Kyra Sound Programming
101
Waldorf Kyra
Wave Mode Hard Sync
Hard Sync is a technique that mathematically links two
oscillators to generate further sound possibilities. On Kyra,
this occurs between the two Oscillator Groups and is either
on or off, there is no level or intensity setting.
g
Take some time to experiment with Hard Sync. It
can generate sounds that are not possible to achie-
ve any other way. On Kyra, it excels at obtaining
evolving harmonic textures from the two Wavetab-
les.
Simply stated, Hard Sync uses the cycling of one oscillator
(in this case the root frequency of Oscillator Group 1) to
trigger (reset) the cycle of another (in this case, Oscillator
Group 2). In this configuration, Oscillator Group 2 behaves
somewhat differently in that its fundamental frequency is
locked (synchronised) to that of Oscillator Group 1. How-
ever, adjusting the tuning interval between the two oscilla-
tors (typically by applying a pitch modulation, static or
dynamic, to Oscillator Group 1) results in timbre changes
in Oscillator Group 2 rather than the detuning effect it
would normally have. This timbral change offers a wide
spectrum of sounds that could otherwise not be achieved
and work particularly well with the wavetable sounds.
Unlike FM (frequency modulation) almost all Hard Sync
configurations are harmonic and getting to a useful sound
does not take nearly as much effort as it does with FM. The
best effects are achieved when the frequency ratio
between the Oscillator Groups is up to one octave either
way.
It is worth noting that Sub oscillators are not part of Hard
Sync and they operate independently of Hard Sync. As
Hard Sync tends to produce very tonally pure sounds, you
may want to switch the subs to Root Pitch mode or turn
them off as their wide tonality can be a distraction from
the pure Hard Sync sound. On the other hand, they offer
the ability to provide additional detuning effects that may
otherwise be missing from a Hard Sync sound (as detuning
is, by definition, not possible between two hard sync'd
oscillators). As always, experimentation is key.
There are two distinct uses for Hard Sync. The first is to
use it in a static configuration simply to obtain new tim-
bres, usually from the wavetables in the two Oscillator
Groups. By adjusting the relative tuning between the Oscil-
lator Groups using the Oscillator Group 2
Tune
and
Detune
controls, you will hear distinct timbral variation.
So long as the ratio of tuning remains constant (as it will
unless you are using exotic modulation matrix configurati-
ons) the timbre will be consistent across notes.
The second and more interesting use is a dynamic configu-
ration whereby the ratio of frequencies between the two
oscillator groups is varied by a modulator (e.g. an envelope
Summary of Contents for KYRA
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