posted 06 June 2006 09:17            

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Hi,

I’d like to know if there are methods/algorithms (other than diffusion, reverberation)in kyma with which you can wash out a sound, that is, blur its contures, make it unsharp?
In the CDP software they do a lot of sonically interesting things with averaging (washing out/ blurring by using only the loudest/softest/average of N-th samples/windows)– maybe in principle comparable to those blur techniques in image processing software like photoshop.
Would something like this be possible in kyma too (realtime or non-realtime)?
Or any other hints, tips?
Thanks.
Best, flo

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posted 06 June 2006 10:24            

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Hi Flo,

If you don't want to stick to the Photoshop analogy, what comes to my mind would be a mix of multiple delays and time-streches, and why not a mix of the two.

If you think about creating an algorithm that mimics the real blur effect, but in music, (anyone tell me if I am wrong) we could perhaps build a set of convolution factors and feed them in the CrossFilter in order to create that blurry effect. I guess Gaussian blur (or at least in its simplest form) is done with a convolution in Photoshop ...

Cheers !
Camille

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posted 06 June 2006 10:59            

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One possibility for a sample-based blur effect could be an AveragingLowPassFilter (or any other kind of low pass filter) in a feedback loop. If you look at the waveform of the output of something like this, you would see the peaks and troughs of the waveform being smeared and flattened out.

You could also try the harmonic resonator with a low Frequency.

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posted 06 June 2006 23:03            

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Hi Flo,

Can you point to some sound examples on the CDP website of this effect? I remember hearing sound examples from CDP the last time I visited the site, but can't find them now (maybe they decided to replace the sound examples with a free demo?)

How do like CDP, by the way? Not that I don't already have my hands full - I like the idea of trying to find ways to do similar things in Kyma.

best,
Phil

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posted 08 June 2006 11:13            

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Hi Phi,
sorry, but my reference here is a master-class by Trevor Wishart himself. I had the opportunity to listen to how he used algorithms like
these in his pieces and that was very very impressive...always poetry,
I was never distracted by the algorithms, the process itself.
Moreover there are a lot of references in Curtis Roads 'Microsound',
incl. listening examples (mainly waveset).
Unfortunately I still have to really get into that program. So I can't
make a good judgement about the software environment itself. But the way
Trevor uses this program - with all those inventive, creative algorithms - in his pieces makes me incredibly curious. And I suspect there's a lot of potential in there, in terms of ideas, for interesting real-time algorithms in kyma - if not literally, then in a spin-off kind of fashion.
Best, flo

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posted 08 June 2006 20:52            

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"How do like CDP, by the way?"

I, for one, love it. For me, with respect to CDP and Kyma, it's a question of "both/and", not "either/or". CDP is to non-real time sound design what Kyman is to real-time sound design, in my view. Each is the undisputed leader in its respective area, and each complements the other beautifully. I'm better with CDP than I am with Kyma at the moment, though, so I cannot help in answering the question that started this thread, I am sorry to say.

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posted 14 June 2006 08:35            

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Another idea for a washing out, though a more granular one:
first expand a sound (in time) by the factor x, then compress it back
to the original size/length by the inverse of x. When you do this over and over again in a feedback loop, the artefacts of the proces are emphasized. The result is a kind of granular wash out (at least with
samplebit/granular time-modulation; depends on the algorithm of course)

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