Here is where we need to define "sound design".
In the strict sense of synthesizer programming, any synth will do.
But in the larger context of film/TV/game sound, some knowledge of recording, tracking, mixing, etc. would be involved.
Here is where we need to define "sound design".
+1 for Bitwig
I always considered that Kyma/Capybara is the king of sounddesign in that „price doesn‘t matter“ cinematic area. Of course afterwards the sounds are loaded into ProTools...whyterabbyt wrote: ↑Mon Feb 11, 2019 1:22 pm If you want a job doing sound design in the film/broadcast/games industry, (which Im taking to be the case from your other post) and you're not actually applying for the job of being the person in charge of deciding what your company buys, then the defacto industry standard is ProTools.
If you do get to be in charge, you can use what the hell you want. Until that point, expect to use PT.
If I was given this job and I had choice of using whatever I would use Wave Lab (Think Audition but 10 times better) and Nuendo (For post production work). The work flow is great for things like this. The bad is how stupidly expensive they are. Nuendo is $2,000 and Wavelab $750 MSRP and Street price is $1,800 and $550.woggle wrote: ↑Mon Feb 11, 2019 7:58 pm Sound Design is a very broad term. I am designing work for an art gallery tour at the moment. Pretty much all of the sound is derived from field recordings I made on site or nearby the gallery. I am using Izotope RX7 and Spectralayers for the initial trimming, segmenting and processing. That material will go in to Reaper for assembly, further processing and mixdown.
Someone mentioned Audition - an excellent tool but my copy will no longer work on my machine without switching to a very expensive subscription - I've got rid of all Adobe products now they annoy me so much as a company. But if you have Audition or can get it cheap then go for it.
To be honest, I dont see that much mention of the Kyma any more, in the scope of interviews with film/game sound designers. If there's a box beside the console, its Eurorack these days. Almost always PT on the screen, though.Tj Shredder wrote: ↑Fri Mar 01, 2019 3:05 pmI always considered that Kyma/Capybara is the king of sounddesign in that „price doesn‘t matter“ cinematic area. Of course afterwards the sounds are loaded into ProTools...whyterabbyt wrote: ↑Mon Feb 11, 2019 1:22 pm If you want a job doing sound design in the film/broadcast/games industry, (which Im taking to be the case from your other post) and you're not actually applying for the job of being the person in charge of deciding what your company buys, then the defacto industry standard is ProTools.
If you do get to be in charge, you can use what the hell you want. Until that point, expect to use PT.
I know KVR members might never have heard of it...
He's not a pro, nor about to become one. Just look at his post history. Going around asking stupid questions.whyterabbyt wrote: ↑Mon Feb 11, 2019 1:22 pm If you want a job doing sound design in the film/broadcast/games industry, (which Im taking to be the case from your other post) and you're not actually applying for the job of being the person in charge of deciding what your company buys, then the defacto industry standard is ProTools.
If you do get to be in charge, you can use what the hell you want. Until that point, expect to use PT.
+1 Opened the thread to suggest that one.
I was going to say the same thing (Audiomulch), or another DAW that lets you easily record arbitrary groupings of sources as realtime audio (not bouncing or rendering) and then easily transform those recordings (reverse, change speed/pitch, run through other effects, record, resample, rinse, repeat, etc). To me Ableton Live, REAPER, and Bitwig fill this "live resampling" audio-mulching workflow, while Logic and Reason do not.
Just like 99.99% of the other people here, then. That changes nothing about my advice, which will also be relevant to anyone with the same question in a similar context. Whether they're about to become pro or not.kosmios wrote: ↑Fri Mar 01, 2019 7:57 pmHe's not a pro, nor about to become one.whyterabbyt wrote: ↑Mon Feb 11, 2019 1:22 pm If you want a job doing sound design in the film/broadcast/games industry, (which Im taking to be the case from your other post) and you're not actually applying for the job of being the person in charge of deciding what your company buys, then the defacto industry standard is ProTools.
If you do get to be in charge, you can use what the hell you want. Until that point, expect to use PT.
Yeah, beginners often do. But I'll give the advice I consider suitable, thanks, and your assessment of their capabilities or history isn't going to be a factor in that.Just look at his post history. Going around asking stupid questions.
I think at that point it was the benchmark for a lot of the stuff he was researching. Dont actually know if he ever acquired one.
Yup, had some very sophisticated stuff in it.and i know scot definitely got in to it.
was always a bit beyond me, both finance wise and concept, it was like audio magick! the way scot used to talk about it
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