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Posted: Wed Apr 16, 2008 10:12 am
by sonicstrav
Haven't even made 1p at music......the Scope platform was recommended by a friend - but I'm in a good profession (I have Scope Pro !!) (not related to music) so I am able to afford a few good bits and pieces - but yes, it would be nice to earn the first £10..................
Posted: Wed Apr 16, 2008 10:19 am
by pollux
strav100 wrote:Haven't even made 1p at music......the Scope platform was recommended by a friend - but I'm in a good profession (I have Scope Pro !!) (not related to music) so I am able to afford a few good bits and pieces - but yes, it would be nice to earn the first £10..................
same over here..
Posted: Wed Apr 16, 2008 1:53 pm
by wayne
Scope often pays my rent
But when there's no music work, i resort to brooms. Well yesterday i did, anyway, backstage at a theatre. Very dusty indeed. In fact i went for a dust-mop then wet-mop configuration.
Posted: Wed Apr 16, 2008 2:30 pm
by Fluxpod
I use it at home for private projekts and some sound design..as freelancer.At work its mostly Protools and/or nuendo with euphonics etc for Post.I wish some facilities would have scope for sounddesign tho...The Mod 2 or 3 with FleXor would fit in nicely imo.
Posted: Sat Apr 19, 2008 2:49 am
by chriskorff
H-Rave wrote:Well Hans Zimmer does of course
Did.
He switched to 64bit operating systems for Pirates Of The Caribbean, as far as I'm aware. I spoke to one of his technical assistants about their involvement with Creamware a while ago - they had about fifteen 45-dsp systems, with all sorts of bespoke plug-ins made for them, and as far as I could tell, were incredibly impressed with the Scope platform, and really enjoyed using it.
Until...
They started using uber-libraries. Hans had all his personal orchestral samples re-recorded for Pirates Of The Caribbean - 16 mics for each instrument in the orchestra - and this obviously required a ludicrous amount of RAM to make the most of. Hence the switch to a 64bit OS (Windows XP64, IIRC), and goodbye Scope!
This all happened before the Sonic Core thing though. I have no idea about RC Productions' plans for the future, but they're definitely aware of SC now, so who knows.
That said, this all happened relatively recently - 'older' films that Hans scored, like Gladiator (not that old!) were definitely done using Scope.
Also, this list could get quite unwieldy if we extend it to include people using Creamware synths and ASBs (I can't remember off the top of my head, but there are several high-profile electro acts using Minimaxes and Prodysseys).
Cheers!
Chris
Posted: Sat Apr 19, 2008 5:42 am
by chriskorff
I see your point, but I pretty much heard it from the horse's mouth - the man who wrote this article:
http://www.soundonsound.com/sos/jul07/a ... irates.htm
He's on IMDB, if you really need to check his credentials.
IIRC, he said they were having some pretty major stability issues with their DAWs, and couldn't get 3 Scope Pro cards to work together in any of them.
TBH I'm not sure how much more info (beyond what's written in that article, which is obviously public knowledge) I'm at liberty to relay, but you get the idea.
Cheers!
Chris
[edit] 'sampling needs' kind of undermines Hans' somewhat 'overkill' approach to virtual orchestration...
[another edit] Bloody hell! I haven't read that article since we printed it, but I reckon that's pretty much the be-all-and-end-all answer to the "Why is 64bit necessary?" question. Overkill? Absolutely! But guess what computers will be doing in five years' time...
Posted: Sat Apr 19, 2008 6:21 am
by chriskorff
No offence taken mate!
It's a long article, but Mark goes into quite a lot of detail about why it was absolutely necessary in his case - well worth a read, if you've got the time (it just took me about 20 minutes).
In short: Imagine a BFD-type instrument for an entire orchestra, with 16 mics for each instrument, multiple velocity layers, accents, trills, hard/soft attacks, plus variations, all instantly accesible, all at 88.2kHz and 24bit...
The 14-computer configuration he mentions about two-thirds of the way down (and which was replaced by 64bit systems) is, I am fairly certain, the one I mentioned earlier - each of those was loaded with 3 Scope boards, which provided the processing. What those systems couldn't provide, however, was the excessive sample-playback power they needed for their 88.2kHz/24bit bespoke sample library.
Point of interest: I believe one high-profile Scope developer (who pops up on this forum every now and then) made some custom synths for Hans and RC Productions. Whether he wants or is allowed to talk about them is another matter, so I'll say no more.
Cheers!
Chris
[edit] "For sound genration and sound processing it does not play a role"
As far as I'm aware, this is true - the sole reason for it in this case was sample playback (if I had recorded my own 16-channel orchestral sample library, I'd want to make the most of it too!).
Cheers!
Posted: Sun Apr 20, 2008 12:22 pm
by siriusbliss
I'm a professional in my own mind.
Full-blown productions for my own purposes (songwriting/production/mixing/remixing/corporate).
Greg
Posted: Sun Apr 20, 2008 1:36 pm
by Silenzio
Hi
I "made" 5 movies for TV last year using SCOPE. It was used primary for sound design & music (synths & FX) and as studio router.
Regards
Posted: Tue Apr 22, 2008 3:15 am
by RP_001
I released some tracks on a label lately, but i havent received any royalties.
Does that make me a professional
=
Posted: Tue Apr 22, 2008 3:24 am
by chriskorff
No, that makes your label <i>un</i>professional!
Posted: Tue Apr 22, 2008 3:49 am
by RP_001
correction; i havent received any royalties YET......
ok
Posted: Tue Apr 22, 2008 4:35 am
by nunziata
scope is professional board, ok
Posted: Tue Apr 22, 2008 5:35 am
by Shroomz~>
Of course it is. That was never in question.
Posted: Thu Jun 19, 2008 1:16 pm
by microraver
