hello fellas..just been very lucky to be offered a job position in a video postproduction company..they want me to setup an audio productionsuite..i just wanted to know if any of u pro guys out there has any experience in this type of work..like what DAW im considering using ProTools in conjunction with LIVE and ive been thinkin of getting a Capybara from KYMA as well. And ofcourse use UAD to the max..are there any other plugs that is suitable for this specifik kind of work or hardware..and is there any good reads out there..thanx
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audiovideo production..
- Thread starter pony down
- Start date
KYMA rocks for that sort of thing. get at least 2 additional DSP cards, 4 would be better (well if the money isn't an issue, load it way to the max). An Eventide H8000 FW would also be something you may want to have. And: for creating soundscapes nothing is cooler than the Hartmann Neuron. See the Surround SFX website for more details on that instrument.
For cleaning up location recordings you might want the algorithmix ReNovator denoising/artifact removal app. Grab BlueSky \"System One\" THX-certified monitors. And use UA convertors.
8)
For cleaning up location recordings you might want the algorithmix ReNovator denoising/artifact removal app. Grab BlueSky \"System One\" THX-certified monitors. And use UA convertors.
8)
made a note of it! thanx polygen your reply is much much appreciated..a question about kyma. just asking a obviously dumb question. the cards in kyma the more u have the faster the processing goes right? but with just one is it a really a slow process? do u have any hands on experience (examples)..the company expects loads of work so this might be an issue other than its just a cool effect machine. thanx. and err what about \"mastering\". Everything i expect they want to be done in house so whats the deal..plugs or like hardware
dbx, tc etc..up until now the freelance work ive been doing for them has been done only on the studio pack ie no uad master eq, limiter and multiband. just with pultec, cambridge and la2a (god that plug saves my day everyday).
dbx, tc etc..up until now the freelance work ive been doing for them has been done only on the studio pack ie no uad master eq, limiter and multiband. just with pultec, cambridge and la2a (god that plug saves my day everyday).
re kyma:
more cards in the kyma means more complex algorithms (more sampler voices, vocoder bands, resynthesis partials, allpass filters, grains etc) *in realtime*. you can however \"render\" any process offline if you don't have enough realtime power. in this case i would presume that more cards mean faster processing, but rendering an effect before listening to it....hm. no, not for me. get more cards
if you want to know for sure, write an email to symbolic sound, they are really friendly and fast in answering.
we've got a basic system plus two dsp cards ( a total of 8 DSPs). This can run most of the preset library but is not quite enough if you want to run multiple complex effects at the same time, or do stereo morphing on two live stereo inputs in a good resolution. So two cards is the minimum, i strongly suggest you get more.
you can use the KYMA as an effects box by simply using the presets and replacing their input with your files or the audio inputs of the KYMA, but it truly begins to shine if you don't just use it like an \"effects box\"; you'll really want to learn some scripting, it's worth it (and necessary to really get the most out of the kyma). For instance if you wanted to modulate a parameter with the modwheel with adjustable depth and add the value of a GUI fader called \"offset\" as an offset between 0 and 1000 hz you'll have to enter something like this into the parameter's field:
((!modulation*!depth)+(!offset*1000)) hz
the \"!\" declares the following string (or \"word\") as realtime variable and creates a GUI element with the same name (except if the variable is one of the predefined ones like midi-modwheel or notepitch etc). the \"hz\" declares the unit used. depending on the context this could also be \"nn\" (note number), \"ms\", \"samples\", \"days\" (!!!) etc.
to be able to switch this modulation off with a GUI switch (leaving just the \"offset value), multiply it with a toggling switch
((!switch*!modulation*!depth)+(!offset*1000)) hz
(when the switch is set to \"off\", its output will be zero which results in the first term becoming zero, too....when the switch is on its output is one which is neutral and leaves everything untouched).
so.....is this a steep learning curve? sort of. but it's not rocket science.
mastering....the only advice i can give you in this regard is to let someone do it that knows what he's doing. it's an entirely different beast than mixing / sound design.
more cards in the kyma means more complex algorithms (more sampler voices, vocoder bands, resynthesis partials, allpass filters, grains etc) *in realtime*. you can however \"render\" any process offline if you don't have enough realtime power. in this case i would presume that more cards mean faster processing, but rendering an effect before listening to it....hm. no, not for me. get more cards
if you want to know for sure, write an email to symbolic sound, they are really friendly and fast in answering.we've got a basic system plus two dsp cards ( a total of 8 DSPs). This can run most of the preset library but is not quite enough if you want to run multiple complex effects at the same time, or do stereo morphing on two live stereo inputs in a good resolution. So two cards is the minimum, i strongly suggest you get more.
you can use the KYMA as an effects box by simply using the presets and replacing their input with your files or the audio inputs of the KYMA, but it truly begins to shine if you don't just use it like an \"effects box\"; you'll really want to learn some scripting, it's worth it (and necessary to really get the most out of the kyma). For instance if you wanted to modulate a parameter with the modwheel with adjustable depth and add the value of a GUI fader called \"offset\" as an offset between 0 and 1000 hz you'll have to enter something like this into the parameter's field:
((!modulation*!depth)+(!offset*1000)) hz
the \"!\" declares the following string (or \"word\") as realtime variable and creates a GUI element with the same name (except if the variable is one of the predefined ones like midi-modwheel or notepitch etc). the \"hz\" declares the unit used. depending on the context this could also be \"nn\" (note number), \"ms\", \"samples\", \"days\" (!!!) etc.
to be able to switch this modulation off with a GUI switch (leaving just the \"offset value), multiply it with a toggling switch
((!switch*!modulation*!depth)+(!offset*1000)) hz
(when the switch is set to \"off\", its output will be zero which results in the first term becoming zero, too....when the switch is on its output is one which is neutral and leaves everything untouched).
so.....is this a steep learning curve? sort of. but it's not rocket science.
mastering....the only advice i can give you in this regard is to let someone do it that knows what he's doing. it's an entirely different beast than mixing / sound design.
hehe , me too, first thing i do when i get new gear is read the manualpony down said:
you're absolutely right, the best way to learn the KYMA is to know what the box can do, then find out how to do a specific thing when you need that functionality in a real-life situation.
i do freelance sound design and music production, i've done a couple of short films and some theater sound, as well as numerous records, mainly electronic stuff. currently i'm working on a couple of sound libraries for various platforms, including the Neuron (for which i also did some of the factory sounds) and Kyma...see my site in my signature.
Should you have any more questions or need additional manpower....let me know