Kyma had a strong presence at the 2015 International Computer Music Conference in Denton Texas, September 25 — October 1, including live performances by

Jeffrey Stolet,

Wang Chi,

Jon Bellona,
JP Bellona ICMC2015.jpg

Jon Bellona angst2

and Sun Hua,
Sun Hua ICMC2015.jpg
a keynote lecture by Symbolic Sound president Carla Scaletti,
ICMC2015 keynote Title Slide

ICMC2015 keynote social brain crowd

ICMC2015 keynote IMS to Platypus

ICMC2015 keynote platypus meets capybara Wang photo

ICMC2015 keynote close2

ICMC2015 keynote SSC in 1989

ICMC2015 keynote smiling at laptop2

ICMC2015 keynote output from the brain

ICMC2015 keynote computer musicians predict the future

ICMC2015 keynote making imaginary real

a one-hour Kyma workshop also presented by Scaletti (new music pioneer Larry Austin is seen in the audience at the lower left)
Kyma workshop ICMC2015 photo by Chi Wang

and fixed media pieces by Fred Szymanski and Jinshuo Feng. (If we’ve left anyone out, please let us know!)

Thanks to the ICMC 2015 organizers, presenters, and composers!

Special thanks to the ICMC organizers, Wang Chi, Sun Hua, and Jon Bellona for the photos and Iacopo Sinigaglia for the video excerpt.

Oct 042015

Berkley-California-based composer/performer, Silvia Matheus, will be presenting a Kyma 7 seminar in Portuguese on October 8th 2015 at 1 pm in room 324 of FASM (Faculdade Santa Marcelina Convida) in São Paolo, Brazil.

Matheus describes Kyma as more than a language, but a complete production system for unique sound design used in the most famous film and sound production studios. In this seminar, she will demonstrate Kyma and provide an overview of the Pacarana system and Kyma language, addressing the numerous possibilities for sound transformation derived from this innovative and complex system.

No prerequisites are required and all compositores, músicos, sonoplastas, pesquisadores, game designers e artistas de som are invited to attend.

Faculdade Santa Marcelina – FASM
R. Dr. Emílio Ribas
89 – Perdizes
São Paulo – SP, 05006-020, Brazil
+55 11 3824-5800


Roland Kuit and filmmaker Karin Schomaker were at STEIM on 4 September to present Patterns as an articulated language. Recently, Kuit has been intertwining synthesizers and Kyma, recently it was the Buchla and this time it was Kyma/NMG2.



A Little Night Music is an evening of Visualized Music—films composed to music (rather than music composed for films) featuring videos by Roxanne Rea in collaboration with composers Bill Rea, Debra Kaye, and the owner of Kyma system serial number 1: Dick Robinson!

Sycamore Place Gallery

120 Sycamore Place
Decatur GA 30030

October 10, 2015
at 8:30 p.m.

Suggested Donation $15

Oct 022015

Described by the New York Times as “A pianist of deep authority and resolute purpose”, Stanley Cowell will be in New York City this weekend with his quartet (Bruce Williams [saxophone & flute], Stanley Cowell [piano], Jay Anderson [bass], Victor Lewis [drums]) for a 3-day gig/CD release party at the Smoke jazz and supper club, 1-4 October 2015.

Cowell is also featured in the October issue of Jazz Times Magazine where he also describes how he uses Kyma in live performance and was just interviewed on WKCR radio).

If you’re in New York, be sure to check out his Smoke debut so you’ll be able to hear (among other things) Cowell using Kyma to do live harmonization of the piano. At 7, 9 and 10:30 p.m., Smoke, 2751 Broadway, at 106th Street, 212-864-6662,

According to the Smoke web site,

Smoking is not permitted at the club, or at any venue in NYC for that matter. But the music will be smokin’ for sure.

Greedy Sweet-tooth

 Concert, Dance, Event  Comments Off
Oct 022015


Have a greedy sweet tooth when it comes to Tango? Indulge your craving with Tangoloso—Diego Collatti on piano, Bruno Liberda on Kyma and Eventide— starting at 8 pm 17 October 2015 at the Klavierwerkstatt Felix Lenz in Vienna Austria.

Tasty sonic appetizer (and a page of Liberda’s beautiful graphic score) available here.

Kyma 7 Review

 Review, Software  Comments Off
Oct 022015

The Fall 2015 issue of Computer Music Journal includes an extensive review of Kyma 7 written by composer Barton McLean.

You can read the full review, Kyma 7: The Search for the Ultimate Sound Creation Instrument in the current Computer Music Journal, Volume 39, Number 3, Fall 2015, pp 96-102.

If you can’t find CMJ at your local book seller’s or library, you can also subscribe via Amazon or find the review online.

A few excerpts:

Kyma 7 is not a routine upgrade but a brand-new program… At first glance, the program’s screen graphics are much more refined and visually interesting than Kyma X. Virtually every part of the program has been significantly changed, with respect to visual layout and functionality.

In every way imaginable, Kyma 7 has made the exploration of its vast resources more fun, logical, intuitive, and attainable.

Many new areas of help have been added, such as the amazing Capytalk Reference area… followed by many Sound examples that contain the given message in different usages.

…the Wave Editor in Kyma 7 alone, in my opinion, would be worth the cost of the upgrade… One can take any sample and produce a Gallery of many distinct Sounds from it, using criteria set up beforehand.

Attractively, most of the Prototypes are associated with a complete Sound pathway, so that when one opens a prototype one can immediately hear it in context.

Perhaps the most innovative and startling new feature is the Multigrid. As a composer who often uses texture and timbre as prime constituents, I have found the Multigrid to be powerful enough that it has, in effect, changed the way I hear and think about music. … It is also a profound laboratory where one can experiment in order to find Sounds that work, or don’t work, together. Additionally, when one finds a particularly good Sound combination, there is a Sound extraction mode where, instantaneously, this combination can be converted into a traditional Kyma Sound, with all of its parameters and routing controls intact, to be used in a Timeline. This capability is truly magical and unprecedented.

[Kyma is at] the sweet spot between having the highest-level software language possible, consistent with the greatest variety and flexibility in producing sounds, processors, and controls. In my opinion, no other software design has come close to achieving this balance.

…moving away from notes and toward sounds was, for me, very healthy and invigorating.

Another attractive aspect about Kyma is its superb audio quality… Simply put, it just sounds beautiful.

This illustrates another—perhaps the most relevant—feature of Kyma 7, namely total integration.

Jul 062015

What happens when you combine two unique and individualistic instruments (the Buchla 200 and Kyma) and one individualistic, experimental composer, fearlessly following the dictates of a bright and restless curiosity (Roland Kuit)?

Kuit’s new album, Nanophonic Similarities, is refreshingly raw and experimental.  It’s pure sound and the thrill of discovery!

Buchla 200 audio is used as a starting point, then algorithmically scrambled, granulated to create a new sono-language and rendered to the quadraphonic 24 bit Super Audio format.

Listen and order Nanophonic Similarities from the Donemus site.

Roland Emile Kuit = nanophonic similarities


Screen Shot 2015-06-25 at 11.37.58 AMFlutist/composer Anne La Berge is featured on the cover of the July 2015 issue of freiStil magazine. Inside, an in-depth interview delves into Anne’s history, music, and politics.

When asked about her electronic beginnings, she recounts, “My first electronic instrument was the microphone. To this I owe some of the most magical aspects of my sound: whistling, harmonies, echoes of vowels and consonants, to name just a few.” She soon started to expand on those effects with hardware like the Clavia Micro Modular, then the Clavia Nord Modular G2, and now “currently I am a passionate Kyma system user… I do most of my pieces in conjunction with a Kyma. I am fascinated by the expansion of the flute sounds by electronics. I really appreciate auxiliary means for obtaining an incredible dynamic range. Sometimes in an ensemble situation, the flute can’t be heard. So I’ve developed sound patches that allow me to be heard in almost any musical situation.”

Anne can be heard performing her live Kyma-processed flute compositions at the Berlin Heroines of Sound festival in 10-12 July.


Bruno Liberda promises to provide another small piece of the puzzle that is the angel universe: A non-singing actor, words that unfold as a monk singing, a new episode of l’angelo della voce awaits. Follow the evolution of this piece on line.

Then, a concert in Vienna for live electronics and flute with Bruno Liberda & Anne La Berge:

Musik für Gönner, Bruno Liberda
Weg nach C, Bruno Liberda
Utter, Anne La Berge

Sunday, July 5 at 21h
Elektro Gönner
Mariahilferstrasse 101 / Schulhofpassage
1060 Wien

The concert is smoke-free to protect the flutist (and the other angels).

© 2012 the eighth nerve Suffusion theme by Sayontan Sinha