This has turned in to more of a blog about my experience than an actual forum thread. Here's some new info. I discovered that Max has a Spectral Harmonics engine and I have been able to transpose notes with spectral harmonics as opposed to simple pitch shifting. This a big step forward and I'll be posting more information about the patches that I am working on in regards to this soon.
I think that by now though, I can say that Amon Tobin got his sound with the use of Kyma and a Haken Continuum. The two go hand in hand. For those of you who don't know what these are here's an explanation:Kyma
Basically a modular synth platform. I use the term loosely to refer to a platform that allows you to build synths and FX (in the same way as Max For Live). It seems to be about the most powerful one out (at least if you believe the hype). It's been around since the late 80s. The downside about this thing is that it relies on external hardware. The box is called pacarana. It starts at about $3000 USD. Haken Continuum
This is a midi-like controller. It is pressure sensitive and works like a fretless bass (i.e. you can slide between notes). It is also depth sensitive so the harder you push, the more velocity or whatever. See Amon Tobin's ISAM website for his demo. A basic one of these will set you back about $5000.
So, if I wanted to outright steal Amon's sound, I would be looking at $8000 for starters. But, then, I'd have to learn how to build patches for the Kyma system which would be similar to building Max patches I guess.
If the history of computing has taught me anything though - it is that when a company claims a position as a sole arbiter/proprietor of a concept/technique, it doesn't take long before the others catch up. In saying this though, there seems to be no consolidated platform that has what Kyma offers out of the box. Max For Live can already do most of the forms of synthesis and FX that Kyma can, but it seems that the patches built for Kyma are further down the road and more of the functionality is consolidated. If you talk about the various interesting forms of synthesis that I have been talking about (granular, spectral harmonics, vocoding, etc) - these can all be done in Max For Live/Ableton. However, they tend to come in bits and pieces in the user library. I haven't yet come across devices which allow you to combine these technologies.
The question now is not a specific question of "How To Do Spectral Morphing"; it is a question of whether or not Kyma, really is so far ahead that no other platform will get close
. And, could we achieve the same kinds of results with say Max For Live, or some other synth platform
? My gut feeling is that just about everything that Kyma does can be done in Max or in other platforms. However, there's a big difference between "CAN" and "IS BEING". I just don't think anyone is using Max in the same way as Kyma is being used right now.
Anyway, the self-imposed task I have set for myself is to answer the two questions above. I would like to turn this thread in to an open ended discussion on these topics. So, any points of view are welcome on these questions. I will kick this off by listing the forms of synthesis that Kyma does (http://www.symbolicsound.com/cgi-bin/bi ... Algorithms
). I would like to know if these can be done in Max For Live, Ableton, or some other synth platform. They are bold if I don't think they can currently be done. Italic if I don't know what they mean.
FX:Doppler-shifting (both stereo and quadraphonic)
granular reverb, live spectral morphing (not a simple parameter cross-fade, but a true analogy to a visual morph)
several flavors of highly intelligible vocoding
cross-synthesis and cross-filtering
time-stretchingTAU analysis/synthesisslipstick synthesis
- No Idea what this is but I think Symbolic Sounds are patenting itmodal filter physical modellive spectral analysis
What is this anyway?