Everything KiMiA does, in numbers.
Taken from KiMiA's own technical reference for the version in development. Where a player would ask and the answer is no, it says so.
General
| Platform | Apple silicon Macs, macOS 14 or newer, native |
|---|---|
| Formats | Standalone app; Audio Unit (Logic Pro, MainStage); VST3 (Ableton Live, Cubase). The same engine in all three. |
| Polyphony | 128 voices shared by all layers and both patches (or 64) |
| Structure | 2 patches playing at once (Dual Patch), 4 layers each, any engine per layer |
| Buffer | 64 to 512 frames; KiMiA plays at the audio interface's own sample rate |
| Sound quality | Oversampling chosen per note, up to 8×; band-limited oscillators, wavetables and grains; parameter smoothing and declicked envelopes |
| Output | Stereo or mono; a house EQ (low, mid, high ±12 dB); a look-ahead limiter at −0.1 dBFS (switchable) |
| Factory | 430 sounds; a demo Set on the pads at the first launch |
| Look | Full screen, 9 themes |
Engines
| Subtractive | 2 oscillators (13 waves, among them supersaw, additive, formant, speech and chords), a sub as a third oscillator, noise with its own filter; sync, phase, FM, ring and exponential FM between the oscillators; unison up to 8 voices |
|---|---|
| Wavetable | 24 factory tables of 256 frames; warp modes Bend, Sync, Fold, Mirror and Quant; formant and tone; your own table from a WAV file |
| FM | 4 operators, 16 algorithms, feedback on every operator, sine to wavetable operators, DX-style envelopes, up to 8× oversampling per note |
| Physical | 20 models: tine and reed electric pianos, marimba, vibraphone, xylophone, glockenspiel, bell, kalimba, harp, guitar, clav, upright and electric bass, harpsichord, steel pan, timpani, violin, viola, cello, contrabass |
| Grain | 4 modes (Cloud, Scan, Freeze, Pulse); sources: a wavetable, 8 factory samples, your WAV or AIFF, or the looper's loop; 2,048 grains shared |
| Piano | The Accurate-Salamander Grand, 4 voicings (Accurate now, three more after version 1), streamed from memory, with dampers, pedal noises and sympathetic resonance |
| Organ | 91 tonewheels, 9 drawbars, percussion, key click, leakage, scanner vibrato and chorus, a built-in rotary speaker |
| Drum kits | An analog kit of 25 synthesized instruments; an acoustic kit of 15 recorded pieces; both on General MIDI keys |
Filters
| Types | 19: low-pass, high-pass, band-pass, notch, ladder, comb, vowel, poly, morph, MS-20 style low- and high-pass, diode, Steiner style, multimode, low-pass gate, three classic chip models, resonator |
|---|---|
| Per layer | 2 filters, in series either way or in parallel; 12 or 24 dB; envelope, key tracking and audio-rate FM from Osc 2 |
| Quality | The saturating filters run at twice the rate on high notes |
Modulation
| Envelopes | 5 per layer, each with delay, hold, two-stage decay and curves |
|---|---|
| Modulators | 8 per layer: drawn shapes (2 to 32 points, steps and ratchets), sine to square, sample and hold, smooth random, drift; free, retriggered, one-shot or looping; in Hz, seconds or tempo |
| Matrices | A Sound Matrix per layer and a Performance Matrix per patch, 16 routes each, with curves, a second source and lag |
| Macros | 8 stage macros per sound, the Super Knob across both patches, an XY pad with glide and gravity |
| Arpeggiator | 22 patterns, 1 to 4 octaves, swing, latch; steps with tie, rest, pitch, time and ratchets |
Effects
| Inserts | 2 per layer from 18 types: chorus, phaser, flanger, tremolo, rotary, auto-wah, bitcrusher, compressor, resonance, EQ, amp, grain, ring mod, vibe, wah, pump, delay, spin |
|---|---|
| Shared, per sound | Delay (clean or tape, ping-pong, ducking, effects in the loop); Reverb (6 types: chamber, plate, hall, spring, cosmos, room); Shimmer |
Performance
| Set pads | 64 (4 pages of 16), each a full snapshot of both patches, their mix and the tempo; Program Change 1 to 64 |
|---|---|
| Switching | Seamless: held notes ring on with their own effects while new notes play the new pad; pad change time 0 to 10 s |
| Songs | Songs of ordered pads with their note and tempo, and a setlist |
| Playing | Split, one-key chord, Hold, Fade, Panic, transpose ±24 semitones, tempo 30–240 BPM with tap tempo, a click |
| Looper | Free or 1 to 8 bars, overdub with undo, up to 120 s; recording to 24-bit WAV |
| Stage | Stage view with a night mode, Gig check, Gig mode, Crackle guard, backups and recovery |
MIDI and controllers
| In | Velocity curves per input, channel and poly aftertouch, wheels, sustain and expression, MIDI clock in, Program Change |
|---|---|
| Learn | Right-click any control to learn it; takeover by scale, jump, pickup or relative; 61 actions for buttons and footswitches |
| Layouts | Arturia KeyLab 61 mk3, Korg nanoKONTROL2, M-Audio Oxygen Pro 25 |
| Out | Controller lights only; no MIDI notes or clock out |
| MPE | Not supported |
Requirements
| Mac | Apple silicon (M1 or later), macOS 14 or newer |
|---|---|
| Memory | A piano voicing takes about 1.3 GB while it's used; KiMiA keeps what it plays in memory, so nothing waits on the disk on stage |
| Audio | USB, Thunderbolt, FireWire or PCI audio interfaces (not Bluetooth, HDMI or AirPlay) |
| Not planned | Intel Macs, Windows, Linux |
MS-20 is a trademark of Korg Inc. "Style" names describe a sound's character only; KiMiA is not affiliated with their makers.