribers.   Now, the entire archive is available to every Kyma user at a fixed price Available now at http://www.neverenginelabs.com   Over 300MB of source samples, code and Kyma examples. Check out the 58 page reference manual to find out more details about the exact content. In the Complexity Lab, we developed Kyma Sounds which demonstrated the parameterisation and mapping of algorithmically constructed signal flows, showing how this approach can generate new and exciting sound design techniques.   Read More

Made, with help from the pro´s, to keep the low end in mono. Utility

"Concat A Folder" Sound takes a folder of audio files and concatenates them all into one long audio file. This is a batch process, and happens out of real time. This will work for folders with stereo or mono files, but you will need the samplerate to match.   Read More

While playing around with mic inputs and live sounds I found I wanted to keep trying different routings of my signals. What would it be like if I routed the mic through the reverb before the cross filter? Is it better after? Etc. So I made this routing matrix inspired by the plug-board patching matrices on some old synths like the EMS. Anything with an output can be routed to anything with an input. Consequently the sound is crisscrossed with connections like a plate of angular spaghetti and there's a lot of  MemoryWriters to allow patching of outputs into sounds which occur earlier in the kyma flow diagram. There may be a much better / easier way of doing this - let me know if there is! Update: I've added a second version of the sound where you can set the signal levels at each point in the matrix.   Read More

Alternating left/right envelope with morphing envelope shape.

An example of how elegant Kyma can be (inspired by one of the slides in Charlie Norton's talk at KISS2016). This simple effect will continually granulate any sample using a simple function shared between its parameters. See the source to study how I did it. www.neverenginelabs.com Sound Design for Kyma 7 Designed by Cristian Vogel. Run Any positive value here will reset and run the sample from the top until the granulation point and also reset/run the granulator. Should be a Toggle in the VCS or some kind of sustained value. MaxGrains Amount of replications. 4 is already quite dense! Seperation A positive value which defines a seperation paramater, adding more and more difference to the voices. StartPoint if 0 is the start of the sample and 1 is the end, this is the point in the sample where the granulating random walk will begin. Scale The overall level of the output Seed A value between 0 and 1 which defines the pseudo random generator for this instance. Sample Any sample filename. Stereo is best!   Read More

  keypad.pci is a Kyma Tool that converts the Qwerty computer keyboard into Hot Values inside Kyma. The two Hot Values are !KeyBoard and !KeyPad. This just lets you harness your ASCII keyboard as a controller with Kyma. The only note about keypad.pci is that the window needs to be highlighted (in front) in order to work properly.   Read More

Example of using the Replicator and SoundToGlobalController to randomly trigger overlapping samples.