posted 23 June 2006 18:01            

The above should give some explanation as to what it contains. Yes, they are sounds like you get in the Kyma prototypes and details are included in the help that you get when you hover the mouse above the the field names.

It comes in two parts. one is the actual sounds just like any other Kyma (.kym) sound file (but with different pictures), and the other is the assy file. This file first has to be imported into Kyma (using import in the Kyma menu's) to make it active. Then has to be called in the "Choose microsound" option found in kyma's menus OR if you place it in the same folder as the Kyma program they will get loaded on boot up of Kyma by default.

Most of what they do can be done in Kyma by Cappy talk for a lot less DSP juice but these work at sample rate and not at 1 khz rate as in Hot Parameters. Odviously any formula you type in the fields would still work at 1 khz rate but by knitting together these sound you can have the effect of formula and logic working at sample rate. Things like start recording on the exact sample that the signal crosses zero can be done. When using the "record to disc" module in Kyma, you could only make it start recording some where within a 1 ms window after the zero had been crossed because the trigger is polled only once every 1 ms. You could use the "toggle" (a toggle type flip flop) to emulate the old Octdivder Effects pedal as this will turn square waves into half frequency square waves.

Let me know if you need to know more

posted 26 June 2006 10:23            

I am going to post a Sound that makes an extensive use of Pete's microsounds. I took my some time to understand how it works, but now I feel like I gained the control of a new dimension of Kyma :-)
I have also useful classes for doing sample-rate processing, and updated color icons, all of this in a nifty Kyma toolbar. All I need is to find the time to bindle all of this ; my vacations are coming soon, hopefully !

posted 27 June 2006 04:26            

and here is the actual program http://www.ionio.gr/%7Etas/sum2006/sched.htm
i am affraid the site is written in greek so i guess the best way is to contact the department by phone in order to get all the information needed..(tel.003026610 87535,fax.0030 26610 87572,email:vasso@ionio.gr)

posted 11 December 2006 04:39            

quote:

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Originally posted by tuscland:

I am going to post a Sound that makes an extensive use of Pete's microsounds. I took my some time to understand how it works, but now I feel like I gained the control of a new dimension of Kyma :-)

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Hi Camille, did you find the time to play with Pete's modules?

Cheers

posted 21 December 2006 09:04            

Yes, and I spent a LONG time playing with them. But no, I am sorry there will be no fancy icons. I am too much devoted at OSCulator and my other projects!

It's interesting to note that those prototypes enables the user to play at a different level in the DSP chain. You can go much deeper in the algorithmic hell. I say hell because I spent a hell of a time to debug my own coded Sounds.

In my previous post, I talked about reusable classes. I think I talked a little bit too fast: with Pete's modules, it is actually faster to learn how to do something and integrate this knowledge quickly in the current Sound, rather than trying to create a reusable component. I think there are some components I could share here nonetheless. Let me check that this evening, and I'll get back in this thread with some fresh meat.

What else can I say?
The most fun I had has been actually to make mistakes in the design: some of the unexpected (buggy) results were really interesting (musically), and I think this is one of the positive conclusion I could draw from the experience of using Pete's DSP modules.

In conclusion, I would say that :

- if you have sample rate control to do and that you definitively can't stand with the 1000 hz limit, use Pete's DSP modules
- if your Sound algorithm is procedural, don't go for DSP modules, rather use Capytalk if control rate (1000 hz) is bearable, or offline processing with a Tool (SmallTalk).
- Pete's DSP algorithms are invaluable if you want to explorer deeply the inners of a sound. It is difficult to build or compose a Sound with them, because you spend too much time asking yourself what to do.

In my own opinion, it could be possible to achieve some of the extra feature Pete's DSP modules bring, by integrating them directly into the visual language of the Sound Editor. Many of Pete's functionnality are low level and for me it makes sense to integrate them behind the scene, as low level stuff. I think of Switches, sound routing, and sample rate controlled triggers (also memory writer, etc.), which can be represented as new objects of the Sound Editor.