TECHNOLOGY REVIEW Pyramix 8.1 DIGITAL AUDIO WORKSTATION UPDATE
New features enhance ease of use and processing power, writes Stephen Bennett.
ON THE face of it, seasoned users of Pyramix –Merging Technologies’ Windows 7- based Digital Audio Workstation (DAW) – might have found few reasons to upgrade to version 8 of the software. In that release, however, the company had incorporated many ‘under the hood’ changes, including support for Ravenna’s audio over IP networking protocol and improvements to the audio engine that have enabled Merging to add somewhat more visible improvements to version 8.1. Pyramix has found many admirers in the areas of music and audio post production for its rich feature set and, especially, its stability. One of its main claims to fame is its proprietary audio engine, MassCore, which allows the software to address ultra-low latencies (around 1.33ms) across multiple CPU cores. The advantage of using the computer’s processors to address audio operations rather than rely on bespoke external DSP hardware is obvious – each time you upgrade your computer, you upgrade your audio hardware. Pyramix has most of the features that you’d expect to find in a mature DAW, so this review concentrates on the new ones introduced in version 8.1.
EDITING AND RECORDING Pyramix now features a background recording facility that allows up to four recorders to be created (which can capture audio to their own separate hard drive), each with its own mixer layout and input and output assignment. This means that you could, for example, record a session to an internal PC drive along with two external ones – one for backup and one for the client
48 September 2013
to take away straight after the recording. I can see this feature finding a lot of use in the outside broadcast world, where not having to make copies of a session for clients could mean that the time delay between recording and broadcast is shortened. MassCore’s allocation of
processing power becomes obvious when you move, copy, and edit audio in Pyramix – which can even be done when recording – even on the files that are being created by any of the background recorders. This is a seriously scary feature and, when producers know that it’s possible, that cup of coffee engineers can usually expect to have while waiting for a recording to finish will have to be a quick one! The record status window is
now resizable and can be fed to a VGA output for display for performers or producers. Markers can be saved in the Media Meta Data (.mdd) format, assigned to media files and clips and can contain notes, timecode information, and ratings that can be displayed on the timeline or in the media manager, which makes use of the Windows file system. Media doesn’t need to be copied to specific folders to be used within Pyramix – though you can, of course, consolidate projects for backup or collaboration. You can log your takes from all recorders and add notes (also exportable as .mmd files) and colour indicators so you can easily find relevant recordings.
INPUTS, OUTPUTS AND MIXING Pyramix’s mixer is among the most customisable I’ve seen in a DAW and is modelled on the layout of a hardware digital mixer. It supports VST and Merging’s own VS3 plug-in
formats and mixes can be rendered offline to many audio formats including DXD and DSD – another time saver. Pyramix also features a fully specified monitor section (for all of the recorders) and a sophisticated automation system with a preview mode that allows practice automation runs to be auditioned. Merging’s new hardware audio interface, Horus, seamlessly integrates with Pyramix’s mixer, bringing control of the microphone and line inputs directly into the DAW. Horus itself is a Ravenna-based modular interface with an impressive input and output count, choices of analogue and digital input and output cards, and functions at up to 384kHz as well as being able to record at DSD256 rates – though DSD64 and DSD128 are still supported. Horus can also be used as a ‘normal’ MADI audio interface for use with other DAWs. The use of Ravenna’s IP audio network means that Pyramix can also be set up as a multiple remote recorder system. You could also place Horus near the performers (thus shortening microphone cable lengths) and run a Cat5 cable to the PC and monitor using a bog- standard ASIO interface connected to your speakers. Horus (and Pyramix) can be controlled via the SmartAV Tango controllers via the OASIS protocol – though you can also use HUI-compatible controllers with the software should you so desire. An upgradable native
version of Pyramix that uses ASIO drivers is also available and Merging supplies various add-on packs designed for specific purposes, such as video synchronisation, loudness checking, and various
post- production and mastering-related tasks.
CONCLUSION Though Pyramix remains a 32-bit program, this did not become an issue during the testing period. The MassCore technology allows for efficient, smooth recording and editing even on a lowly four-core Mac Pro running Windows 7 with 4GB RAM. Pyramix was conceived from the ground up as an audio recorder and it shows – most of its features being aimed at tackling audio- related issues rather than addressing MIDI or composition. It lacks a few features that you’d find on its competitors – such as a sophisticated integrated pitch and time editing tools, though the MPEX 4 time stretch algorithm makes a decent fist at repositioning errant audio, and
INFORMATION Feature Set
• Combines with the Horus Networked Audio Interface to provide the world’s first hardware and software combination capable of DSD256
• A background recording facility allows up to four recorders to be created, which can capture audio to its own separate hard drive, each with its own mixer layout and input and output assignment
• The Take Logger and Metadata tool in the Pyramix media manager is the one-stop shop for all naming and noting needs
www.merging.com www.audiomedia.com
third-party VST plug-ins can always be brought into action. However, if you’re looking for a system that will safely record and edit your audio every time you turn on the computer, along with a support team that you can actually speak to, Pyramix 8.1 is certainly worthy of a demonstration. Thanks to Andrew
Wierzan and Paul Mortimer at eMerging for assistance during this review.
THE REVIEWER STEPHEN BENNETT has been involved in music production for over 25 years. Based in Norwich he splits his time between writing books and articles on music technology, running Chaos Studios and working in the Electroacoustic Studios in the School of Music at the University of East Anglia. He’s also a filmmaker with several music videos and short films to his credit.
www.stephenjamesbennett.co.uk
Sign up for your digital AM at
www.audiomedia.com
Page 1 |
Page 2 |
Page 3 |
Page 4 |
Page 5 |
Page 6 |
Page 7 |
Page 8 |
Page 9 |
Page 10 |
Page 11 |
Page 12 |
Page 13 |
Page 14 |
Page 15 |
Page 16 |
Page 17 |
Page 18 |
Page 19 |
Page 20 |
Page 21 |
Page 22 |
Page 23 |
Page 24 |
Page 25 |
Page 26 |
Page 27 |
Page 28 |
Page 29 |
Page 30 |
Page 31 |
Page 32 |
Page 33 |
Page 34 |
Page 35 |
Page 36 |
Page 37 |
Page 38 |
Page 39 |
Page 40 |
Page 41 |
Page 42 |
Page 43 |
Page 44 |
Page 45 |
Page 46 |
Page 47 |
Page 48 |
Page 49 |
Page 50 |
Page 51 |
Page 52 |
Page 53 |
Page 54 |
Page 55 |
Page 56 |
Page 57 |
Page 58 |
Page 59 |
Page 60