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Kyma with violin?

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Author	Topic: Kyma with violin?
droolmaster0 Member	posted 27 January 2013 14:40 Any other violin players here (or cello, or whatever - I have an electric cello also)? I'd be interested in hearing how you use Kyma to transform/mutate the violin sound. Anyone have any examples up anywhere? Has anyone used a k-bow with Kyma (I have one of these coming next month)? IP: Logged
SSC Administrator	posted 27 January 2013 18:48 Wonder if a Replicator on a PitchShifter, where the shift depends on the ?VoiceNumber, might be interesting? Or in Sound Browser under Live capture and looping, Bruno's sighing duet or one of the other live capture and looping examples? IP: Logged
droolmaster0 Member	posted 27 January 2013 20:36 The pitch shifter idea sounds pretty interesting. I will have to try that! I don't even know about the other examples. There is just so much to try. I'm most interested in live processing that will totally transform the timbral character in interesting ways that can be modulated - very interested in using the k-bow with this (when it arrives). Trying to articulate this - I like the idea of modulating sounds from the violin in somewhat independent ways. I can use the frequency tracker, and amplitude tracker, but then also use the sensors on the k-bow - so my playing will modulate the sound (and/or other sounds) and likely cause psychosis in the process. It's kind of like assigning the wacom to various independent parameters, so that initially the total modulation is not intuitive, but then you learn it. But the violin is an instrument that I can play, so I'm hoping that this will be quite fun. I'm babbling. IP: Logged
droolmaster0 Member	posted 10 February 2013 00:12 Pitchshifter/replicator with various modulations on individual voices is pretty wild. IP: Logged
phillipm Member	posted 29 July 2013 08:59 I wrote a piece for viola and Kyma that uses these ideas: •record to a MemoryWriter and granulate rhythmically •pitch-shift 8vb; pitch-shift 8vb with distortion;pitch-shift 15mb sometimes all of the above going on simultaneously. I remember having the best success with the Polyphonic pitch-shifter sound. When I get my pacarana up and running (later today?), I'll try to remember to update this message with more details. IP: Logged
bbelet Member	posted 31 March 2014 12:28 An excerpt of my composition 'Lyra' - violin and Kyma - is on my web site: http://www.beletmusic.com/Compositions.html This performance is by Patricia Strange, great violinist! I will follow-up with a list of algorithms used later, once I fire up Kyma. IP: Logged
bbelet Member	posted 31 March 2014 14:41 I have 8 live processing algorithms running simultaneously for ‘Lyra,’ and the entire composition begins with a WaitUntilAmp Sound, so that the violinist can start the TimeLine with the initial accented gesture in the music. My first algorithm uses a MemoryWriter (cyclic) with five Sample playbacks, each with a slightly staggered DelayWithFeedback. This produces unpredictable capture & cascading playback of fragments of the violin music. Algortihm 2 is a MultiplyingWaveshaper plus DelayWithFeedback, which produces some interesting edgy sounds, basically a percussive counterpoint to the violins melodic lines. Algorithm 3 is a MemoryWriter to SampleCloud structure; one of my favorites. This creates a lot of rich texture. Algorithm 4 is modified from Bruno Liberda’s LongLoopDelay. Algorithm 5 is a LiveSpectralAnalysis of the violin music, with the resynthesized frequency inversely controlled by the violin amplitude. (I am rather proud of this one ….) Algorithm 6 is a Vocoder whose bandwidth is controlled by the violin amplitude. The input is Noise, and the side chain is a stochastically generated melody (Script, using a Smalltalk program that I wrote). As the violin gets louder, the Vocoder BW ‘opens up’ the metaphoric curtain to allow the stochastic melody to come to the foreground as counterpoint to the violin. As the violin gets softer the curtain closes and the backround melody fades away. Algorithm 7 is a SingleSidebandRM with DelayWithFeedback. Plus, I have a separate track just for the violin sound – dry & reverb signals. The final algorithm is another stochastic program (Script) that generates random cascading textures (just for one internal section of the composition) using a PartialOscillatorBank running through a simple Chopper. Each algorithm has overall amplitude control (and some have a second timbral control) as hot parameters for the VCS, so I can fine-tune balance and other details during a performance. I discuss the structure and construction of this composition in my article published in the ICMC 2003 ‘Proceedings,’ and to a lesser degree in an article in ‘Organised Sound,’ Vol. 8, No. 3, 2003. IP: Logged
SSC Administrator	posted 31 March 2014 14:44 BTW, there are a couple of violinists (and in fact a whole string quartet) in the Collaboratory for KISS2014. http://kiss2014.symbolicsound.com/the-collaboratory/ Deadline is Tuesday April 1. IP: Logged

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