Yes, as Scot says it’s different from Max where you can monitor the sound as you are patching. In Kyma, you edit then compile the sound and it runs. The primary reason for this though is that, once a sound is compiled and running Kyma guarentees that it will run all it’s calculations/computations on every single sample (e.g. 44/48/96k times a second). This computation on every sample is really useful for both expressiveness, responsiveness but also things like feedback patching. All DAWS and the majority of Max (excluding things you explicitly use Gen for) are working using buffers (normally 32, 64, 128, 512 etc. of samples).
Kymas has some excellent tricks up it’s sleeve though for patching/compiling sounds quickly - not just easy drag and drop of prototype blocks (e.g. a VCA, an OSC etc. etc.) but also something called CapyTalk and SmallTalk code - easy to use (i’m not a coder!) after a bit of practice but incredibly powerful. You can use this to do things like automatically create faders / knobs / widgets to interact with (using mouse, or keyboard, or wacom tablet), create modulation (ranging from simple LFO type stuff to very complex maths and inter-dependencies) and automatically create signal flows (e.g. creating things like cascading/repeating delays with ‘taps’ out at every stage). These kinds of things would take much much longer in Max.
The actual compile time varies, from a a fraction of a second for an easy sound to longer if you are loading a lot of samples into RAM (for example). Very rarely do they take a few seconds though (and once samples are in RAM they stay there until cleared) so you can stop, make edits and compile quickly.
Though it should be noted that this only applies to the patch (or Sound) editor. If there is a parameter change using the graphical front end (virtual control surface), it will happen in real time. So, if you change a parameter value in the Sound editor, yes, you will need to recompile. If you have a hot value assigned to the same parameter, it can be changed in real time from the virtual control surface.
If, however, you change, say, the patch routing, or add a Prototype (module), you will need to recompile.
I still have my old Capybara 320 and Kyma X running alongside the Pacarana. I will likely hang on to the Capy even after I get the Pacamara. I have a sentimental attachment to it. Plus, it’ll run Greentea’s Looper Construction Kit.
Wait, wait, wait. Kyma runs smalltalk? That’s possibly my favorite language/environment of all time! I’m more and more amazed that I’ve never crossed paths with this before. Thanks so much for this thread!
The Greentea LCK is special! Dennis did a demo session at the Kyma immersion weekend long long time ago, very impressive!
I had a few times that I wanted to sell my Capybara 320 system. But not anymore, I also have sentimental attachment to it. How it works with the Motormix, Osculator with the Wiimote and the Wacom Pen tablet.
Very interesting about the new Pacamara:
quote by Roland Kuit
“ The separate USB C has multiple functions. A USB - C interface can be done here. Now the new:
It depends in the order in which the laptop and Pacamara are starting up, that is the choice that the Pacamara or as an independent unit works, or as a slave audio card with all KYMA software facilities. This allows the Ristretto to be approached by the DAW software on the computer, and send audio back and forth. The WiFi on board makes it possible to confirm Midi in OSC.”
Yeah. Smalltalk is used at compile time and performs a range of functions from creating signal flows, creating parameters to interact with, creating collections (e.g. of sound files on your computer) and algorithmic scoring - for starters.
Capytalk is the ‘runtime’ equivalent and allows for lots of fun modulation (amongst other things)
Yeah I saw that. Symbolic Sound seems an odd and innocuous target for such manufactured ire.
That reminds me, I’d better draw a unicursive hexagram on the floor and walk widdershins around it in my birthday suit just before ordering my Pacamara. Maybe I’ll get a discount.
So I had initially dismissed the stand-alone aspect of this seeing as Kyma had to be run on a computer. But is it the case that, once a thing is compiled and installed on the DSP box (say, a Pacamara) that box can now be used as a stand alone unit to do whatever that program instructs?
So if I program/patch/build a reverb, compile and install it on the Pacamara, now I can unplug the Pacamara from the computer and (as long as I plug in some sort of audio interface) can use it as a reverb? And (as long as I plug in some sort of MIDI interface or USB controller) use MIDI to control the parameters I exposed while making it?
Same re: patching a synth design? Or ROMpler? Or sampler? Just plug in a USB MIDI keyboard and jam without a screen?
Also just realized these folks are in Champaign! Just down the road from me, really.
Alas, I’m quite allergic to making music with a computer attached (weird, I know, because I program and write on one all day). It’s the main reason I don’t use Max more. I can spend hours and have have a ton of fun making some wild patcher… but then never use it in music it because I’d have to have my laptop open and connected. Some weird mental block.
Funny, your attachment is very much how I’ve always felt about Kyma. As I’ve said before, every time something new catches my eye, I think “how long would it take to build that in Kyma”.
I don’t mind having the computer connected. I can’t imagine using Kyma without wanting access to all of the various modules I might want to slot in.
