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SECTOR by Kymatica

After some teasing last week SECTOR is now available on iTunes, from the maker of AudioShare and the AUFX series of effects apps! I've been having a lot of fun with this one and highly recommend you check it out if you want to explore new ways of thinking about loop composition. There is a handy manual on the official site, you're going to need it!



Buy SECTOR on iTunes: $6.99 (On Sale, Intro Price)

SECTOR iTunes Description:

Slice and sequence your loops with a network of markov-chain connections. Introduce order with the probability-based coin-flipping pattern sequencer. Bend time with warp functions for glitches and modulations. Tweak and trigger in real time performance. Get anything between rigid control and random chaos.

Introductory price for a limited time only.

  • High quality 32-bit audio engine
  • Stream audio to other apps in Audiobus or Inter-App Audio
  • Import samples and loops from AudioShare or using "Open in" from other apps

Users guide: http://kymatica.com/sector/manual

Coming in next update:

  • MIDI clock sync
  • In-app recording and exporting of loops

Reader Comments 57

This is an amazing app. I made a simple melodic loop in Alchemy and pasted it into Audioshare before importing it into Sector. I made a few Markov and warp modifications, but pushed the step sequencer to make the 1-9-17-25 steps regular so the loop didn't go entirely off the reservation. Then I played over the top of it in Alchemy and recorded what I was doing in there (so the new pattern would repeat), before timing a beat coming in in Drumjam and adding some drum pads with the Bedlam feature active. Oh, and AUFX Dub was running in the Effects slot of Audiobus this whole time. It was woozy, it was awesome, it went on for 10 minutes before I thought, 'Ah, maybe I should have recorded this as live in Cubasis'.

I'll be doing something similar later and will upload it!

February 18, 2014  | person_outline Mike Grant

It is amazing, without a doubt. I have a wish for the wish list, if it is possible, however (you know those would be coming, didm't you, Mr. J.L. Kymatica?). I have imported a few loops that are not so percussive, more pad like, and when they are broken up into sectors, there are occasional quite sharp clicks that I would like to attenuate or eliminate altogether. Is there a way to take the attack off of all sectors, so that the shifting in instances like these is smooth?

When run through AUFX time based FX, that would be a very useful feature to add. I looked through the manual, but unless I missed something, I am not sure if such a setting is possible.

If anyone has any ideas about this, please let me know. This app has phenomenal, unlimited potential.

February 18, 2014  | person_outline Chris Catalano

I just bought it and is really cool and bought to the Aufx Dub thanx a lot for this kind of apps!!!!!! Kymatica

February 18, 2014  | person_outline Aphex

Please don't flame me, but I didn't think much of Sector. The problem I think, for me anyway is that, and like many other apps in this ilk, is that it goes on and on and on like one massive self indulgent jazz drum solo until the stop button is pressed. Putting a more ambient pad drone made it click like fuck in parts- hardly useful or enjoyable. I see Sector as more of a fun gimmick for beard strokers as opposed to a serious tool for tunesmiths and songwriters. Glitchbreaks IMO is better, because at least you can forge something fairly coherent out of it as well as achieving utter chaos.

The interface with its colourful sequencer thing kind of reminded me of Loop Twister or Effectrix, and tbh, I was hoping I could get it to behave more like that. If sector could be triggered by MIDI keys, or pads, then it could have been more useful. But it couldn't. Shame. One for the kids who can't get their head around Max/msp after being inspired by Nic Collins methinks. Having said that I'm prepared and excited to see if it evolves.There I've said it. Flame away. :-?

February 18, 2014  | person_outline tom_tm

should have read a little closer, super annoyed I can't import my own samples except through another $4 app

February 18, 2014  | person_outline butthurt

Maybe, but once you get it you will be glad you did, especially when Apple catches up to its Audio capabilities, and lets us use them. Kymatica apps ALL supports High Def Audio, why the hell can ACP 2, Audiobus and Apple get on board? I am way more pissed off about that.

ACP 2 does nothing but take forever to load, crash, and get confused about which apps are on your device by f'&king constanly redirecting you to the app store, and 16 bit max to boot. Audioshare supports IAA recording, Input and Output slots in Audiobus, and has real audio processors built in for trimming, and Normalizing.

Choose your weapons. Audioshare is probably the best 4 buck app you can get.

February 18, 2014  | person_outline Chris Catalano

an update for ProLoop would be most welcome. please. there's still no equivalent.

https://itunes.apple.com/us/app/proloop/id353139847?mt=8

February 18, 2014  | person_outline a1

Looks interesting but I'm going on an extended buy nothing campaign. Too much $ spent lately and I have more than enough to keep me happy. Wish me luck. Perhaps I ought to resist checking out this site because just like some super Pavlovian reflex that's so powerful before I know it I'm hitting the buy button. Just kidding......:)

February 18, 2014  | person_outline Brian

That's something I may also have to consider for a while, too Brian.

I have more than enough apps now...time to make more music again, like in the old days, with an iPhone 4S, GB, Animoog, Sunrizer, Grain Science, and Multitrack DAW, Audiopaste Heaven, first export from GB to Logic Studio, then a bit later into the DAW with Audiobus and WOW! Some of the best music I ever made...

The options are KILLING my music!

February 18, 2014  | person_outline Chris Catalano

@butthurt, you know you can use the "Open in..." from other apps to import samples to Sector right? I have Audioshare and heartily recommend it for a variety of reasons, but if you don't want to buy it you don't have to.

I just did it from Nave to test.

February 18, 2014  | person_outline dave props

You can also use iTunes sharing or iFunbox to import your own samples...

February 18, 2014  | person_outline dave props

I hear ya Chris! The other day I opened up Electrify NXT for the first time and almost immediately closed it just because of too much overload. No reflection on the app itself. I said to myself I'll get into it soon and I haven't yet. Think my brain is trying to tell me something.
Maybe get back to my real guitar and voice and start from there:)

February 18, 2014  | person_outline Brian

A lot to be said for playing, singing and writing the straight up way...
Same thing happening to me with these crazy apps too. I guess it all depends where you are at with the process. I teach a program at an International School called Music Composition and Technology. It is amazing how many kids are absolutely unimpressed with all the whacko stuff on my iPad, but so much more into it when I just play a good song, voice and guitar or piano, when I am in a zone. We are all jaded about one way of doing things or another, it seems...Balance is a tough thing to pull off.

February 18, 2014  | person_outline Chris Catalano

Totally Chris! Yep kids have a way of getting to the heart of the matter. I always remember that episode of the tv series The Music of Man when Glenn Gould was showing off his recording studio techniques to host Yehudi Menuhin. Glenn Gould was splicing together the best portions of a composition to make the ultimate recording. Menuhin warned that this was kind of a false representation of the recording artist and the concert hall should always be the standard of an artists abilities and communication to the listening audience. Maybe you've seen this series? Back to the basics. The Beatles toured like crazy in Germany and England etc before they were famous and all that touring made them damm good musicians.
Any ways great that you're a teacher!

February 18, 2014  | person_outline Brian

@Brian - I am with you. App-overload! Way too many apps and not much music being made. I think folks are jumping from one new app to the other on a daily basis and are not finding time to compose music. Maybe I'm wrong but I think a lot of iOS musicians end up with too many very rough tracks uploaded onto soundcloud and not many of those tracks would not be good enough to compete commercially? Just my opinion, not a fact. Tim Webb did mention once that iOS musos tend to be hobbyists?

As for this app, glitch is not my thing so I'll happily pass. I have Effectrix on Mac so that is enough glitch for one dude :-)

February 18, 2014  | person_outline Medo

Yeah, agreed, Brian. Never saw the series, but vaguely remember that Goild abandoned live work, like the Beatles, for the studio experience. Studio for me is almost loke painting or Movie Making, live, like theatre means people interaction. All good, but I think even studio work will always be deeper if musicians have a healthy dose of live experience in the mix...

February 18, 2014  | person_outline Chris Catalano

This app is insane. Make a loop with no drums in it. Load it in. Than run DM-1 or a different drum machine beside Sector, and use Animoog or sth for lead synth. This will totally "f*** up" my old workflow!

February 18, 2014  | person_outline Rok

@ Medo I agree ,too much can have a dampening effect but Chris is right too when it depends on where you're at at the moment with workflow and set ups etc. The end result is only as good as a person is at the moment. I think we all get easily excited and rightly so about the amazing technology and apps coming out all the time. I think we gather many apps also because we love music making and are open and wanting to learn new ways to produce music . And that rush of novelty is addictive not only with fantastic music apps!
@ Chris, I'm a visual artist too and I understand about technique and mastery. This also must be remembered when it comes to music creating. When Rembrandt had a school for art apprentices back in his day he freely gave a vast education to his students of techniques and the properties of pigments etc. and still most of his students armed with the same materials he used couldn't produce what the master could. So it is with all these wonderful apps we have. We must make sure there's a solid foundation there before we use these tools and still have a creative fun time doing it all....lol :)

February 18, 2014  | person_outline Brian

Tom's criticisms are both valid, and folks should consider them. I think Jonatan can compensate for that "clicking" on ambient pads; I was getting that too this afternoon and it is annoying. As for it being a "one massive self indulgent jazz drum solo" ... dead on. I had a lot of fun working with the Amen Break, included in the app. I got it warped into something that could quite literally go on like an excellent sounding dynamic breakbeat, without a single bar being repeated quite exactly the same in 30 minutes.

Can anyone using this with Effectrix on audiobus? Is it possible , i dont have effectrix but im thinking buy it, i have a M-Audio midi controller and i dont know if a need another midi app for use it on effectrix.

Sector its awesome!!! And i want more glitch lol

February 18, 2014  | person_outline Aphex

I have little use for glitch and stutter type effects, but I got this anyway in order to do some interesting things with melodic bass lines. It's way better than I expected. I have to reign in on some of the things that it can do in favor of having it do the things that I want. It's just another tool in the belt at another reasonable price.

February 18, 2014  | person_outline Zippy

That's the spirit, Zippy!

Jonathan did a great job on this app, it's beautifully executed and does it's job well, and is a lot of fun, too. If past experience is a guide, the additions and updates should come sooner than later but SECTOR is off to a great start!


p.s. I dictated this post on the iPad, and the name of the app came out all-caps like that on it's own! :)

February 18, 2014  | person_outline gatearray

@Aphex: The upcoming update for Sector will include MIDI clock sync (which Effectrix requires since it's a sequencer). So should work after the next version of Sector hits.

February 18, 2014  | person_outline ChrisG

Does this support wav files with slice markers or REX files?

I have loads of REX files (pre sliced format thats widely supported on desktop software) and these would be a joy to use since they are already sliced and ready to go.

February 19, 2014  | person_outline cvg

@ChrisG

Thanx, :)
i think that i can trigger effectrix from m-audio midi controller :(, so audiobus, input Sector FX Effectrix, run sector and press the keys of my keyboard to control effectrix, i hope they update Sector or Effectrix soon :(

February 19, 2014  | person_outline Aphex

Join me in requesting swing per slice feature so that in addition to all the mangling we can make the mangling warm, organic, and funky !

February 19, 2014  | person_outline Kobamoto rin

ok I've got a few urgent questions

1. how do you adjust the volume of the different sectors

2. is it possible to actually sequence the slices in a regular way, I understand seemingly that the step sequencer will allow you to sequence (glitching) itself, but will it let you sequence the samples into a basic beat?

3. why is it that when I'm in map mode and I lower the probability bar on one slice the other probability bars on other slices also move, isn't there a way to move the probability bars on the kick drum and have the other probability bars not move?

February 19, 2014  | person_outline kid pocalypse

Is there a way to copy patterns from one slot to another and how do you export loops?

February 19, 2014  | person_outline Mr. Wonderful

I think it's dope.

February 19, 2014  | person_outline SingleCell

kid pocalypse, the probabilities have to add up to 100% so if you change one the others have to change to compensate.

February 19, 2014  | person_outline Bianca

I think I must be missing something here. This app has gotten so much positive attention yet I'm left scratching my head as to why. I would love to hear something made from this that actually sounds like something you could listen to or dance to or even just tap your foot to because right now it just sounds like obnoxious noise to me … maybe it's just my aging self coming out and longing for the days of being stoned and rocking out at a Led Zeppelin concert :). I'm not taking this growing up and getting old thing very well at all :)

February 19, 2014  | person_outline Marlene DeGrood

I like most of what Jonatan does, but I'm definitely not part of the target audience for this app. Looks great, but like a few others here, I just don't see the attraction. Now get off of my lawn!

February 19, 2014  | person_outline Patrick/Secret Base Design

It is easier to make obnoxious sounds with it than good ones, like any instrument, but it is possible! I've found the trick is to listen to the sectors and start off with some logical connections. I like to find snares for a start. Once I've figured out which sectors include snares I'll go through and map connections between the parts leading up to those snares.

So let's say you've got 16 sectors, and the snares are on 5, 9, 13. I'll go to sector 4 and map that to sectors 9 and 13 as well. So now it has a 33% chance of jumping to 5, 9, 13. I'll then go and make the same connections on sector 8, and then again on sector 12. This way a normal play through won't fuck up the beat, but will add some variety by jumping around in the loop. If there is a melodic stab or something I like to put that on the step-sequencer, rather than the map-matrix, so that it will always sound at the same time every time. Maybe as the start of a second bar. So I just tap in that sector on step 17, in a 32-step sequence.

From there I'll listen for places to add funky warps. Like take a crash cymbal and slow it down for some weird hollow sounds, or speed it up for a cross between a shaker and a vinyl scratch.

Somehow, I have a feeling that if Jimmie Page had his hands on this, or any other FX made by Kymatica in his rig (and, yes, he did have a rig, in case you doubt that he never plugged straight into a stack...he didn't), he would not have spent a lot of time pining for the old, better days, but would have inevitably found a way to integrate all of that innovation into his music. Zep were innovators...they broke new ground with every record they made.

For the record, Mr. Page's FX back in the day:
EFFECTS

Roger Mayer fuzz box
Sola Sound Tonebender
Vox Cry Baby Wah (Modified by Roger Mayer)
Maestro Echoplex
DigiTech Whammypedal
MXR Phase 90
MXR Blue Box
Pete Cornish - Tube Pre Amp
- Custom Effect Boards
- Selector/Line Driver
- AC Power Wah

My guess is that list has grown considerably to now include a few digital effects.

Kymatica may have even been inspired by him, lol.

2014? The Digital Age? Music has changed? You have an iPad?

Take advantage of some opportunities to rethink what you can do with FX, and you might find a way to make a tune, or make someone dance. Someone is doing it right now, in all probability (factor)

February 19, 2014  | person_outline Chris Catalano

I'm gonna grab a violin bow and glide it along Sectors interface. I always wanted to be Jimmy Page but since I'm a lefty Jimi Hendrix instead:)

February 19, 2014  | person_outline Brian

Patrick, we are still waiting for that New app you are working on that will allow us to wirelessly remove undesirables from our lawns, while simultaneously, stochastically harmonizing all insect buzzes within a block radius of our homes.

Maybe Blue Buzz Zeus?

February 19, 2014  | person_outline Chris Catalano

Gonna get myself in trouble here….

Jimmy Page is a fantastic guitarist and composer -- and he's piped his guitars through all kinds of interesting boxes. But if you watch something like "It Might Get Loud," there's a section where he and Jack White are watching the Edge play with his delay effects, and you can see them both give a little bit of an eye roll. There's a point where the guitar player ends, and the effects take over, and IMO, the Edge has gone past that point. MIDImorphosis is about as far as I'm comfortable going -- use MIDI to create whatever crazy synth tone you want, but the triggering of the notes should have a human behind it.

For me, the "music" is in the notes and chords, the rhythms, the lyrics. Grab pretty much any Beatles composition, for example, and it sounds amazing (and timeless) with pretty much any instrumentation. Piano, guitar, ukulele, Moog, whatever, it's recognizable and resonates. With the glitchy stuff, I just don't hear much that means anything to me -- it might be full of sound and fury, by IMO, it signifies nothing. (Old people will get that reference; it's something that comes up if you have a million monkeys typing randomly… ;-).

February 19, 2014  | person_outline Patrick/Secret Base Design

Now *this* is what I call music. Seriously freakin' awesome.

http://www.youtube.com/watch?v=nOMX3deeW6Q#t=21

February 19, 2014  | person_outline Patrick/Secret Base Design

Agreed Patrick, but I wonder if you can have it both ways. I remember the eye roll stuff in "It Might Get Loud", have been a huge Zep fan since about 1970, but since about 1980, when I heard "Boy" in a tiny boutique store in the South of France and made an inquiry, well, let's just say that the development of that band throughout that decade, and into the 90s was, to my ears, pretty compelling at a time when any new Zep music was pretty much irrelevant, and Jack White wasn't even as big as that tiny clone of himself he packed around through "Loud".

Without the Edge, probably be a lot less interesting musical Landscape that gave us Bjork, Radiohead, even those early Cocteau Twins records, the Cure, and about a million others.

My point is, no matter how far you push your gear, it will always come down to the music, and in relationship to the Edge, Jack White hasn't quite earned his "stripes" yet to be rolling eyeballs at the Edge. He is good, but new ground? Not really in the same dimension yet as the Edge, or Page, guitar, or especially songwriting wise.

Page is the consummate guitar wizard in my books, but music, I don't think, ended with him or the Beatles, who are, yes, still the greatest band that ever was. No arguments there.

Some of this could come out of my reaction to what was happening in the late 80s and early 90s, cross continent, when you were either on the side of the North American Dry Angels, or more interested in Evil Wet Britain. For me, it was the stuff out of the UK, and into the great European North that most compelled and inspired me. I am from Canada, and the scene here was atrocious, derivative Rawk, driven by A Room dinosaurs who were so wrapped up in spandex, and boring chops, that trying to create music within that scene was incredibly stiff, white bread, and predictable.

I am being a bit of a Devil's Advocate here. Sorry about that. In the end, it is what turns your crank, right?

CRANK IT UP MOTHERFUCKERS!

But remember, it's NOT only rock and roll.

February 19, 2014  | person_outline Chris Catalano

This is a great site, even when we have grand idealogical arguments about music production and taste.

I should change my musical style profile settings to "Crock and Troll": Music for the over effected Internet Age...lol...

It is so quiet. The calm before the storm. I am very afraid...

February 19, 2014  | person_outline Chris Catalano

I made a super basic demo stripping it down (as is my wont to understand it myself) and trying to make a drum machine out of it:

http://youtu.be/rFi9wuIAY0E

We're going to have to wait for MeZanook and SoundTestRoom to show us what is really up.

The problem with chance events is that it usually results in un-musical results. Music tends to follow predictable patterns except for rare, but reasonable, 'surprises' - randomness doesn't sound musical. I think being able to choose a set change in a pattern would result in more natural music. Say, instead of having a 33% chance of a jump to a break or roll, say that definitely every third time around the break will be jumped to - the 33% chance will not do that.

Wish List:
Maintain pitch while changing bpm.
Choose probability (as is) OR a definite 1 in X jump OR warp.
Ability to rotate the 'wave form ring' to match the slots better.
Import individual samples into each slot.
Set custom lengths for each slot (perhaps by merging slots):
- select when the 'jump' would take place.
- enable polyphony or x-fade to continue the sound after the 'jump'
Be a midi controller.

February 19, 2014  | person_outline Eric

add to that list- make the 'invisible' warp slot visible, or put a clear/undo button on the warp page so it isn't necessary to reload the app to return to the basic loop.

February 19, 2014  | person_outline a1

demo/tutorial video from the soundtestroom is up

aha!- the solution to returning to the original loop is to leave the upward sloping ramp at 100%. also, no mention in the video of the arrows on the warp page (they reverse the timewarp effect).

http://www.youtube.com/watch?v=GR72NwhuzfA

February 19, 2014  | person_outline a1

regarding the musicality of apps like this, it's likely helpful to regard them as instruments; which, used sparingly, can be a complementary part of the whole composition. Torley's got a pretty good handle on it.

http://www.youtube.com/watch?v=m5Gyymclapw

February 19, 2014  | person_outline a1

For me, the "music" is in the notes and chords, the rhythms, the lyrics. Grab pretty much any Beatles composition, for example, and it sounds amazing (and timeless) with pretty much any instrumentation. Piano, guitar, ukulele, Moog, whatever, it's recognizable and resonates. With the glitchy stuff, I just don't hear much that means anything to me -- it might be full of sound and fury, by IMO, it signifies nothing. (Old people will get that reference; it's something that comes up if you have a million monkeys typing randomly… ;-).

I get you, Patrick, because I've been on the other end of that. There have been a lot of points when I'm sequencing stuff and I'm like "Fuck, I should just try to play this in on my MIDI keyboard, because it sounds so soulless." But... There is a certain kind of chemistry to step-sequencing, combining the ease of use and serendipity. I've come up with some semi-accidental beats on step-sequencers that someone playing drums just wouldn't even think to try, but sound awesome!

My trick is to try to add those moments of random. For instance if you listen to any of my recent stuff, it's ALL sequenced. But those drums are alive! It doesn't sound like some tired techno out of a 909, even though it is using a lot of 909 samples. I take my sequence and then try to add random to it. I hate swing, so I add my own groove. Or a great example anyone can try on a sequencer with velocity is to fill out a pattern and then select the hats. Now draw in the velocity while trying to keep your hand moving in a straight line. You'll end up with just a little bit of push and pull on that. It gives you a nice rolling quality, rather than the usual annoyingly repetitive hats.

That's what I love about SECTOR and Robotic Drums. The randomness is built in! It does feel a lot more like trying to work out matrix-math than composing music at times, but the results are better than I could have imagined. Wow, I am loath to type that. But honestly, inspiration is fickle, give me a random number generator any day!

When it comes to music I would just say that everything has its place, this app being a 'thing' is included in that everything.

February 19, 2014  | person_outline Mr. Wonderful

Mr. Wonderful, bang, fucking on...

It ain't what you got, it's where you stick it!

Still, cannot argue that songwriting or musical content, emotion, and musicality are the deciding factors at the end of the day.

We must connect our musical spirits to these machines, or we run the risk of stochastic shite manoeuvres in the dark!

February 20, 2014  | person_outline Chris Catalano

A quote from Vangelis
" I function as a channel through which music emerges from the chaos of noise"

February 20, 2014  | person_outline Brian

Nice...

February 20, 2014  | person_outline Chris Catalano

As usual, this thread and thesoundtestroom made sense of this app for me. To those who said to look at it as an instrument … that was very convincing for me and thesoundtestroom video proved it. I have had the app for about 14 hours and actually love it. Sectors demo vid was a turn off for me and I should really know better by now. I really appreciate Tim and all the forum members here … Thanks!!!!

February 20, 2014  | person_outline Marlene DeGrood

Good call, Marlene! Sound Test Room is always great to get a bit of early perspective on new apps. I think it is a bit short sighted for us to not try to perceive the incredible amount of thought, time, and trial and error that must have gone into this. I am still clueless as to where it might lead me, but so far the experiments have been enjoyable failures, and if I can figure out where to fit stuff into a musical context, Sector could become a very powerful musical instrument in its own right.

For now, those of you who did get it and remain a little puzzled and frustrated, try to let go of what you think it could do, and see what you can do with it that works for you now. It is very deep, complex, and in all "probability", Kymatica will provide very useful updates for many moons to come. That is the only consistent formula I have seen so far from this developer. A groundbreaker, and we have a chance to reap the benefits...

February 20, 2014  | person_outline Chris Catalano

I don't think I've seen this mentioned anywhere yet, but does anyone else around here remember this little gem from back in the day? :)

https://itunes.apple.com/us/app/slice/id324517299?mt=8

February 20, 2014  | person_outline gatearray

I didn't see this answered by anyone yet, but the clips will have pops/clicks if you use a melodic instrument, right? I definitely see the value in using this app for drum loops but i really want to chop up guitar/keyboard samples. The audio issue would make it unusable for that. Any word on if that is being looked in to?

February 20, 2014  | person_outline David

Hi, David, I also posted about that issue earlier, and also on Music App Blog.

One solution(s) I think could work would be to have some sort of ADSR on each sector so that we could at least have a soft attack on each sector (Samplr has this), thereby attenuating the pop occurring because of bad zero crossing. Another future solution I would like to see considered would be some sort of zero crossing detector, that shifted all the segments audio in out points slightly to nip it in the bud. The final, more time consuming, hence annoying solution might be some sort of in app editor, or more of that in Audioshare. Audioshare could also really use fade in and out options after trimming samples.

February 20, 2014  | person_outline Chris Catalano

Wow, lots of stuff going on here so not even sure where to start :)

First of all, regarding music and taste.. I come from a background of machine/computer music, starting with synth, techno and then falling in love with glitchy stuff from WARP, etc. and that has of course colored my decisions to create this app :) I also love music played on traditional and acoustic instruments, and play several instruments myself (Mostly the persian Santur). For me, music is music, noise is music, music is noise. And it's all tools to express and create sound in different ways. But I see now that I should've been more thoughtful when choosing the musical content of the demo video and not show only the chaotic glitchy extremes!

Now, back to the app. I have lots of plans for future enhancements, as usual! And am very interested in hearing what my users would like to see. It's hard to keep track of all communications, so please consider posting your feature requests and questions on http://kymatica.com/forum.

The clicking noises that occur when jumping between sectors in some material has been fixed here and will come in the first update! Same thing with MIDI clock sync. I'll also add quantized recording of the results for exporting sample-accurate loops to put somewhere else (or through another round through SECTOR).
And copying/pasting between the MAP and SEQ memory slots. And a clear-all for WRP. And a master output level, and distortion, and more :)

Regarding changing the amplitude of individual sectors, this is planned but I need to think it through some more because it's part of some bigger stuff, perhaps involving amplitude envelopes.

February 21, 2014  | person_outline Jonatan Liljedahl

Does anyone need any reminding about the responsivenss and consideration of this developer? App out three days, and he answers more pertinent questions than suggested in over 50 comments, and does it, smiling.

Kymatica. The Gold Standard .

February 21, 2014  | person_outline Chris Catalano

I concur, Kymatica is a class act.

February 21, 2014  | person_outline kobamoto rin
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