|
|
|
Pyramix - Digital Audio Workstation |
128 채널 멀티트랙이 필요한 경우, 스테레오 CD Mastering을 할 경우, 포스트 프로덕션 작업을 할 경우, 16채널 DSD 녹음을 하려고 할 경우, 등에 있어서 Pyramix(피라믹스) Virtual Studio는 디지털 오디오 믹싱, 이펙트 프로세싱, 레코딩, 에디팅, 마스터링의 모든 기능을 통합하고 있는 전문가를 위한 최고의 DAW (Digital Audio Workstation) 입니다.
피라믹스는 믹서의 채널 수와 구성을 매우 쉽게 할 수 있습니다. 사용자는 자신에게 필요한 입출력, 시그널 라우팅, 이펙트 프로세서, 하드디스크 트랙 등을 독특하게 구성할 수 있습니다. ‘실시간(Real-time)’이라는 것은 즉각적인 편집이라는 의미 이상의 것을 내포하고 있습니다. 즉 이것은 피라믹스 시스템이 ‘EQ, Dynamics, FX의 실시간 프로세싱’과 ‘스테레오/서라운드 사운드 오토메이션’에 있어서 렌더링에 의존하는 시스템과 비교할 때 월등한 편집력을 제공함을 의미합니다.
피라믹스는 아래와 같이 사용자의 환경에 적합하도록 위의 기재된 여러가지 소프트웨어 옵션을 팩키지로 묶은 기능별 소프트웨어 팩을 제공합니다. 예를 들자면, TV 포스트, CD/DVD 마스터링, 멀티트랙 뮤직 작업을 아무런 문제 없이 하나의 시스템에서 훌륭하게 처리할 수 있음은 물론, 한글로 된 미디어 파일 생성 및 읽기 쓰기 등이 모두 지원됩니다. Pyramix is already acknowledged as the audio industry's most advanced digital audio workstations. It offers unsurpassed sonic quality and a level of flexibility proven by its suitability and acceptance in post production, multi-channel live music recording, broadcast radio and CD/DSD music mastering. In a world of PC or Mac based DAWs generally using rendered processing technologies Pyramix has always been capable of the more advanced 'real-time' processing making its editing model and speed far more efficient and capable. This is one of many reasons why so many broadcasters, film and TV post houses as well as music and mastering professionals around the world choose Pyramix. A new era now begins for Pyramix with our latest technological breakthrough called MassCore. MassCore is a new and incredibly powerful real-time engine for Pyramix and offers an increased level of processing and channel count so great that Pyramix now becomes, quite simply, the most powerful digital audio workstation in the world today. At it's very heart, Pyramix MassCore ™ is a truly deterministic real-time engine that does not rely on the Windows operating system for the core mix-engine processing, thereby avoiding all the inherent restrictions and latencies introduced by a general purpose operating system. Pyramix MassCore can be configured from just 16 to an astonishing 384 simultaneous live input and output channels (768 I/O) at 48kHz with a massive 256 channel mix-buss structure. Retaining an almost infinite number of real-time editing (virtual) tracks and with latencies far lower than any other Windows or Mac based system. Pyramix MassCore offers a level of power, sonic quality and flexibility that outperforms every other DAW on the market. So many tracks and so many channels at 48kHz also allows for 192 simultaneous I/O channels at 96kHz, 96 I/O channels at 192kHz and we don't stop there. Pyramix is the only system in the world capable of 48 I/O channels in DXD (352.8 kHz) and DSD (1-bit 2.8MHz sample rate) for SACD production. The MassCore engine is as powerful and as capable as a large format standalone digital console. Fully automated with freely configurable mix, buss and monitoring structures. Most importantly, Pyramix retains all its real-time editing and processing capabilities. There are no software limitations on how many plug-ins I can have in a channel, no worries about how many tracks I can have at the higher sample rates and no limitations about how many editing tracks I need. In addition, I can have all the freely assignable VST plug-ins I can muster where and whenever I want them.
Pyramix can be configured to suite your specific needs. Software specific application packs are available for post production , mastering , broadcast , and music environments, or you may prefer to create a custom system yourself using the a-la-carte range of options .
Application Specific Software Pack Configurations. Pyramix MassCore and Pyramix Native can have specific software configurations dedicated to Post Production , Music , Mastering and Broadcast applications, or you can simply mix and match from the A-la-carte range of options to create the perfect configuration for your personal needs.
Choosing between DSP, FPGA and Native Pentium (or yet another solution)
If we focus our analysis on the particular audio application of a mix engine, as the number of channel strips and busses grow and the sampling rates get higher, there is clearly a growing appeal for a digital audio designer to consider a FPGA over a DSP for the shear cost advantage (as low as 0.2 cent/MMAC, or million multiply-accumulate operations) some of the latest generation FPGAs offer. The raw computational power of such new devices allow easily to construct mixers that offer over 200 input strips With full multi-band EQ and dynamics on each channel) into 80 or more busses. This is just impossible to achieve even with the fastest and most recent DSPs on the market. Such a mix engine would therefore have to be split over several tens of DSPs to achieve the same result. Given their granular structure FPGAs are also able to process audio with minimal latency and are hence optimal for ultra low latency between Live In to Live Out, which is clearly a major advantage for digital mix engines suitable for Live applications. There are however a number of issues that made the choice of FPGA a much less interesting proposal for Merging and listed below are some of the most obvious cons: 1) since not only the algorithms but also the underlying fabric (or structure) of the signal path must be extensively defined in an FPGA, typical high-level languages such as C or C++ cannot be employed. One has to resort to using a quite low-level design-entry language (such as VHDL, VHSIC hardware description language) which somehow brings us back to the middle-age of what assembly language used to be for DSP programming. 2) While relatively simple structures as those of a mix buss, an Equalizer and even a Dynamics section are relatively straightforward to program in such low-level languages, more complex algorithms (such as a Reverb or Pitch/Time compression-expansion plugin) do represent a major challenge to implement in an FPGA. This not only at design stage but further on through the entire optimization and maintenance life cycle. 3) Finally one of the most significant drawback when designing with large FPGAs is how slow and tedious this process can be. During each design and debugging iteration stage an enormous amount of time is wasted waiting for a new silicon to be ready for test. Every new compilation may require up to several hours (typically an overnight job) before being able to evaluate the result of even the simplest modification. Doing the same job for a DSP or a code running on a X86 CPU will at most take a few minutes for each iteration.
In accordance with Moore's law, one would also expect the power of all these solutions to roughly double every 18 months. Upon closer analysis, while DSPs and FPGAs were quite good at almost following Moore's law, nothing could beat the tremendous scaling of performance that the x86 platform has enjoyed over the past years. As we already had quite a bit of experience with the Native side of things with our Pyramix Native software, we were looking for a possible way to combine all the advantages of Native X86 programming (high-level language, easy to operate design, maintenance and debug tools, rapidity and flexibility to test a number of design variants, etc.) with the advantages of FPGA or DSP-based designs (ultra-low and deterministic latencies under a strict real-time operating system). While it now could seem a rather evident solution, coming up with MassCore™ (patent pending) was not a trivial task. MassCore (the yet another solution combining best of both worlds) what is it? So after realizing after many fights, after many trials to control (and limit) the impact of the Windows OS on the real-time response of an audio engine, with its formidable constraints on ultra-low roundtrip latency requirements and deciding it was basically impossible to avoid such a general purpose Operating System not to mess up entirely at times by possibly delaying a critical audio task by as much as 10 to 20 ms (if not more), the next thought was would it be possible to keep an audio engine running on a X86 CPU (such as a Pentium) by isolating it totally from the Windows OS?
At the same time, the first Core2 Duo and Core2 Quad processors were seeing their market introduction both by Intel, with similar multicore processors introduced by AMD. It then seemed quite tempting to try the following: isolate one of many cores of a CPU from Windows entirely, will leaving Windows operate on the remaining cores to accomplish all the rather mundane tasks of updating the screen, fetching (or storing) data from/to Hard disks, receiving new user data from the keyboard or from the mouse, transferring files over networks, etc… in brief all the tasks that Windows is rather good at, but keeping the audio engine as much away from it as possible. The way we made it to work is basically to dedicate “the core” where we wanted the audio mix engine to run to be operated by a true Real-time kernel that take “possession” of that core and even makes this core essentially invisible to Windows. It was with great amazement that we soon realized this was not only actually possible but that the results, in terms of achievable deterministic latency were even better than what we could achieve until then with our DSP based cards. With guaranteed response times in the order of a couple of microseconds (compared to tens of milliseconds under Windows) we were able to bring down the total Live-in to Live-out audio processing delay of the entire mix engine (including complex plugins) to under 1.4 ms which is at least a factor of 10 better than what even the best fine-tuned “Native” systems can achieve. The best part of it was however to come. By relaxing slightly the latency constraints (to say 5.4 ms, which is still OK for all but the most stringent live mixing situations) we just couldn't believe how much raw power was available from just one single core of those new Core2 Duo or Core2 Quad processors. We kept on adding input strips after input strips, mix busses after mix busses and quickly managed to reach the limit of what our (by then Pyramix V5) software was able to support while the CPU usage was still showing some moderate figure of between 10% and 20% of total available power. We then immediately spent the next few days feverishly expand all former software limitations we had put in place in the code, and discover to our great astonishment that the limit was well beyond anything we had envisioned in the first place. Not only could we achieve mix engines offering up to 384 concurrent channels on over 100 mix and aux busses, including full EQ and Dynamics on all input strips, plus generous finalizing plugins on the master outputs at 48 kHz sampling rate but were able also to create the first mix engine able to do not only that but also be reconfigured within seconds to mix 48 channels in DXD (352.8 kHz) for instance. Any other combination of sample rates in between is of course also possible, such as 96 channels at 192 kHz.
Such a large mix-engine needs of course also commensurate means of audio I/O, which is something one will not find by default in a general purpose computer. This is where our existing Mykerinos range of DSP cards come to action. While their DSP power is no longer needed in full, since the main mixing action is now taking place in a Pentium Core, they are still put to good use for all what relates to I/O acceleration and handling processes. Their I/O and sync capability remains however in full use to support both the I/O requirements, with MADI, AES, SDIF, TDIF or Analog daughtercards and to provide the “heartbeat” to the MassCore engine from whatever sync source is selected (Wordclock, Video or HDTV sync, LTC, etc.). This alone is probably one of the most cost-effective side-effect of the MassCore technology. Even our earliest customers, who might have purchased their first Mykerinos card as far back as 1999 can enjoy the power of MassCore almost 10 years later, without having had to scrap their entire hardware investment 2 or 3 times meanwhile. It's almost as giving their investment a second life and feeling young again for many additional years on top of that!
Well, while it is nice to come up with one of the most powerful mix-engine available these days, many of our customers do not necessarily need such huge amount of tracks, channels and mix busses. However one of their almost universal sought-after feature is the capability to insert numerous plugins of their choice, at every stage of their mix-engine, be it in the strips, in auxes or main busses without (or with as few possible) limitations. While Pyramix V5 provided a quite restricted connectivity to VST plugins (limited to playback strips) Pyramix V6 and MassCore provides an unlimited (as a matter of fact only limited by total CPU and memory available in the system) possibility to connect any VST (or chain of) plugins in every conceivable order in every possible stage of the mix-engine. On top of that flexibility it does also fully automatically compensate for any VST plugin's latency and provides full automation over all the automatable parameters of such plugins. Further to that, the fact that the MassCore engine operates in the core sitting just a few microns apart from the other core(s) within the same chip provide an ideal boost in performance, since the buffers that are used to transfer audio data between MassCore and Windows are sharing the same CPU memory, thus getting away with many costly transfer of data through PCI or PCIe busses from/to dedicated DSP of FPGA hardware. Even better, in most cases, these data will be readily available in the inner cache memory of the multi-core CPU itself, removing any requirement to load and fetch them from the slower external memory. So while our users can now enjoy the most successful plugin platform in the best possible way, choosing from hundreds if not thousands of plugins written to adhere to the VST standard, there is still a small snag that we would like to share with you. While the MassCore engine operates on a well-controlled (timewise) platform, this is unfortunately not the case for VST plugins, which are designed to operate under Windows (or OS-X in the Mac world) and therefore cannot enjoy the strict deterministic behaviour of MassCore at the moment. In fact, as soon as even only one VST plugin is inserted in the MassCore engine, the entire system's latency must be relaxed to cope with the much larger audio buffers required by VST plugins (usually ranging from 256 to well over 1000 samples in the worst case). This means that while all VS3 plugins have been ported to operate under MassCore, benefiting from the ultra-low latency inherent under the real-time kernel, VST were not conceived, in the first place, to live outside of Windows or OS-X. VS4L, the merge of the VS3 (Merging's own proprietary plugin architecture) and of the VST platform to benefit from MassCore We strongly believe that in the same way that the mix-engine was ported to operate under a real-time kernel, the same could happen soon with a number of VST plugins. VS4L ported VST plugins can operate under MassCore benefiting from a tremendous improvement in their worst-case latency, bringing them from several tens of milliseconds to virtually zero latency, making them suitable for the first time for Live applications. MassCore, a bright future Well, that might be the best part of the MassCore technology, as it is indeed possible to envisage a future where not only one but a number of cores will be sharing a huge mix-engine. Merging is already prototyping a solution where up to 7 (out of 8, as we are nice guys and would leave Windows do its stuff in one of them) cores of a Octo-core system could be running MassCore so stay tuned as this could be announced as a new upgrade in the near future. And with Moore's help there's little doubt that 16 or 32 core systems are not that further away!
Post Pack The most advanced Pyramix configuration specifically designed for the professional audio for video post studio working in long or short format productions. Contains all the required editing features, synchronisation to integrated or external SD or HD pictures with comprehensive project and session interchange formats for all leading DAW and NLE systems as standard. Pyramix Post Pack - Key Features:
Included Software Options and Plug-ins:
Hardware Options:
Mastering Pack Designed for the professional CD, DVD and SACD recording and mastering engineer. The Pyramix Mastering Pack configuration now supports all samples rates as standard from 32kHz to 384kHz plus DXD and DSD (1-bit 2.8MHz) for SACD production in stereo and surround sound. Pyramix Mastering Pack - Key Features:
Included Software Options and Plug-ins:
Additional Software Options: Super Audio CD Authoring and Disc Builder Merging's integrated SACD authoring and disc building software offers full Scarlet Book compliant SACD Cutting Master production for Pyramix. Sony PM1630 Support This option allows Pyramix to read audio information and metadata from CD master tapes made with Sony's now-superseded PCM1630 recorders. The information may be imported via SDIF or AES digital connections (provided the 1630 machine used is fitted with the capability to output AES or SDIF audio), and a Pyramix CD disc image (in PMI format) can be automatically generated from the 1630 data. Hardware Options:
Music Pack Pyramix has long been established as one of the leading DAW systems for high quality high track count live multi-channel recording. On location recording of live concerts, or in the studio as a multi-track record/player. This cost-effective solution retains the same operational performance of the highest spec Pyramix at sample rates up to 192kHz as standard with the option for DXD/DSD multi-channel recording. For touring concerts Pyramix is often used to record the sound check a with discrete channel feeds from/to the desk giving the engineer as much time as he needs to ensure the perfect mix for the audience. Usually connected to the live desk through a single or multiple MADI streams, each capable of 56/64 channels to a maximum of 256 channels at 48kHz, Pyramix is also used to record the entire concert for later editing and mastering of live albums. The rugged Pyramix chassis is a robust touring case with the option of removable drive bays for rapid storage exchange. Pyramix Music Pack - Key Features:
Included Software Options and Plug-ins:
Hardware Options:
Broadcast Pack This cost-effective Pyramix configuration is ideal for Broadcast radio and television applications requiring minimal tracks and effects with a need to capture synchronised audio material from external VT or AT machines. CD-R mastering is also included with real-time editing, processing and mixing. Pyramix Broadcast Pack - Key Features:
Included Software Options and Plug-ins:
Hardware Options:
Application Specific Software Pack Configurations & Options Pyramix MassCore can have specific software configurations dedicated to Post Production , Music , Mastering and Broadcast applications, or you can simply mix and match from the A-la-carte range of options to create the perfect configuration for your personal needs.
Pyramix has a range of key functional plug-ins largely developed specifically for Merging by some of the industry's leading software companies as well as our own in-house developments.
DSD, DXD & SACD - high resolution audio For those who want to work in the DSD domain at 2.82MHz sampling rate for SACD production, Pyramix has a unique answer. 
In DSD/DXD for SACD production Pyramix has a unique solution. It one of the only systems in the world to offer multi-track record/editing and mixing as well as mastering while maintaining all the real-time audio processing including of FX such as EQ, Dynamics, Reverb and Surround Sound in a DSD compatible quality level up to the final SACD master. Quite simply, to have only a mastering capability for DSD is not enough. Unless you can record, edit and process the signals in a true multi-track configuration, mastering makes little sense. Pyramix is the first system with enough processing power and resolution to handle in real time a complete digital mixing console capable of operating in 32 bit floating point at 352.8 kHz, which is the minimum requirement to preserve all the intrinsic original quality of 1 bit 2.8MHz DSD signals. With real-time EQ, Dynamics, Reverb etc, and with full SACD scarlet book specification for mastering, we can truly state that “Pyramix is the only commercially available system on the market that is capable of a complete multi-track source to master project for Super Audio CD production." DXD (Digital eXtreme Definition) A new format, DXD (Digital eXtreme De?nition for high quality and low noise recording and editing for SACD), has recently been acknowledged by Philips and Sony. DXD was initially developed for Merging's Pyramix DSD workstation and recognised as one of the best formats for DSD source recording.
Converters Pyramix is fully interoperable with the DSD A/D and D/A solutions from the following world-renowned leaders in DSD conversion: for more information on Merging Sphynx2 converters (DXD capable) please visit the Sphynx2 section for more information on DAD AX24 converters (DXD capable) please visit http://www.digitalaudio.dk for more information on dCS DSD converters please visit http://www.dcsltd.co.uk for more information on EMM Labs DSD converters please visit http://www.emmlabs.com for more information on Genex converters please visit http://www.genexaudio.com/ for more information on Prism converters please visit http://www.prismsound.com
Integrated Controllers & Consoles for PYRAMIX Pyramix can use all OASIS based controllers as the Isis Remote Control and Ramses MSC or any other standard MIDI controllers, MIDI control surfaces or Digital consoles supporting generic MIDI or HUI protocols. These include AMS-Neve, Euphonix, Harrison, Smart AV, Yamaha, Sony, Radikal, Digico/Soundtracs, Soundcraft, JL Cooper MCS 3400/3800, CS 10, and more. Merging Technologies Controllers 
Isis offers a fully user-definable tactile remote control surface for Pyramix editing, recording and mixing functions. Connected to Pyramix and/or VCube via Ethernet Isis uses Merging's OASIS control protocol to give a very high resolution and high-speed communication to all functions.
Ramses MSC is a new breed of console control system that offers a very powerful and fully integrated multi-track audio record, editing, processing and mixing environment. It has the option of synchronized SD-HD video referencing and is compatible with all Standard and High-Definition Audio and Video formats and frame rates. The system is scalable from 16 to 256 simultaneous input and output channels (512 I/O) with a massive 256 user configurable buss structure. Please visit the Isis and Ramses product pages for more details
Third Party Controllers Pyramix can not only be controlled via our own Isis and Ramses control surfaces, but also provides support for a number of 3rd parties controller manufacturers. Euphonix 
Integrated DAW Controller - High Speed Ethernet Control of Pyramix via the OASIS Control Protocol
SmartAV 
The Smart Console, from Smart AV, comes in three sizes, is highly modular and features up to 24 faders and control of up to 288 channels.
AMS-Neve 
The Star Command, available with the latest generation of the acclaimed Encore software, Encore Plus, is available for the entire range of AMS Neve consoles including 88RS, DFC Gemini, Aquarius, MMC and Libra Post. Start Command implements the Oasis standard which gives tight and comprehensive control over Pyramix workstations. Multiple DAWs can be controlled from a single desk.
Harrison GLW 
Harrison GLW ? Ikis Direct Protocol supporting Oasis IKISdirect™ allows Harrison users to map and control the channels of various DAWs directly to the console surface as profile/layers in addition to controlling channels from the console engine. For example: Harrison's IKIS Control Platform will interface directly with Merging's own ‘OASIS' (Open Audio System Integration Solution) protocol, allowing tracks in Pyramix to be brought up onto the Harrison console surface for fader, switch, and knob control with real-time metering and display of parameters. The integration will also include remote control of record and monitoring features. Harrison's unique Profile feature allows on-the-fly configuration intermixing DAW control strips among regular console channels. Consoles fitted with Harrison's new PreView™ Waveform displays will present in-line waveforms of DAW
Yamaha 
Pyramix offers support to Yamaha DM2000, DM1000, 02R96 & 01V96 Digital Mixing Consoles. Faders and On, Solo, Select and Mute buttons can address Pyramix parameters on up to 5 layers and 96 channels. Rotary Encoders add assignments to 7 global functions, with 8 specific indexes. Any given strip can be cloned to all following strips. While the easy to use Auto-Mapping function directly addresses up to 13 parameters per strip, along with all transport, track arming, and jog/shuttle functions. Yamaha Digital consoles and Pyramix can also exchange digital audio via MADI, AES-EBU, TDIF and/or ADAT add-on cards, on up to 96 channels.
Sony 
DMX-R100 Pyramix, with its Midi Remote Control (PSO-RCTR) option installed, tightly integrates with Sony's DMX-R100 Digital Mixing Console. Channel Faders, Master Faders, AUX Master Faders, Channel Cuts, Aux Return 1 - 6 Cuts and the channel strip Pan Rotary Encoders can address Pyramix parameters on up to 3 layers and 48 channels. Transport, Locate, Track Arming and jog/shuttle functions are also supported. The DMX-R100 will also nicely exchange multi channel audio data with Pyramix when the optional MTBK-R109 MADI interface is installed.
MTBK-R109
MTBK-R109 is a dedicated interface for the Sony DMX-R100 that gives the console a unique multi-channel MADI interface offering 48 channels of 24bit/48kHz or 24 channels of 24bit/96kHz simultaneous I/O directly between Pyramix Virtual Studio or any other MADI compatible unit, with both coaxial or optical connections. Two such MADI interfaces may also be used to link two DMX-R100 together, in a master/slave configuration thereby enhancing the mixing capability to a total of 96 channels.
Radikal Technology SAC-2K MIDI 
The SAC-2K has 9x touch-sensitive motor-faders, 12 x rotary encoders with 31 step LED displays, 3x 2x40 symbol displays, 1x locator-Display, 9x track select buttons, 8x mute/solo switches, 10x buttons for selection of mixer-parameters (pan, send/insert selector switch, send/insert 1-4, 4 EQ select buttons), 6 buttons for track-selection (audio, MIDI, input, instrument, bus, group), 4 buttons for track bank selection (1-8,9-16,17-24,25-32), 12x software navigation buttons, which can also be used for numeric input, 5x channel-strip buttons, 5 transport-control buttons (play, record, stop, rewind and forward), 1x jog wheel, 4x location markers, 1x scrub-button, 1x system button, 1x shift button.
JL-Cooper's MCS-3800 Controller 
The MCS-3800™ is an eight-fader console with a full complement of necessary controls. It features touch?sensitive motorized faders, 60 function keys, full size numeric keypad, professional transport controls, LCD and LED displays, MIDI I/O and 2 expansion slots for other optional interfaces. It serves as a hub for an expanded system with a wide variety of optional accessories for custom requirements.
|
||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
|
||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
DOWNLOADS
|
||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| * Pyramix 6.1 Commands Reference (PDF) | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| * Pyramix 6.1 Installation Guide (PDF) | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| * Pyramix 6.1 Quick Start Guide (PDF) | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| * Pyramix 6.1 Release Notes (PDF) | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| * Pyramix 6.1 User Manual (PDF) | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| * Pyramix Supported Controllsers (PDF) | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
 |
||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
Pyramix는 다음과 같은 일에 알맞은 전용 DAW 시스템 입니다.
Most importantly Pyramix remains one of the most open systems on the market able to play/record in just about any audio format that can even be mixed within the same time-line without conversion. The range of project and session interchange modules also allows Pyramix to integrate to just about all 3rd-party DAW and NLE systems. 
Every Flux:: Dynamic Processor plug-in uses some exclusive algorithms that endows them with an incredibly clear and natural sound. In addition, here are some of the key features that make our plug-in the best available for dynamic processing in the digital domain: 
Solera 
Pyramix V6 MassCore and Native fully support VST plug-ins on inputs, busses and outputs. All well-behaved VST plug-in can be used with Pyramix. Multi-channel VST plug-ins are supported with straight (static) routing on MassCore Systems only. 
Whereas competing HD Video Player/Recorder and DAW don't even cope with networked storage and must be presented with “local drives” only in order to access distributed storage over the grid, VCube and Pyramix are based on a network friendly architecture since their inception. 
In VCube and Pyramix, users may mount folders with equal ease whether these reside physically on a “local drive” or anywhere on a central or decentralized storage unit. Further to that, there is no limitation in mixing video & audio sources from any number of different locations and streaming these in real-time (without spending unnecessary time in prior copying to local storage). This, of course gives a major advantage in environmental collaborative production and subsequent post production environments, where instant access to shared video & audio material is crucial in time (and cost) sensitive situations. In time critical missions, we therefore expect VCube & Pyramix with their advanced architecture designed with networking in mind, to empower its users to fully exploit all the advantages of on-line shared workflow. 
