Kyra Sound Programming
106
Kyra Manual
Bringing It All Together
Each one of the Wave Mode oscillator sources are inde-
pendent and can be used simultaneously. Use the level
controls for each source to mix them together to get
exactly the sound you want.
It's important to note that the level control for each source
is available as a destination in the modulation matrix so
can be controlled by many modulation sources, e.g. enve-
lope generators and LFOs. This provides many opportuni-
ties for advanced synthesis including the ability to cross-
fade (morph) between any two wavetables using any mo-
dulator including EGs, LFOs, performance controls as well
as per-note modulation such as velocity.
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All the source Level controls can be controlled via
the Mod Matrix. There’s a lot of possibilities!
Kyra’s wavetables offer almost limitless possibilities.
There are a few useful tips to bear in mind when using the
wavetables:
In their most basic form, you can use the wavetables to
generate static timbres beyond those offered by the basic
oscillators. You can mix these in using the Wavetable level
controls and then select the wavetable itself.
Beyond static wavetables, you can apply modulators to the
wavetables so adjust their relative levels; as there’s two
wavetables (one in each oscillator group) you can use
modulators to smoothly cross-fade between the two tables
to generate interesting, evolving timbres.
Remember to make use of the Subs for additional bass
(sub mode) or detunable thickness (root mode).
As a final step in your path to wavetable mastery, learn
how to use FM, Hard Sync and Ring Modulation to get
dramatic evolution of wavetable sounds. By applying mo-
dulators to these techniques, you can achieve extremely
dynamic sounds.
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Sound Programmers have often avoided techniques
such as FM, Hard Sync and Ring Modulation VA
synthesizers as they caused a lot of aliasing. With
32x oversampled hardware sound generation,
that’s not a problem on Kyra.
A good technique to learn is to use a wavetable sound at
the beginning (the attack portion) of a sound. For musici-
ans who have used classic Roland LA (linear arithmetic)
synthesizers this should be very familiar. It’s a great way
to get that extra ‘snap’ or ‘punch’ at the beginning of a
sound. Several factory presets use this technique and most
use EG3 for the attack (very fast attack, short decay) mo-
Summary of Contents for KYRA
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