OK - I've read up a little more about KARMA in the manual. I didn't realize that it could be used to automate MIDI parameters unrelated to notes, so it's not just about algorithmic composition...it's doing sound manipulation as well. That aspect of KARMA is very interesting to me so I'll definitely explore it some more.
However, I'm finding it difficult to figure out exactly what and how KARMA is managed and configured (remember, right now I'm still just skimming everything to get up to speed with the basics of the Oasys). References to "GE" don't tell me very much by themselves.
So my question is, where does KARMA fit in relation to tools like Jammer on one side and programming environments like Max (IRCAM/Cycling '74)?
Also, I read that you can use KARMA to simulate guitar strumming. How well does it do that compared to (say) RealGuitar from MusicLab?
Thanks,
D
KARMA - where does it fit?
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Kevin Nolan
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I'm not the greatest expert on Karma so I'll be delighted to be shot down by more authorative figures.
However, from what I can so far determine, using Karma in a truly original way will require you to define the type of project you're interested in, and understand the various Karma GE's and GE categories well enough to be able to initiate/minipulate Karma performances sufficiently well. Again I'll be delighted to be corrected if I 'm wrong on this, but I tend to think that Stephen Kay's Karma demos are so good not only because he is incredibly musical, but especially because of his intimate understanding of the Karma Engine (actually as an aside - Stephen - is it possible that others, and do you know of anyone, know Karma better than you in actual performances?).
From my perspective I hope eventually to link Karma to an IRCAM piece of software called the Spatialisateur (SPAT) - a psychoacoustic sound spatialization engine - that can be linked to MIDI data. SPAT is actually a MAX/MSP library utility. Although I have not acheived it yet, one could imagine realtime performances of Karma data (even from ones own invented GEs using KO software) that also perform/manage audio spatialization in realtime. The possibilities are endless for installation type pieces and for live media rich performances/presentations.
Of course with MAX/MSP the sky is the limit because its a programming environment. I usually hate when it's the 'sky is the limit' or when brochures say 'you are limited only by your own imagination' - because my imagination is pretty limited
Anyway, for me, I have been slow so far to exploit Karma because I'm not interested in using it as a sophisticated arranger utility; but feel that even concentrating on one GE category or becoming intimately knowledgable of a very limited number of GEs and how to manipulate them with precise control in a realtime scenario offers true possibilities of significant depth and breadth to do some very interesting and original work.
Karma is complex so it'll take time, btu the rewards have to be correspondingly worth it.
One other thing - check out:
http://www.karma-lab.com/forum/showthre ... eadid=6009
and download the tutorial and PCG files on "Manual Advance". This lets you manage GE events manually and is absolutely stunning. It (and the video by Stephen Kay) really show off just how magnificent Karma is.
Cheers,
Kevin.
However, from what I can so far determine, using Karma in a truly original way will require you to define the type of project you're interested in, and understand the various Karma GE's and GE categories well enough to be able to initiate/minipulate Karma performances sufficiently well. Again I'll be delighted to be corrected if I 'm wrong on this, but I tend to think that Stephen Kay's Karma demos are so good not only because he is incredibly musical, but especially because of his intimate understanding of the Karma Engine (actually as an aside - Stephen - is it possible that others, and do you know of anyone, know Karma better than you in actual performances?).
From my perspective I hope eventually to link Karma to an IRCAM piece of software called the Spatialisateur (SPAT) - a psychoacoustic sound spatialization engine - that can be linked to MIDI data. SPAT is actually a MAX/MSP library utility. Although I have not acheived it yet, one could imagine realtime performances of Karma data (even from ones own invented GEs using KO software) that also perform/manage audio spatialization in realtime. The possibilities are endless for installation type pieces and for live media rich performances/presentations.
Of course with MAX/MSP the sky is the limit because its a programming environment. I usually hate when it's the 'sky is the limit' or when brochures say 'you are limited only by your own imagination' - because my imagination is pretty limited
Anyway, for me, I have been slow so far to exploit Karma because I'm not interested in using it as a sophisticated arranger utility; but feel that even concentrating on one GE category or becoming intimately knowledgable of a very limited number of GEs and how to manipulate them with precise control in a realtime scenario offers true possibilities of significant depth and breadth to do some very interesting and original work.
Karma is complex so it'll take time, btu the rewards have to be correspondingly worth it.
One other thing - check out:
http://www.karma-lab.com/forum/showthre ... eadid=6009
and download the tutorial and PCG files on "Manual Advance". This lets you manage GE events manually and is absolutely stunning. It (and the video by Stephen Kay) really show off just how magnificent Karma is.
Cheers,
Kevin.
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Mike Conway
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I'm busy with a year long project, so it has been very hard to free up time to explore KARMA and other aspects of the OASYS. I recently bought the KARMA OASYS software, which will let me create my own GEs (Generated Effects which cover more than 400 parameters, including its own kind of Wave Sequencing!) NEED MORE TIME!!
What I want to do is route to filter cutoff and other parameters. The Chopping FX would be really cool if syncronized to some filter timing. Like you, I don't really seek accompaniment, but I want to create my own whacked out attacks and sound FX.
I would also like to make my own patterns, then I could build a library using my own playing styles, especially for percussion. Kind of like composing a quick song and saving it for later. But that's a different story.
What I want to do is route to filter cutoff and other parameters. The Chopping FX would be really cool if syncronized to some filter timing. Like you, I don't really seek accompaniment, but I want to create my own whacked out attacks and sound FX.
I would also like to make my own patterns, then I could build a library using my own playing styles, especially for percussion. Kind of like composing a quick song and saving it for later. But that's a different story.
go to the www.karma-lab.com forum for more answers.
Virus C, Fizmo, Radias, Athmosphere, Cubase, Reason and some other stuff.