Fender Studio Pro 8 Released

[pk-1]

It's the Cubase way of doing things. You cram everything you got into one big template, preconfigure routing, FX, articulation maps etc., and then activate/deactivate tracks as you need them.

In Studio One/FSP, it's much more elegant to do this with instrument, track, and folder presets. It's just a different workflow.

But then again, if you really need hundreds of active tracks for some reason, FSP might not be the best DAW choice. It's actually not all that difficult to get there if, for example, you use one track per instrument articulation, which in turn can be useful if e.g. different articulations have different (pre-)delay or FX settings.

[soulata]

200 tracks is not unheard of, esp in movie scoring.

My stuff is usually under 32 tracks, the highest count being 56 tracks. That happened once only.

[BONES]

Which tells you everything you need to know about why YT videos are a complete waste of time.

[EnGee]

My template is usually 5 tracks:
1. Drums 2. Bass 3. Lead (melody) 4. Chords (Harmony) 5. Effects
I don't sing, otherwise, it would be another track for a singer of course. So, my central composing is always "band" oriented (even though I haven't been in a band!).
I might add some additional tracks, but they always belong to the 5 categories. Either to thicken them or adding something. But the past few years, I began to prefer minimum tracks with distinct strong presence sounds. This way I don't even need to add that much of EQ and compression really! I used to use lots of reverb and delay but now just for few tracks and some parts of the song (the more reverb/delay, the muddier the mix I believe).

[sQeetz]

The only template I use is an empty one

[EnGee]

The only template I use is an empty one

Yes, it is empty always when I start because I don't know what instrument I will start with first! Then I add as inspiration hits. What I meant, is the construction of the song that in my head, which is kind of a template for me

[noremorze]

Yeah, I spend a fair amount of time looking at ways to reduce my track counts, of seeing if one instrument could maybe play two parts. When I add an extra part to a song, I'll always see if that makes another part, that isn't contributing anything of value to the piece, redundant. I've always felt that the more you complicate things, the harder it becomes to get a good result. The K.I.S.S. principle applies in spades to music production (or it should).

Film composing or sketching orchestral pieces.

200 instruments!?! A whole symphony orchestra is only 80 or so instruments and can be perfectly replicated with a single sample library. If you need 200 instruments to do film scoring, you can't possibly have the first clue what you're doing. You'd absolutely never be able to get anything done.

Most, if not all working film composers split articulations between Legato, Longs, and Shorts and use many libraries from different companies, for colour and/or because every library has it's shortcomings. Alot also use 1 track for each articulation, and for good reason. Big templates are the reason why people who work with strict deadlines get anything done.

[heliacal]

200 instruments!?! A whole symphony orchestra is only 80 or so instruments and can be perfectly replicated with a single sample library. If you need 200 instruments to do film scoring, you can't possibly have the first clue what you're doing. You'd absolutely never be able to get anything done.

Apples & Oranges.

[noremorze]

Ye, JXL's template is massive. 3000+ tracks. That's how film composers work. But obviously people like JXL don't have a clue what they're doing ofcourse!

[Trancit]

again... nevermind...

[jens]

For real?

[J Veronica]

What if two instances of Studio Pro carried a coconut together?

[EnGee]

200 instruments!?! A whole symphony orchestra is only 80 or so instruments and can be perfectly replicated with a single sample library. If you need 200 instruments to do film scoring, you can't possibly have the first clue what you're doing. You'd absolutely never be able to get anything done.

Apples & Oranges.

Oh! The "Road to nowhere"!

[BONES]

Most, if not all working film composers split articulations between Legato, Longs, and Shorts and use many libraries from different companies, for colour and/or because every library has it's shortcomings. Alot also use 1 track for each articulation, and for good reason. Big templates are the reason why people who work with strict deadlines get anything done.

Any working composer worth anything will have access to an actual orchestra, surely? Because film directors/producers don't know dick about articulations but it's easy to convince them that hiring a studio and an orchestra will be great for their film. It's all about ego, on both sides.

Apples & Oranges.

Did you watch it? It's a template that contains everything he might want to use and only two of the instruments in it are polyphonic. It's mostly sample-based stuff he's made himself in Kontakt and once the Kontakt engine is running, multiple instances won't tax the CPU too much more than the first one did. It will chew up memory pretty quickly, which can be expanded easily enough with paging files, but not so much the CPU. But he doesn't really explain the cleverness in that and the morons watching it think it means they can run 200 plugins at once. And he sure as hell didn't need 200 instruments to do his best work -

[stoopicus]

What if two instances of Studio Pro carried a coconut together?

let's leave FL Studio out of this