Rebuild: SoundMorph TimeFlux

Since my modules have been ported to the NeverEngine Labs there will be a little change in direction of my blog. Because the modules are not for free anymore I can’t share them here and I can’t do any tutorials on them. If you’re interested in that you might want to sign up for the upcoming Spectral Lab.

So I decided to do something different here and this will be a series called Rebuild where I deconstruct and rebuild commercial plugins in Kyma. Since Kyma is such a flexible programming environment you shouldn’t spend money on plugins, instead you should build them yourself. While this takes a little time to do it leaves you with the opportunity to modify and recombine them to your needs.

The first part will be a plugin you maybe already heard of: SoundMorph TimeFlux (if you haven’t click the link to check out the product page). Read more

Individual Oscillator Resynthesis

All of you Kyma Users know what an OscillatorBank is and how we use it to resynthesize spectral data. The OscillatorBank is very powerful and efficient but it is limited in a way that you can’t use individual processing for each partial. So I asked myself if there is way to resynthesize the spectral data with single individual Oscillators instead and came up with the following solution.

First we start with a SpectrumTrackSelector in between the SpectrumInRAM and the OscillatorBank to isolate one partial e.g. Track 1 which is the fundamental:


Now we need to get rid of the OscillatorBank. Read more

Formant SoundScapes

It has been a while, got lots of other work to do… But in the meantime I’d like to give you a look inside “the lab”:

This is a realtime recording of me singing in my microphone. The Sound seperates the formants and I’m able to shift, freeze and smooth them – everything is work in progress by now. The formant extraction is really a tough thing to do. The whole thing is processed with some Granular Reverb as well.


Deeper in the Wire

In the last post I described how you can split up a spectral signal and how you can smooth the amplitudes and/or the frequencies. Now it’s time to get deeper

Johannes had a great idea in the forum: What if we had a smooth transition from original to processed signal? The Delay module’s feedback doesn’t work at sample rate so we need to build our own feedback. Thanks to Pete this is not a problem



So what’s happening here?  Read more

The Wire Between

What kind of signal is the SpectrumInRAM and/or the LiveSpectralAnalysis producing and how can you access single partials and process them seperately? This was the question I asked myself a while ago. Of course you can use the SpectrumTrackSelector or any of the Spectral Modifiers but there’s no way of splitting or summing the signal itself so you always end up with many processor-hungry OscillatorBanks. At least that’s what I thought… but after watching “The Wire Between” by Pete Johnston and with some help of the very same Pete in the Forum I worked it out

First you have to understand how the signal is presented to the OscillatorBank. To see it you have to split the signal. So just put a ChannelJoin after the SpectrumInRam and delete the delay module which will be added by default. Now you have the amplitudes on the left and the frequencies on the right. In this case I used Alien threat new h.spc which contains 252 partials. Insert an OscilloscopeDisplay to see what’s going on. Set the PulseTrain Period to 252 samp:

Read more

ADDAC502 Lissajous Curves

While searching for complex control signals Bruno showed me this module: The ADDAC502 is a quite unique module using Lissajous Curves to generate its control signals. After seeing the resulting curves I instantly wanted to have it – so I rebuild it in Kyma! I recommend downloading the Interactive User Guide (Win/Mac) and play around with it for a few minutes so you know what’s happening.

I started with 4 Oscillators, 2 for the x- and 2 for the y-axes.


To see the Lissajous Curves we connect Read more


It has been a while because I was busy supervising one of my projects at the mixing stage, but here it is: the next tutorial!

What about the dynamics of all those layered atmosphere sounds you usually build for a movie? They sound way too steady to be natural.. So what you have to do throughout the mixing is changing the volumes of the individual layers constantly to achieve natural dynamics. This is easily done by moving the faders but I thought maybe there is a way to do it on a meta-level by changing parameters and have the dynamics controlled by some kind of algorithm.

My first question was: How do I change the dynamics? Soon I realized that I need some kind of control signals e.g. LFOs and have them control the amplitudes of the samples (allthough there are maybe 100 other ways to do it – let me know your ideas :)). The boring thing about LFOs is their waveform because it’s repeating over and over again, never changing, which is unnatural. But anyway let’s start with 4 LFOs (LFOs are “Oscillators” in Kyma – no need for a dedicated LFO because it’s just an Oscillator with a very low frequency).

So set up something like this and make sure you mute your speakers when you compile it: - atmodynamics 1

Read more


Based on Douglas Murray’s guest contribution on about creating AirFill with a convolution reverb plugin (Unlimited “AIRFILL” to Fill your Every Need) I build a little Sound in Kyma.

Let’s start with the “CrossFilter_Long” prototype: Double-click it and basically all you need is right there: - airfill 1

Now replace the “source” with a “Noise (white)” prototype and replace  the sample in the “response” with a little piece of AirFill. Read more