Kyma Capsules Volume 1

Release v1.3
Class and Parameter Descriptions

1
Sound design, programming and documentation

by Cristian Vogel




System Requirements
Kyma Paca or Pacarana running Kyma 7 version 29 Feb or newer.


Installation
Place the entire contents of the Kyma Capsules Volume 1 Folder inside your Kyma
7 Folder.



Many thanks to Pete Johnston, SSC and David McClain for their inspiring sound de-
sign ideas and to Luis Aly for creating the demo audio recordings.








(c) Cristian Vogel 2018-2019

(p) NeverEngine Labs 2018-2019
web: www.neverenginelabs.com
email: support@neverenginelabs.com

2
NELStereoWaveShaperFromFile
This is a true stereo waveshaper, the same wavetable is used for both Left and
Right channels. There is a High Pass Filter in the design, which should fix wild DC
offsets caused by unsymmetrical wavetables.
V1.1 Designed by Cristian Vogel for NeverEngineLabs.
Bypass
When this value is 1 the processing is bypassed
PreFilter
Fixed range filter pre-waveshaping
Input
Sound to be shaped can be stereo or mono. If stereo, each side is shaped inde-
pendently.
ShapingFunction
Ideally a 4096 sample mono wavetable which will be used as a lookup table
through which the input samples will be remapped.
Interpolation
Interpolation of lookup values into the waveshaper. Experiment with this setting for
altering the timbre of the distortion.
ShapingIndex
Shaping range into the ShapingFunction, how much of the wavetable is actually
used - this value can change the timbre in many different ways - re-adjust your out-
put to explore thoroughly inside a non-linear waveshaping function
OutLevel
Overall output level

3
ChebyshevPolynomialWaveshaper
Chebyshev Polynomial Waveshaper in true stereo. Left and right are processed in-
dependently through six polynomial waveshaping functions, selectable through a
continuous interpolation which allows for shaping with an in between blend of
functions as well as the six main presets.
The preset functions are (in order):
T3(x) --> selected when ShapingFunction is set to 0
T5(x)
T7(x)
T11(x)
U3(x)
U9(x) --> selected when ShapingFunction is set to 1
More about Chebyshev Polynomial Waveshaping at http://music.columbia.edu/
cmc/MusicAndComputers/chapter4/0406.php https://en.wikipedia.org/wiki/
Chebyshevpolynomials
Designed by Cristian Vogel for NeverEngine Labs
v1.1
Bypass
True bypass of the processing when set to 1
ShapingFunction
Crossfade between preset functions. The preset functions are (in order):
T3(x) --> selected when ShapingFunction is set to 0
T5(x)
T7(x)
T11(x)
U3(x)
U9(x) --> selected when ShapingFunction is set to 1
ShapingIndex
Look up index into the Shaping Function

4
Input
Stereo sound to be processed. Can accept Mono too.
Stereo
True Stereo option. Select to process each channel independently, with the same
shaping function.
If unselected, a midside module will extract only the Mid (mono) information
from the source, to create stereo -> mid waveshaped -> mono out
PostLevel
Level attenuation after the waveshaping

5
NELSaturatingMixer
Sums the inputs with optional gain into stereo saturators, like mix bus 'glue' com-
pression for combining inputs.
Designed by Cristian Vogel for NeverEngineLabs.
Gain
Optional drive into the summing saturation. Functions with a range of 1x to 4x.
Left
Attenuation on the left output. Changes are interpolated.
Right
Attenuation on the right output. Changes are interpolated.
Inputs
A collection of Input Sounds

6
NEL PJAngleDisplacementPhaseDis-
tortion
A Class based on Pete Johnston's Angle Displacement PJ Harmonic Exciter. Read
Pete's post on the old Kyma 5 Forum from April 2014.
http://www.symbolicsound.com/cgi-bin/forumdisplay.cgi?action=displaypri-
vate&number=3&topic=000235
In essence, this is a high-pass-filtered, amplitude-normalized signal processed
through a waveshaper for harmonic distortion and then multiplied by the original
amplitude envelope at the end. The last stage mixes the distorted high pass signal
with the original signal.
Pete Johnston discovered a way of using a waveshaper for distortion that does
not change timbre with changing input amplitude (as he has found a way to do a
kind of live-amplitude normalizer on the input to the waveshaper).
In practice, this is an insanely unique distortion. It doesn't pay any attention at all
to the input volume, and there's a variety of ways to mix and mash that can't be
found anywhere else.
DSP design by Pete Johnston.
Class deign and icon by Cristian Vogel for NeverEngine Labs.
StereoInput
Left and Right are processed seperately then recombined
Source
The ammount of dry in the mix
PhaseDist
The ammount of total phase distortion
Exciter
Angle Displacement Exciter level
Distort
Phase Distortion and Exciter Distortion ammount

7
DistortCenter
Phase Distortion and Exciter Distortion alteration
LowPassFilter
Do some low pass filtering on the Phase Disortion
TurnOver
A kind of fold down wave shaping in the phase distortion circuit
CurveFactor
Curve factor controls the level of smoothing going on inside the phase distortion
Double
Extra shred
ExciterOffset
a kind of offset in the exciter circuit
ExciterBiasAdjust
a kind of DC adjust in the exciter
ExciterBiasFrequency
a kind of filter alteration in the exciter circuit
Bypass
True bypass
InverseGainModel
SSC pointed out that PJ needed to invert a gain at one point, but its been hard to
tell if this is something essential, so I've put it in as an option. I prefer with it set to
false, but other effects come out when its set to true.

8
NEL TapeTreatment
True stereo tape treatment combines the roughness of 8-bit dithering noise with a
saturated cassette tape treatment. Imagine a tape machine which features noise
addition rather than noise reduction. It spins the tape at a standard 4.76 cm per
second (although you can decide to chew it up a few times or leave it in a hot car
with the Tape Warble parameter).
Designed by Cristian Vogel for NeverEngine Labs.
Input
Input source
Bias
The mysterious Bias dial found on some cassette machines. Alters the tone re-
sponse a little.
NoiseReduction
Alter the noise characteristics and everything eles (not entirely unlike Dolby NR!) -
On (1) or Off (0)
TapeColour
This paramater changes the character of the tape saturation.
TapeWarble
Put the cassette in your hot car for a an entire summer. This value can go way past 1
if you would like to explore what many good summers can do to a cassette.
Bypass
Completely bypass the tape treatment by putting a 1 here.

9
NELCascadingDelayLinesv2.5
Creative and deep evolving effect built on a custom designed multitap feedback
network of mixed allpass and comb delays.
The last delay stage in the network is fedback independently and can be con-
tolled by the parameter
fields !FreezeBufferSlew, !BufferFeedback, !BufferRateScale
The whole processor is true stereo, but crosses channels alot internally to get its
own
characteristic effect.
Control the system using FXLevel and InputLevel when exploring high feedback
values.
Designed by Cristian Vogel for NeverEngine Labs 2018/19.
v2.5
DelayTime
The length of the maximum delay available to each delay stage in the cascade net-
work.
0.5 or 1 should be fine, but feel free to explore other durations, bear in mind that
the number of cascades will multiply the RAM needed.
Accent
Introduces an amplitude pattern into the delay stages in the network when set to 1.
This can help reduce unruly feedback or can introduce a rhythmic phrase to the
echo.
Input
Stereo or Mono sound to be processed
InputLevel
Take care not to clip internally by using this attenuator of the signal into the net-
work.
BufferFeedback
Increase the ammount of last buffers circulating feedback

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InvertCrossedLines
When true, constructs the network so that the secondary 'CrossDelayLines' (if set
to true) have their feedback buffers inverted. This can create a less thick delay line
cluster.
BufferRateScale
The feedback from the last buffer can be read at a different sample rate. 1 means
no change in sample rate, and -1 means backwards. 0 will break the Buffer feed-
back effect.
Higher values than 1 or values between 0 and 1 can create slowly evolving pitch
ladders and interesting slow effects, but be forewarned that some glitching may be
introduced
MakeUpGain
Make up gain post internal limiting for the output of the delay network
Cascades
The number of cascades in the core. 4 to 8 can sound very dense. Different num-
bers here will create effects with quite different character.
KNOWN ISSUE:
Cascades higher than 10 cause excessively long compile times as of v2.2
Colour
Output filter ranging from 0 LowPass to 1 HighPass
Seed
A seed for the internal random walk and slewRatePattern distribution.
CrossDelayLines
Adds an extra set of delay lines into the core, which causes a more dense crossover
feedback network (see !invertCrossedLines).
Slew
The wonderful slew rate for all delay stages. If set to 0, changes to !delayScale will
be almost frozen and probably !walk won't do much either. But any positive value
will begin to increase the speed at which !DelayScale and !walk can adapt the de-
lay time of the lines.

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DelayScale
Scale the global delayline lengths. The sonic result will be highly dependent on the
!Slew parameter. Performing the !DelayScale parameter is one of the characterstic
features of this processor.
TIP: Use !FreezeBufferSlew to freeze the last delay stage whilst the ones that feed
into it obey they slew rates and slew rate pattern. This can be a very nice perfor-
mance effect.
SlewRatePattern
Distributes the current !Slew value between the stages using:
0: a linear distribution of slew rate between the stages
1: each stage has a (1/?cascades) nominal slewRate
2: all stages have a random nominal slewRate
3: all stages have a nominal slew rate of -3db
DryLevel
Dry level mix
Walk
Any positive value will scale up the internal stochastic delay line modulation de-
rived from brownian noise.
Feedback
Feedback for the internal delay stages , which are not affected by !BufferRateScale
or !BufferRateFeedback.
FreezebufferSlew
When a value of 1, the current slew rate of the 'Buffer' stage will freeze. Which
means that changes to !delayScale will not affect the last delay stage, only the ones
before it. Very nice effect.
FXLevel
Level of FX - it is not a normal 'Wet' level, because it is expressed in the cascade
network. Reducing this parameter can help when feedback is building up.

12
NELSaturatingStereoEchoDelayv2.3
A stereo delay design with lots of saturation and filtering in the feedback lines and
a special looping, pitch shifting, feedback buffer.
Designed by Cristian Vogel 2016/2019 for NeverEngine Labs.
v2.3b2
BitDepth
Reduce bit resolution in the feedback path - introduces more dirt
LowPassCutOff
A low pass filter in the feedback path for darker colouring
MaxDelayTime
put your maximum delay time in here - a delay scale of 1 will be equal to this delay
time - for BPMsync use a MaxDelayTime of 1 s and something along the lines of
(0.75 60.0/!BPM) in the delayScale field - the 0.75 defines the BPM sync groove
BypassSaturation
a postive value here will bypass the saturation stages in the feedback - if you do
not need saturation stages put an integer 1 here and they will not be built (saving
on DSP)
Original
level of direct signal , dry signal ....
EffectsLevel
Level of the effects only
Resonance
A resonance for the low pass filtering effect - its controlled internally, you can push
it in this field up to 1 and it won't scream too much ;)
HighPassCutOff
A high pass filter in the feedback path
RightDelayScale
Scales the delay time of the right delay stage

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Input
Stero or Mono Input
RightFeedback
feedback for the right delay stage
Jitter
introduce noise into the delay time
RightLeftCross
Mix some of the right delayline back into the left
JitterRate
the frequency of noise for jitter
RightSlewRate
Change the slew rate ( the rate of the behavior when delayScale is changed or jitter
is added )
Kill
Kill switch - kills the feedback when set to a positive value - use this as a button to
momentarily kill the feedback lines. Don't Panic!
Saturation
The saturation waveshaping - 1 is full 0 is bypassed
LeftDelayScale
Scales the delay time of the left delay stage
ShapingFunction
Chebyshev Polynomial Waveshaper in mono. Mono signal is processed through six
polynomial waveshaping functions, selectable through a continuous interpolation
meaning that you can also shape with an in between blend of functions as well as
the six main presets.
The preset functions are (in order):
T3(x) --> selected when ShapingFunction is set to 0
T5(x)
T7(x)
T11(x)

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 U3(x)
U9(x) --> selected when ShapingFunction is set to 1
LeftFeedback
feedback for the left delay stage
SourceToEffect
The level of source sent through the effects - kill this if you want to hear the feed-
backs ring out without an input
LeftRightCross
cross the left delay line into the right
StereoWidth
MidSide width for the stereo delay effect, not the dry - a value of one here will be
full stereo width and a value of 0 is only the mono information
LeftslewRate
Change the slew rate ( the rate of the behavior when delayScale is changed or jitter
is added )
LoopBuffer
When set to 1, this parameter engages a special feedback stage that loops in rela-
tion with the DelayScale value. Can sound more like a lofi digital delay buffer style.
LoopBufferRate
Only active when LoopBuffer is engaged. Negative numbers read the feedback
buffer in reverse. Values different to 1 will speed up or slow down the feedback
causing pitch shifting effects.

15
NELWavetableConvolutionReverb
A custom IR convolution reverb that can use three different wavetable shapes in
the core.
Designed by Cristian Vogel for NeverEngineLabs.
v2
AttenuateResponse
Distortion may easily occur, use this Array to attenuate the wavetables.
CapyTalk needs to be in curly parenthesis.
Example:
1 ....................... sets all levels to 1
1 0.5 0.5 ......... sets IRShape to 1 the noise IR to half
{-6 db} {!noiseLevels} {!noiseLevels}
RevTime
IR decay time
StructureMatrix
Enter 3 boolean values that define if the response wavetables will be reversed.
Must always be three truth values or there will be an error.
For example:

true true false

Reverses the IRShape table and the IRNoiseL table

Direct
Direct signal level
WaveTableIRNoiseL
Mono function wavetable (can be of any length) for the left side response
EchoLevel
Convolved level
WaveTableIRNoiseR
Mono function wavetable (can be of any length) for the right side response

16
Input
Stereo or Mono source
WaveTableIRShape
Mono function wavetable (can be of any length) for the response amplitude shape
ResponseDuration
If the ResponseDuration you request results in an 'out of real time' message, try re-
ducing the ResponseDuration. To request the longest possible ResponseDuration
given the current sample rate and the number of processors, use the word
maximum
To find out what actual maximum duration in seconds is for your configuration,
evaluate one of the following expressions using Ctrl+Y:
SignalProcessor maxResponseDurationStereo
ResponseWidth
Spatial width control for the the response

17
NELBlackBoxDelayMixer
Simple to use mixer with multiple delay lines that can generate complex results
with only a few parameters. It builds its internal delay network based on the num-
ber of input Sounds and the seed.
Drag more inputs into the Inputs field to get thicker and denser results.
Set the seed number and the Class will build a unique version of its internal
structure. Different seed values in combination with different number of inputs will
define a kind of 'tone' or 'character' for the processor. Build another version of the
effect. simply by changing the seed.
Designed by Cristian Vogel for NeverEngine Labs April 2017. v1.2b1
www.neverenginelabs.com
SlewRate
Scale the slew rates of the internal delay stages. Slew rates less than 1 make
changes to delayScale slower to take affect, higher than 1 can make changes to de-
layScale move faster.
DelayScale
When set to 1 you can be sure that all the internal delays will be spaced at millisec-
ond positions fixed to a randomly chosen prime number between 47 and 311. The
seed choice defines this distribution.
Any other value will scale all internal delay times.
Inputs
A collection of inputs. The mixer can accept stereo or mono sounds here, and the
density of the delay lines constructed inside the black box will change according to
the number of inputs.
Level
Scale the output level with samplerate interpolation.
Dry
Mix of dry all inputs from the Inputs field
Saturation
increase the gain into a number of internal saturators

18
Feedback
Feedback of all internal delay lines
Seed
Choose any seed between 0 and 1 for repeatable results.
Different seeds will give you different prime number delay times, resultin in dif-
ferent colours from the black box treatment.
InputLevel
Attenuate input level going into the delay lines

19
NELPlayFolderOfSamples
Plays all samples from the same folder looping with an inter-repetition time gap.
Collection can be sorted by filesize before hand and can be autolabelled. Option-
ally, a global is generated indicating the current play position, including the inter-
delay gap.
Encapsulated by Cristian Vogel 2018 for NeverEngineLabs.
v1.0b2
Level
Level output
PlayHead
The name of an optional global generated by this instance. Leave this field BLANK
if you do not need a PlayHead global generated.

- Make sure it is a unique name not used anywhere else

- Do not put any extra CapyTalk here , it is only the name

Rate
Updates only when a new sample starts to play.
Sample rate change ( 1 is normal speed 2 is twice as fast 0.5 is half speed 0 is
pause etc)
InterDelay
A delay between next sample (or repetition)
Enable
Enable this instance to compile and run
Autolabel
generate labels from filenames
FilenameInFolder
Source file in a folder of files to play from

20
Gate
Starts playing a file and repeats with inter-delay when this is greater than one
Index
Select the file to be played. 0 selects the first in the file list, 1 the second etc.
Change of index will retrigger.
SortByFileSize
If true will sort the list according to file duration from smallest to largest

21
NELSamplePlayer
NEL SamplePlayer is a Class which plays back stereo samples with loop counting
and antialias filters.
Designed by Cristian Vogel 2018.
More Kyma Sounds at www.neverenginelabs.com
v1.6b1
AntiAliasFilters
When changing rate, aliasing and quantisation can be introduced. These 12th Or-
der low pass filters will help reduce these often unwanted artifacts when changing
Rate.
Rate
This is the speed at which you want to read through the indexed Sound. The nomi-
nal rate is 1, a rate of 2 will go twice as fast, and a rate of 0.5 would go half as fast
through the indexed file. A negative rate will ;play backwards
AttackTime
ReleaseTime
Begin
Loop and sample start
Repetitions
If Looping is checked, you can set the number of repetitions. Set this to 0 for sus-
tained looping.
End
Loop and sample end
Sample
Stereo or Mono sample file.
Forwardbackward
This is a live Boolean value: 1 indicates that the looped portion of the timeIndex
will go backward and forward through the indexed file (from StartLoop to End-

22
Loop, then backward from EndLoop to StartLoop and so on); 0 means that the
looped portion will move through the indexed file in a forward direction only
(StartLoop to EndLoop; then jump back to StartLoop).
SampleStart
offset the start position of the sampe when gated
Gate
This is a live Boolean value. When the Gate value changes from 0 to 1, it causes the
TimeIndex to start over again at its Start position. When the Gate is held in the ON
state (1), the TimeIndex can loop. When the Gate changes from 1 to 0, the TimeIn-
dex continues from its current position to End.
Scale
Output level
GeneratedIndex
Must be a UNIQUE name for the generated event that counts the number of repeti-
tions. TIP: Leave empty and it won't generate a counter
Looping
When Looping is checked, the TimeIndex will loop between Begin and End. Repe-
titions can be now be set.

23
NELSimpleMidSideWidthProcessor
No frills MS width processor. StereoWidth parameter attenuates the side informa-
tion. Accepts mono or stereo inputs into its built in mixer
Inputs
The Class has a built in mixer that will accept Mono or Stereo inputs for MidSide
processing
StereoWidth
StereoWidth parameter attenuates the side information.

24
NELMultibandMidSideMixer
A mastering grade mid-side mixer which enables independent mid-side process-
ing for three different frequency bands.
The spectrum is split into three bands using David McClain's 'Perfect Three Way
Crossover' which introduces very little amplitude change at the crossover points.
Designed by Cristian Vogel for NeverEngine Labs
based on a multiband filter design by David McClain
v1.2
Side
Level of all side information
StereoInput
Stereo input source
Mid
Level of all mid information
S HiCutOff
side high cutoff split point
M HiCutOff
Cutoff of mid highband
S HighBand
side high band level
M HighBand
Level of Mid for HIghBand
S lowBand
side low band level
M lowBand
Level of Mid for LowBand
S LowCutOff
Side low cutoff split

25
M LowCutOff
cutoff of mid low band
S MidBand
Side Mid band level
M MidBand
Level of Mid for MidBand
Scale
Input scale

26
NELHandsFreeCompressor
Psychoacoustic Compressor based on an original side chain design by David Mc-
Clain.
Optionally select between true stereo or mono processing.
Stereo sidechain detects absolute peak and average of stereo compressor to
create a gain optimising compressor with only a few controls and transparent be-
haviour.
The sidechain release time is shortened when a loud transient is detected. A
feedback mechanism also mixes some of the processed audio into the sidechain.
Designed by Cristian Vogel for NeverEngine Labs 2019
v2.0b2
AttackTc
This controls how quickly the envelope follower on the SideChain reacts to increas-
es in the SideChain's amplitude. The TimeConstant ( Tc for short) is interprested in
units of MILLISECONDS if no unit is added.
Ratio
This is the ratio of the Input amplitude to the output amplitude. This only affects the
Input when the SideChain crosses the Threshold
ReleaseTc
This controls how quickly the envelope follower on the SideChain reacts to de-
creases in the SideChain's amplitude. The TimeConstant ( Tc for short) is interprest-
ed in units of seconds if no unit is added.
Blend
Parallel aligned blend of dry and compressed signal
SideChainHPF
A high pass filter in the sidechain
Feedback
A feedback mechanism also mixes some of the processed audio into the sidechain.

27
Source
Stereo or mono source to pbe precessed
HandsFreeMode
When set to true, the manual ThreshDB fader is bypassed, and will not appear in
the VCS. Thresholding is carried out by an RMS circuit instead fed directly from the
source ignoring SideChainHPF .
Stereo
If this box is checked, the maximum of the left and right SideChain envelopes is
used to determine the compression/expansion gain applied to the stereo Input.
If this box is not checked, a mono mix of the SideChain input is used to deter-
mine the compression/expansion gain applied to a mono mix of the Input.
LookAhead
A "LookAhead" circuit to process peaks slightly earlier than the audible audio sig-
nal.
0: bypassed
1: 160ms lookahead
ThreshDB
This is the point at which a graph of Input to output level changes from a straight
line to a curved line (in linear amplitude).
MakeUpGain
Range 0-4. Past 1 introduces softclipping.
OutputScale
Scale the output after compression. Negative values creates interested inverse dy-
namics when Blend is 0.5

28
NELMatchedStereoDelay
No frills pair of seperate delay modules sharing exactly the same parameters for
processing left and right channel of stereo signals in parallel - features true bypass,
so if DelayScale is 0, the whole input is passed through.
Capsule by Cristian Vogel for NeverEngineLabs.
v1.0b4
Blend
Blend mix
0 = 100% dry
1 = 100% delayed signal
Scale
An attenuation factor on the Input (where 1 is full amplitude and 0 is completely at-
tenuated so there is no more Input).
Delay
The maximum delay time. The proportion of this time that is actually used is deter-
mined by multiplying this value by DelayScale. Kyma needs to know the maximum
possible delay in order to allocate some memory for this Sound to use as a delay
line, but the actual delay can vary over the course of the Sound from 0 s up to the
value of DelayTime.
SlewRate
control the rate at which the delay audio buffers change when delayscale is
changed (can be greater than 1)
DelayScale
The proportion of DelayTime that is actually used as the delay, where 0 is no delay,
and 1 is equal to the value in the DelayTime field.
SmoothDelayChanges
Checking this box causes the delay time to change slowly to the desired delay.
Unchecking this box causes the delay time to change immediately to the desired
delay.

29
Feedback
Controls the amount of the delayed signal that is fed back and added to the Input.
It is the attenuation on the feedback signal (where 1 or 0 dB feeds back the full am-
plitude signal and adds that to the current Input signal).
Type
Choose between Comb and Allpass filters. Both Comb and Allpass are delays with
feedback. Allpass also adds some of the direct signal to the output in order to
make the long term frequency response flat. With Comb selected, you will not hear
the Input until after the first delay. With Allpass, you will hear the direct Input imme-
diately.
Input
This is the signal to be delayed.
Interpolation
When Linear is selected, changes to DelayScale are linearly interpolated, causing
smoother changes to the delay.
When None is selected, changes to DelayScale are not interpolated, resulting in
zipper noise.
For fixed delays, it is better to select None, since that uses fewer DSP resources.

30
NELControlDC
True Stereo or MidSide fixed 5th Order high pass filter with built in attenuation, so
it won't explode like Kyma HPFs have a tendency to do. Use it to control DC infor-
mation building up and killing headroom, reverbs or delaylines.
Choose from 4 fixed cut off points.
1: 10hz
2: 28hz
3: 40hz
4: 80hz
TIP: In Mid-Side mode, the Mid filter is 4th order and the Side filter is 5th.
Designed by Cristian Vogel for NeverEngine Labs
v1.1
CutoffOption
Choose from 4 fixed cut off points.
1: 10hz
2: 28hz
3: 40hz
4: 80hz
Stereo Input
Input to be filtered
MidSide
Choose to do the cut off after first encoding into mid-side format, then decoding
back to stereo.

31