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About jkuehlin

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    Audio Engineer
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  1. I'm brand new to Unity. All of my programmer friends are C# enterprise app gurus, and have said if you're going to learn coding (which I am), buy reshaper immediately. After I paid for it, I realized it doesn't work on a mac. So I bought parallels, just so I could get used to using reshaper. I really like what it does (for what little I've actually made use of it for). I haven't tried installing Unity on the PC portion of parallels. If I did this, would reshaper then insert itself into monodevelop? Is there a switch in monodevelop that allows it to access reshaper features? Or does it not work like that? I'm sorry if this is a dumb question, I just started working through Unity tutorials a few weeks ago. I'm very new to this.
  2. What is the Unity equivalent of console.Readline?

    Ah! Thanks for the strait answer. I'm going through the Udemy stuff now. The Ben Tristam course starts you out writing command lines to the Unity Console....I was like "hey, this is familiar", but quickly found out it's not lol. Thanks! I'll keep an eye out for that line in the tutorials Much appreciated.
  3. 5 minutes of what? By the time you open a DAW, move a mic into place, load a template, and dial in your interface, record the passes, tweak your processing chain, bounce the file, convert it to whatever the final deliverables are, then upload it to email or dropbox, you can blurt 5 words into a mic and easily be at 5 minutes of billable time. If you are looking for 5 minutes of recorded, edited, polished, finished, production ready audio, at the very least, you're going to end up paying $200-$300 for an experienced reliable professional, who's also going to review the lines, communicate with you about what you're after, and edit it themselves. I do know voice actors that would be happy with $250 for a half days work, but this is not simple stuff if you want it done efficiently and done right.
  4. In my experience, you get what you pay for, as long as you don't overpay. I would start by talking to your state film commission, even if this is for a video game. Just ask them for a list of voice actors, or a casting agency that can refer you. If you contact a casting agency, I think the best thing to do is call and ask who they have within your budget. If you're wanting people to do this completely for free, I don't know what to say. I can't help you there.
  5. Thus far I've trained only in C# using VS. I'm brand new to the Unity interface and working through some Udemy courses. What is Monodevelop line for storing user input into a string or int? Example, having the game ask what the users name is, or what the users age is?
  6. New York Games Conference: Thoughts?

    Hey Tom, I've never been to one of those conferences. Is the $700-$2000 admission price normal for these?
  7. Getting Real Instruments?

    @the incredible smoker, no disrespect if this is your keyboard of choice. I wouldn't recommend attempting to use one of these for game audio if the OP was asking about realism. I guess I'd like to offer a differing opinion, rather than a criticism of your suggestion here...If someone is wanting to go the Korg workstation route, the Kronos and M3 are far better choices than a Trinity or Triton because of the size of the sample bank, open architecture, and implementation of extended instrument articulations. Even at the $400 price point for which you could acquire a Trinity or Triton, I feel an expansion pack from EastWest, Vienna, Motu, or Native Instruments if a far better buy IF the op wants to go that route. Great thoughts though!
  8. @the incredible smoker, I can see what you're saying about being more achievable. But I'd think the downside is that your buyer base is also incredibly small, and the lack of new/current gear that addresses real workflow issues or does anything better than something else already out there would be a problem. Here's the way I look at this. As an audio guy, if you help an indie musician or film maker, you're really in the service of helping them express themselves and fulfill a dream, with the possibility of bringing it to market, even if the market realization is purely a pipe dream. In other words, some people make records and films for the sheer enjoyment of it. I don't know anyone who builds an audio plugin with no intention of bringing it to market. But I'm so new to the programing field I can't say authoritatively that people DON'T code plugins for fun. If you were talking about DIY hardware processors or amps, well then yes, but I don't see how that would have much to do with coding
  9. Hey @ptietz! Thanks for the thoughts. So in your example, would you perhaps let Fmod do a lot of the heavy lifting on workflow and processing, then code sounds to spawn in random spots? So In other words, does having the knowledge to code help you if you run into a limitation within the middleware? I'm far from proficient with anything outside of the audio world at the moment. But THOROUGHLY enjoying the classes I'm taking on C# code, even if its total noob stuff like making guess a number games on Visual Studio. And honestly, I've sat in on a few game design teams and tried to contribute to audio. I got sick of feeling like the idiot in the group and apologizing for never knowing what anyone was talking about when the rest of the guys were sharing ideas. They were cool, never made me feel stupid about it, and were well aware of my lack of Unity and C# knowledge. But I also had started studying code just to be able to communicate and understand ideas. Even a few months of basic C# and Unity bootcamp helped me tremendously so far.
  10. @jbadams, certainly does count! What I'm wondering is how many game audio guys struggle with the programming vs excel at it. I think I've sensed a mentality that middleware removes the necessity of the coding from the audio implementation process, but I don't have enough experience in game audio yet to know how valid or invalid that is. I also am just now taking my first steps into this field, so I haven't had enough experience with Wwise or Fmod to know. I'm training pretty intensively with C#, Blender, and Unity right now. I hope to start drilling with Wwise and Soundminer within the next few months.
  11. Open ended question to anyone who would care to discuss. I know there are a lot of career musicians who are also highly competent in writing code. The same way that there are great music attorneys who had a successful career in performance, then went to law school. And the same way there are career musicians that transitioned into ministry, or finance, or business, and have become church music directors, or CFO's of music companies. A lot of musicians seem to want to avoid the coding, scripting, and programming end. Does anyone else here find the design or logic end of the game world just as much fun and intriguing as playing your instrument? Just curious!
  12. How many of you guys are doing remote audio tracking sessions for voice talent using Source Connect? It seems to be pretty popular, now that I'm hearing ISDN is just about dead. Does anyone have any thoughts on this?
  13. When producing VO for video games, or engineering for a dialogue supervisor, how common is it for guys to 'expect' a U87? Not Neumann in general, how many times have you guys been asked to specifically provide a U87? If this is common for anyone out there, is there a certain preamp that pro voice actors or dialogue supervisors tend to be really particular about?
  14. In general... what kinds of mics do you want handy for capturing sound effects? Excluding field recording stuff, and strictly going for foley (in this case). What are some must-have microphones, and for what types of applications? Cost isn't a huge concern. The question is more about what's industry standard, if there is a such thing in this field. Thanks