posted 14 June 2006 13:56            

When I have to travel with the Capy on other occasions ( to work onsite in Geneva on a new dance production for Gilles Jobin - http://www.no-future.com/erutufon/showthread.php?t=19110 ) I have an on board softcase, that is *exactly* the right size to fit in the overhead lockers of the cabin.

On stage , I tend to mix myself, and send stereo out to FOH - you can see in one of the photos a Midas Venice 320, the best onstage mixer of alltime, which I always request on the technical rider. I didn't use a timeline, as I am not really very good with using it - It find the timeline awkward to say the least in the studio, so on stage I wouldn't even consider using it - I think i need to dedicate a lot more time to learning the Timeline - I was running a custom analogue sequencer sound and enjoying performing long transitions between patterns - my favourite aspect of Kyma at this stage , is its unrivalled interpolation, allowing extreme interpolations between parameters - this is the musicians dream, and I want to build more complex sequencers that would allow me to morph pattern parameters like nothing else. Forget static loops!!! I didn't have time before the show to build a reliable MIDI sync between the G2 and the ESX1 from or to Kyma, so I was syncing everything by hand on the fly - many years DJing helps.

Next time, I'm going to try and get more structured ( perhaps this is where timeline could come in ?? ) - but having only one card in the box, kind of limits my options - but I want to aim to build something akin to Protracker, or Fastracker ( the best sample based sequencers for live in my opinon ) in one sound, but using all the pattern morphing capabilities of Kyma X. Watch out unsuspecting public!!

[This message has been edited by cristian_vogel (edited 14 June 2006).]

posted 15 June 2006 02:44            

In fact I made a good expression which can split the single fader of the InterpolatePresets module into exactly the right ammount of 'notches' , equivalent to the total ammount of patterns, with a variable smooth factor between the 'notches' - the 'notches' are so the fader always clicks onto the correct position to select the exact patterns you have defined, but interpolates into them.

posted 16 June 2006 02:50            

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Originally posted by SSC:

MIght be interesting to hear the answers to these questions from other people who are using Kyma in live situations too. (Compare notes and get some ideas from each other)

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Okay, I'll chime in as well.

First, re. travelling, I've been using the soft case and putting it in the overhead. No problems so far. Since I really only use Kyma live, I carry on the laptop as well and fit everything else (controllers, mixer, cables) into my suitcase, which gets checked.

I perform with Kyma with a group (www.sonusound.org), not solo so far. Which is good, because it usually saves me in transitions where I'll change sounds from a compiled sound grid. Because I'm performing with other players, I often take the opportunity to get mic inputs from them - usually not to process them, but to use amp followers or possibly pitch followers to control aspects of my sounds.

I've only used a timeline for one piece, which is one of the more song-oriented pieces my group does - a loop-oriented thing that would work well with Ableton Live, except that I want to use the wacom tablet to control various aspects of the sound, and different aspects in different places. It was a little tricky to set up, though if I were to do it again it might not take as long now that I've done it.

One of the problems I haven't worked out with timelines is if I wanted completely different sets of controls in the VCS at different times, do I try to set them up all in the same VCS view, or do I switch views as I go to different parts of the timeline? And then I would have the problem of faders jumping as I reuse them again for a new parameter, since I'm using a UC-33 instead of the Motormix - I have yet to figure out a good way to have soft takeover of faders (though I once figured out a bad way of doing it...).

One of the things I want to start exploring is using WaitUntils in regular Kyma sounds, which would allow me to schedule timeline-like things, like switching cpu-hungry effects in and out as I need them. That would get me more mileage out of a single sound, and I might be able to avoid having to change sounds so often. Theoretically, most things you could do in a timeline you could in a regular sound as well with careful use of the time-oriented prototypes, right?

posted 16 June 2006 11:49            

quote:

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Originally posted by SSC:
"Theoretically, most things you could do in a timeline you could in a regular sound as well with careful use of the time-oriented prototypes, right?"

More than theoretically...since a Timeline expands to a Sound before it is compiled and sent to the Capybara.

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Well, I guess theoretically as in "if I knew how to do it, it could be done." Is there any way to look at what a timeline looks like in a sound editor? It doesn't seem like the Expand item in the Action menu will work for timelines.

posted 18 June 2006 17:51            

quote:

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Originally posted by SSC:
After playing a Timeline, open a new Sound file window and do a Paste into that window. (When you play a Timeline, it saves the resulting Sound in the copy buffer). [Warning, it's not pretty so prepare yourself before you take a look at it]

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