Increase the mixer label size to 3 lines and you'll be able to see the full track titles. Summing stacks can be placed into folder stacks which gives another organisational level with a trimming VCA. Personally I remove the track icons because you can get obsessed about getting them right and then it all just looks naff. I also remove the level and pan controls from the track display - they don't give you fine control, are distracting and you shouldn't really be fiddling with them when writing/tracking. I've learnt some things about organisation though from this vid. Should be a fun journey,
Summing stacks inside folder stacks made it so easy for me. I also have bus 256 instead of my stereo output. This way, if there's a temp track, a reference or several ones I could A/B them directly without the need of turning off my mastering chain plugins
Something that has aided my composing workflow is to have a sketchpad section at the top of my template. In it I have a piano, and a few empty instances of Kontakt, plus I'll add in whatever other VSTs are relevant to the piece I'm working on. That way I can quickly experiment with textures, sketch out something I'm happy with, and then re-orchestrate into the template proper. Often this simply involves copying MIDI parts across to the relevant tracks, tastefully deleting a few notes here and there, and maybe pitching up/down the octave if they're straying out of a particular instrument's range. Also because Cubase lets you disable tracks, I can wait until I've actually used an articulation before loading it, so projects rarely get bogged down.
looks like a decent start guys .. there are couple of things you really might consider to put in that are missing from this initial sketch for a template are a bunch of VCA's for your level controls rather than trims ( which will be fiddly, non visual and a pain in the arse to see where you are) .. VCA's will give you a much faster workflow in the end and setting up the channel strips so the view info is clearer ... Track header components .. both in mixer and Arrange view to visually help you locate stuff faster.. also setting up your screen sets and locking them .. it's vital imo in designing a template to have a good and familiar set of screen sets to save time ... you can also set your piano roll in different ways to set the way you want to edit to save faffing around scrolling and zooming ... .. that's it for now I am sure there is loads of stuff I have forgotten ... all the best !
one thing you might want to consider is putting reverbs inside the summing stacks. i'm pretty sure andy james said something about that on this channel a while back. not sure it would necessarily help you here, but might be worth considering. the other thing you can do is save each summing stack as a library preset, so you can easily load them into other projects or templates.
Really interesting Christian. Yesterday I was watching your interview with Rick Beato - again very very interesting. Perhaps your should also create a book/PDF manual containing your thoughts on Templates and Stems - etc.
Great ideas in here. I have VCA's at the top of my logic arrange window for all various stems as well as a VCA for all the FX, so I can ride a global amount of FX up and down - also gives me a handy way to mute things and change volumes - it's always at the top of the session. I also try to make logic works a bit like Protools, where instead of sending things to the 'master fader' I send everything to a 'Mix Level' Aux track, which feeds into a 'Mix Buss' Aux. The problem with logic's Master Fader is that all of the FX you put on it are prefader, so doesn't matter what you do with that fader, its hitting all the FX on that channel at the same level. Mixing through these additional busses means I can ride the 'Mix Level' fader up and down, and the the FX on the 'Mix Buss' will then react to the level that is coming in to them, which can be useful, and often seems to be the way that Pro Tools mixers have their print tracks set up. I have also set up a keyboard maestro macro for delivering stems with the VCA's, which just solo's each VCA and bounces, names the bounce with the project name and the VCA (or stem name) and then moves down the list until all of them are rendered as audio files. Printing in the session is probably easier but I have used that method for a bit and seems to work out well (so I can go get a cup of coffee while logic prints the stems without me). Anyway - logic nerd food for thought! Might be worth including you can now save the transform window user presets into your template too, which can give easy access to fixing velocity to certain values, fixing note lengths to certain values etc etc.
From what I can tell that's pretty much the same layout that Alan Meyerson uses too. I've tried using VCAs but I don't really like them much. I'm not sure how VCAs work n Logic, but in Pro Tools they change the individual fader levels of tracks in a group which can really mess with your gain staging if you're processing on busses. Instead I tend to just add more busses and automate those.
one thing that saves me loads of time is loading all the fx i regularly use into the channel strips and busses. saves so much time diving through the plugins list trying to find something. if you don't want to do this, at least create a favourites folder using the plugins manager that sits at the top of the plugins list with the 10 or so plugins in it that you always use. also, logic will now automatically bypass any plugins that aren't being used (i.e. that sit on tracks with no audio or midi in them)
I've worked with Jake once and he's amazing. He explained the numbering of tracks/patches for a Pro Tools Mix Template and the idea is genius. It's also a huge ball ache setting it up but once you do it, there's no going back. Google Sheets is rather useful tool to log all numbers and what they are! Thanks for the video as always!
I personally use 'Multi-timbraling' in Kontakt to save on RAM. Great for spreading out different sections on one Kontakt instrument, connected to one bus. Can do a video on it to show how I spread out Chamber Evos so I can mix between mic patterns?
This is for further down the road- I use Groups set only for Track Show/Hide to navigate my big template. I'm using a Slate Raven, so I've got a button for "Strings" that shows me only the string tracks, zoomed to fill the screen. Same for each section on down the template, including one for all the Summing Stacks/Master Out. I need to figure out a way to print multiple stems in one shot... my hangup is that for what I'm doing, the 2-bus is the final mix, including it's "make it loud" mastering processing. So, that means each stem needs to run through that chain. Currently, I've got the Raven setup to automatically run them one at a time (basically, Solo, print, rename, Mute, move down a Summing Stack, repeat), but depending on the cue, it can take quite awhile for it churn through.
I'm sure this will become massive, especially when all live recordings are added and FX and synths and what might be. Nice of Jake to share all his work. You probably already know this small but nice feature to change how many rows the name label can show in the mixer view (set in Channel Strip Components).
This is solid gold. Any chance we could get our hands on the template (without plugins and such) to see how everything was routed? My mind frayed apart about halfway through the whiteboard segment and I couldn't get back around to seeing how everything was working with the bussing and such.
This is right on time. Over the past two weeks, I've been following Jake's Pro Tools template model by personalizing my own templates within Digital Performer and Pro Tools. I'm curious to see what your final template will look like; which is sort of similar to your old template from a few years ago with some JJ touches.
I've been using Reapers OTR template for about a year now, it uses VCA and submixes which is a little complicated to get your head around, but amazing for stemming.
Great work. the main thing I would add is the use of groups (to control group of tracks inside the stems) and VCA faders to control the volume of the stems (or a group of stems) independently from the automations that you can do on a single stem
Thanks both, really insightful! Agree with what Vincent Rice has said. Summing stacks in folder stacks and alt-T to bring up the track header selections. Working on a nearly complete project so have to create the template in logic and then export all to Pro Tools for the final sessions and this has helped a lot. Thank you!
Excellent and informative. Fingers crossed that one day you and Jake do an in depth reverb video on what type of reverbs to use on different elements, settings, lengths, pre delays, etc. I have no idea what I’m doing and tend to fish around until I like something. As for templates, I’ve reverse engineered all my monolithic templates down into track presets. It works much better for me, I’m rarely doing a straight orchestral score. If I want a string section, or a drum kit, or whatever, I grab the preset that I want and it’s all there including the routing, keeps my sessions cleaner and leaner.
I have all the different sections in my template set up as groups so I can show and hide sections and access stuff easily. I then have these assigned to buttons on my midi controller. I’m thinking about making a video on my template and showing how it works because it’s quite large and complicated but very simple and intuitive to use!
I always just add a MIDI region at the start of the tracks I'm going to use and then hide everything else. If I find I need something later, unhide, insert MIDI region, re-hide. I used to set up show/hide groups, but what a pain it was - this is super easy!
I love this channel but good god man, you have a young family and you never wear a seatbelt in any of your videos. Whatever mild aesthetic or practical reason there may be for this is in terms of filming a vlog is no justification to getting yourself killed.
Thank you for a great channel! As an aspiring media composer, your videos has been and continue to be an important guide for me. Have you ever done an episode where you talk about your process on how you collaborate with your orchestrator? For example how to export mockups in a way that will transfer smoothly from Logic to Sibelius.
There is a way to do multiple bounce out busses (ie multiple main outs) by selecting a sound device with multiple outs ... I’m going to try this later when I get back from an astonishingly enormous coffee cake in Bakewell.
A cool idea when managing loss of headroom due to stacking (in Pro Tools, but I'm sure it works in Logic Too) is to have a VCA associated to all my Sub mixes (I have submix groups per family of instruments...Strings, WW, Brass, etc...) ....I call this VCA "Conductor", as essentially it acts both as a conductor to help me lightly ride levels to make my mix more dynamic, and also allows me to lower the entire mix by a couple of decibels if headroom has become an issue (without destroying the balance I've already established in my previous automation)....may be a cool idea to integrate =)
Great video, highly entertaining! @Christian: Shouldn't you introduce Jake to at least the five essential keyboard shortcuts? He'd most likely save 2 days of work per month, just by learning five of them. Ouchy!
Hey Christian! I love your videos! Could you possibly make a video about the job of the Music Editor? It's a field/position that is interesting to me and was wondering what your thoughts are about the kind of work and what kind of people are good at it.
16:08: "if we're going to hand this out to people, it's gotta be right" - do I understand correctly, you're going to give away this template following the big August 28th announcement? That would be very cool if I've understood correctly?
One of the things that Logic does not do well as compared to Cubase is Markers. Can you touch on what are some options that you are aware of. For me sometimes to get an extra marker/note track I just use a instrument track and draw in blank midi regions and re label them and lock them in place. Any other suggestions?
I really like the template and use the Cubase version of this. The only thing I don’t understand is why you create prints for longs and shorts without fx and then a strings print with fx. If you are creating prints to give to a mix engineer which would you use? I ask as I use the other fx sends for saturation etc
@@Simeon_Harris I start with all tracks hidden and then use my Lemur template to pick the tracks I want to use. Tracks are sorted by library name and then use tags in the name to allow tracks to be picked by instrument type, instrument name, articulation type etc.
@@smoothielova Some tracks are frozen and some not. The instruments are generally frozen (disabled) to reduce the time it takes Cubase to load up, and then I use Lemur to enable the instruments and unfreeze the corresponding MIDI tracks.
@@jonathanbrooker8193 Brilliant. Do you freeze tracks when you are done using them or do you leave then open to tweak later on? I find it time consuming freezing and unfreezing. Was curious of your thoughts. Thanks.🙂
I’m still wondering if there is a way to “export all tracks as audio files” with all effects printed on the tracks, kinda like bouncing out single track stems, but doing them all at once. Right now if you export all tracks as audio files, you just get raw files, with no effects. -This would be very handy for such a template
This works if you only use effects as an insert on the track (not sends) but I agree bouncing tracks all at once including sends / parallel processing etc would be amazing if it was possible!
@@molem348 in this case it would work for them. lets take an example the strings. They have all the strings articulations and the strings reverbs being sent to the string printing bus. once you do "export all tracks" logic will bounce the printing bus as a tack ( i dont remember if you need to create it as a track in the session or it also works with it being just in the mixer). because in the printing bus you have both dry and the reverbs the effects will print with the sound. This works because the reverb are dedicated to the strings. If we used a single reverb for the whole cue then it wouldnt print. hopefully i make sense i struggled a lot finding how to print stems properly myself
riccardo.barletta21 but on a serious note. This is the reason i tend to work more and more in cubase.. because i can batch export EVERYTHING, one time, without routing a lot of stuff
Looking to see the template with all the reverbs loaded with a total count of reverb instances. That's gonna be huge number of reverbs for you. I have 10 reverbs in Cubase (Seventh Heaven Bricasti) in my template. "Double Dragon.. links below" (where?) I personally have your last stage of 9 stems (I use 10) and a stereo mix for a total of 11 stereo mixes per cue delivered to the mix stage. However I also bounce out a mastered track (mirror of stereo track with mastering plugs) and I do a sum mix using Dangerous Music for some analog summing however I have to admit I rarely use the sum mix for anything. The mastered track is for the album if it's good.
Holy crap; a technical thing that I know nearly nothing about....its awesome to feel helpless with the danged jargon! (Says the multi-language computer programmer with kernel experience etc.)
I'm wondering how Jack mixes live recorded strings and how there is a difference to programmed strings. Does he cut the pizzicato into new tracks to apply different reverbs? ~6:10 how do you set up non-classical instruments? I for one have a taiko group, a world percussion group, an ethnics folder etc. will you include these instruments project based? also what about synths/pads/drums :D
I diid not get a f...g thing...sorry... So do you send the whole stem to those reverbs or you send an individual tracks that are in the stem to reverbs? Thx
I wouldn't put a reverb on the master bus, since using it as a send gives you better control. You don't necessarily want every instrument going to the same reverb (especially low frequency heavy drums). The ideal template size is dependent on your computer's resources and the scope of the project. If you work on something like Marvel's "Spider-Man" game (as John Paesano did), then the template has to accommodate a symphonic orchestra and synths, etc. and you have one or several computers, that are up to the task. Unfortunately I have no answer to the use of key switches.
@@captainvoluntaryistthestat3207 You put the reverb on it's own bus (auxilary track) and send various amounts of your individual instrument tracks to it. You control how much you send, therefore you have fine control over how much reverb each part of your mix has. The output of the reverb goes to your master bus. Putting reverb directly onto your master is a recipe for audio soup.
@@dapperchapmusic5336 But I heard I should send the dry signal to one aux and the wet signal to another aux. And then send the dry and wet aux to the master.
One question I have with template is how/where would you add another orchestral library. For instance if I wanted to integrate another strings library do I create a whole new stem/stack for it or should it be integrated into the existing stings ste
Christian Henson Music ok so you just integrate the instruments/articulations within the existing sections. So for instance under 1st violins you could have tracks from bbcso, spitfire symphony etc
Morning chief. Just nearing half way through. I would love to see a breakdown on the nitty gritty of what Mr and Mr Spitfire do to get the most from the libraries, across the board. Not breakdowns like the main channel, but the ins and outs of midi tweaks, mic positions you prefer per application, possibly some tips on how to get the 'film' sound from cheaper reverbs. Essential orchestral EQ would be a dream, too. I own Albion one, L. Contemporary, The Harp, Euphone and Eric Whitacre, along with dozens others if you include the old LABs as well as new, and I find it incredibly time consuming to get the absolute MOST out of every library. I know they are better than I am, and I would love to bridge that gap.
I’ve learned so much from Jake’s videos on here. Great engineer.
Increase the mixer label size to 3 lines and you'll be able to see the full track titles. Summing stacks can be placed into folder stacks which gives another organisational level with a trimming VCA. Personally I remove the track icons because you can get obsessed about getting them right and then it all just looks naff. I also remove the level and pan controls from the track display - they don't give you fine control, are distracting and you shouldn't really be fiddling with them when writing/tracking. I've learnt some things about organisation though from this vid. Should be a fun journey,
Summing stacks inside folder stacks made it so easy for me. I also have bus 256 instead of my stereo output. This way, if there's a temp track, a reference or several ones I could A/B them directly without the need of turning off my mastering chain plugins
Something that has aided my composing workflow is to have a sketchpad section at the top of my template. In it I have a piano, and a few empty instances of Kontakt, plus I'll add in whatever other VSTs are relevant to the piece I'm working on.
That way I can quickly experiment with textures, sketch out something I'm happy with, and then re-orchestrate into the template proper. Often this simply involves copying MIDI parts across to the relevant tracks, tastefully deleting a few notes here and there, and maybe pitching up/down the octave if they're straying out of a particular instrument's range.
Also because Cubase lets you disable tracks, I can wait until I've actually used an articulation before loading it, so projects rarely get bogged down.
looks like a decent start guys .. there are couple of things you really might consider to put in that are missing from this initial sketch for a template are a bunch of VCA's for your level controls rather than trims ( which will be fiddly, non visual and a pain in the arse to see where you are) .. VCA's will give you a much faster workflow in the end and setting up the channel strips so the view info is clearer ... Track header components .. both in mixer and Arrange view to visually help you locate stuff faster.. also setting up your screen sets and locking them .. it's vital imo in designing a template to have a good and familiar set of screen sets to save time ... you can also set your piano roll in different ways to set the way you want to edit to save faffing around scrolling and zooming ... .. that's it for now I am sure there is loads of stuff I have forgotten ... all the best !
one thing you might want to consider is putting reverbs inside the summing stacks. i'm pretty sure andy james said something about that on this channel a while back. not sure it would necessarily help you here, but might be worth considering. the other thing you can do is save each summing stack as a library preset, so you can easily load them into other projects or templates.
Yep, good points. I was going to add these myself.
Really interesting Christian.
Yesterday I was watching your interview with Rick Beato - again very very interesting.
Perhaps your should also create a book/PDF manual containing your thoughts on Templates and Stems - etc.
Great ideas in here. I have VCA's at the top of my logic arrange window for all various stems as well as a VCA for all the FX, so I can ride a global amount of FX up and down - also gives me a handy way to mute things and change volumes - it's always at the top of the session. I also try to make logic works a bit like Protools, where instead of sending things to the 'master fader' I send everything to a 'Mix Level' Aux track, which feeds into a 'Mix Buss' Aux. The problem with logic's Master Fader is that all of the FX you put on it are prefader, so doesn't matter what you do with that fader, its hitting all the FX on that channel at the same level. Mixing through these additional busses means I can ride the 'Mix Level' fader up and down, and the the FX on the 'Mix Buss' will then react to the level that is coming in to them, which can be useful, and often seems to be the way that Pro Tools mixers have their print tracks set up. I have also set up a keyboard maestro macro for delivering stems with the VCA's, which just solo's each VCA and bounces, names the bounce with the project name and the VCA (or stem name) and then moves down the list until all of them are rendered as audio files. Printing in the session is probably easier but I have used that method for a bit and seems to work out well (so I can go get a cup of coffee while logic prints the stems without me). Anyway - logic nerd food for thought! Might be worth including you can now save the transform window user presets into your template too, which can give easy access to fixing velocity to certain values, fixing note lengths to certain values etc etc.
From what I can tell that's pretty much the same layout that Alan Meyerson uses too. I've tried using VCAs but I don't really like them much. I'm not sure how VCAs work n Logic, but in Pro Tools they change the individual fader levels of tracks in a group which can really mess with your gain staging if you're processing on busses. Instead I tend to just add more busses and automate those.
one thing that saves me loads of time is loading all the fx i regularly use into the channel strips and busses. saves so much time diving through the plugins list trying to find something. if you don't want to do this, at least create a favourites folder using the plugins manager that sits at the top of the plugins list with the 10 or so plugins in it that you always use. also, logic will now automatically bypass any plugins that aren't being used (i.e. that sit on tracks with no audio or midi in them)
I've worked with Jake once and he's amazing. He explained the numbering of tracks/patches for a Pro Tools Mix Template and the idea is genius. It's also a huge ball ache setting it up but once you do it, there's no going back. Google Sheets is rather useful tool to log all numbers and what they are! Thanks for the video as always!
I personally use 'Multi-timbraling' in Kontakt to save on RAM. Great for spreading out different sections on one Kontakt instrument, connected to one bus. Can do a video on it to show how I spread out Chamber Evos so I can mix between mic patterns?
This is for further down the road- I use Groups set only for Track Show/Hide to navigate my big template. I'm using a Slate Raven, so I've got a button for "Strings" that shows me only the string tracks, zoomed to fill the screen. Same for each section on down the template, including one for all the Summing Stacks/Master Out.
I need to figure out a way to print multiple stems in one shot... my hangup is that for what I'm doing, the 2-bus is the final mix, including it's "make it loud" mastering processing. So, that means each stem needs to run through that chain. Currently, I've got the Raven setup to automatically run them one at a time (basically, Solo, print, rename, Mute, move down a Summing Stack, repeat), but depending on the cue, it can take quite awhile for it churn through.
I'm sure this will become massive, especially when all live recordings are added and FX and synths and what might be.
Nice of Jake to share all his work.
You probably already know this small but nice feature to change how many rows the name label can show in the mixer view (set in Channel Strip Components).
This is solid gold. Any chance we could get our hands on the template (without plugins and such) to see how everything was routed? My mind frayed apart about halfway through the whiteboard segment and I couldn't get back around to seeing how everything was working with the bussing and such.
This is right on time. Over the past two weeks, I've been following Jake's Pro Tools template model by personalizing my own templates within Digital Performer and Pro Tools. I'm curious to see what your final template will look like; which is sort of similar to your old template from a few years ago with some JJ touches.
I've been using Reapers OTR template for about a year now, it uses VCA and submixes which is a little complicated to get your head around, but amazing for stemming.
Looking forward to seeing this come together. Though I wish you were doing it in Cubase. Thanks!
Thanks you very much! Best timing ever, just went over this with a composer and this video let us finished our template. Lets go to work!
I can't believe I'm so excited about something so boring.
Thanks for making this :)
Great work. the main thing I would add is the use of groups (to control group of tracks inside the stems) and VCA faders to control the volume of the stems (or a group of stems) independently from the automations that you can do on a single stem
Thanks both, really insightful! Agree with what Vincent Rice has said. Summing stacks in folder stacks and alt-T to bring up the track header selections.
Working on a nearly complete project so have to create the template in logic and then export all to Pro Tools for the final sessions and this has helped a lot. Thank you!
I was in the process of creating a new template from scratch and then I notice this video. Simply amazing. So much to learn.
Excellent and informative. Fingers crossed that one day you and Jake do an in depth reverb video on what type of reverbs to use on different elements, settings, lengths, pre delays, etc. I have no idea what I’m doing and tend to fish around until I like something. As for templates, I’ve reverse engineered all my monolithic templates down into track presets. It works much better for me, I’m rarely doing a straight orchestral score. If I want a string section, or a drum kit, or whatever, I grab the preset that I want and it’s all there including the routing, keeps my sessions cleaner and leaner.
I have all the different sections in my template set up as groups so I can show and hide sections and access stuff easily. I then have these assigned to buttons on my midi controller. I’m thinking about making a video on my template and showing how it works because it’s quite large and complicated but very simple and intuitive to use!
I always just add a MIDI region at the start of the tracks I'm going to use and then hide everything else. If I find I need something later, unhide, insert MIDI region, re-hide. I used to set up show/hide groups, but what a pain it was - this is super easy!
Daniel Lee I do that too as I go along so it condenses my session so I only see what I am actually using in the session.
I love this channel but good god man, you have a young family and you never wear a seatbelt in any of your videos. Whatever mild aesthetic or practical reason there may be for this is in terms of filming a vlog is no justification to getting yourself killed.
I had mine on!
Thank you for a great channel! As an aspiring media composer, your videos has been and continue to be an important guide for me.
Have you ever done an episode where you talk about your process on how you collaborate with your orchestrator? For example how to export mockups in a way that will transfer smoothly from Logic to Sibelius.
Very entertaining watch but sadly I'm a Cubase Pro 10 user. Continually adapting my never finished template ha. Cheers!
There is a way to do multiple bounce out busses (ie multiple main outs) by selecting a sound device with multiple outs ... I’m going to try this later when I get back from an astonishingly enormous coffee cake in Bakewell.
A cool idea when managing loss of headroom due to stacking (in Pro Tools, but I'm sure it works in Logic Too) is to have a VCA associated to all my Sub mixes (I have submix groups per family of instruments...Strings, WW, Brass, etc...) ....I call this VCA "Conductor", as essentially it acts both as a conductor to help me lightly ride levels to make my mix more dynamic, and also allows me to lower the entire mix by a couple of decibels if headroom has become an issue (without destroying the balance I've already established in my previous automation)....may be a cool idea to integrate =)
Great video, highly entertaining! @Christian: Shouldn't you introduce Jake to at least the five essential keyboard shortcuts? He'd most likely save 2 days of work per month, just by learning five of them. Ouchy!
This is far beyond my league for now as a bedroom composer/producer, but man ... I enjoyed this template stuff very much!
Check out Jason Graves YT channel, although he uses Cubase the idea behind it is still applicable.
Fuckineck how fast is that cabdriver ...!
Hey Christian! I love your videos! Could you possibly make a video about the job of the Music Editor? It's a field/position that is interesting to me and was wondering what your thoughts are about the kind of work and what kind of people are good at it.
16:08: "if we're going to hand this out to people, it's gotta be right" - do I understand correctly, you're going to give away this template following the big August 28th announcement? That would be very cool if I've understood correctly?
Maybe they are just going to share an image of that whiteboard. 🤣😂
@@dafingaz What Marcus said.... We're preparing this for October.
@@TheCrowHillCo In Countdown :D
Some reverbs, like 2C Audio Galbanum B2 are potentially two reverbs within one plug-in.
Please make composers in cabs getting curry!
Just think of the Sponsors..
So interesting! Would love to see a video on how you guys export and deliver stems from this
Good to have a plan 🙏🏾
One of the things that Logic does not do well as compared to Cubase is Markers. Can you touch on what are some options that you are aware of. For me sometimes to get an extra marker/note track I just use a instrument track and draw in blank midi regions and re label them and lock them in place. Any other suggestions?
19:03 Christian showing the "why did I ever consider letting this protools guy anywhere near my Logic system ?" face ;)
I really like the template and use the Cubase version of this. The only thing I don’t understand is why you create prints for longs and shorts without fx and then a strings print with fx. If you are creating prints to give to a mix engineer which would you use? I ask as I use the other fx sends for saturation etc
If you want to save yourself a bucket load of work, Reaper OTR Storyteller has all this ready to go out of the box.
I just realized I don't understand any composer DAW jargon. Christian make a "How to be a media composer' book and I will buy it. Cheers
I keep thinking Michael Caine! Quite weird. ;-) Thanks as always.
let the man speak, christian! :p
Marnix Peeters I know, I’m terrible.
hahahahahaha we're all terrible ;)
I'm famous now. It's official.
Big - How big is Big? My biggest template is currently at around 12,200 MIDI tracks. Is that Big?
holy crap! how do you find anything? do you hide what you're not using?
Frozen or none frozen tracks?
@@Simeon_Harris I start with all tracks hidden and then use my Lemur template to pick the tracks I want to use. Tracks are sorted by library name and then use tags in the name to allow tracks to be picked by instrument type, instrument name, articulation type etc.
@@smoothielova Some tracks are frozen and some not. The instruments are generally frozen (disabled) to reduce the time it takes Cubase to load up, and then I use Lemur to enable the instruments and unfreeze the corresponding MIDI tracks.
@@jonathanbrooker8193 Brilliant. Do you freeze tracks when you are done using them or do you leave then open to tweak later on? I find it time consuming freezing and unfreezing. Was curious of your thoughts. Thanks.🙂
I think you can create a second master output assigned to a different hardware out. That may help you with the alt mix issue.
I’m still wondering if there is a way to “export all tracks as audio files” with all effects printed on the tracks, kinda like bouncing out single track stems, but doing them all at once. Right now if you export all tracks as audio files, you just get raw files, with no effects.
-This would be very handy for such a template
This works if you only use effects as an insert on the track (not sends) but I agree bouncing tracks all at once including sends / parallel processing etc would be amazing if it was possible!
@@molem348 in this case it would work for them. lets take an example the strings. They have all the strings articulations and the strings reverbs being sent to the string printing bus. once you do "export all tracks" logic will bounce the printing bus as a tack ( i dont remember if you need to create it as a track in the session or it also works with it being just in the mixer). because in the printing bus you have both dry and the reverbs the effects will print with the sound. This works because the reverb are dedicated to the strings. If we used a single reverb for the whole cue then it wouldnt print. hopefully i make sense i struggled a lot finding how to print stems properly myself
@@Riki2198 Cheers Riccardo will check that out!
riccardo.barletta21 but on a serious note. This is the reason i tend to work more and more in cubase.. because i can batch export EVERYTHING, one time, without routing a lot of stuff
Looking to see the template with all the reverbs loaded with a total count of reverb instances. That's gonna be huge number of reverbs for you. I have 10 reverbs in Cubase (Seventh Heaven Bricasti) in my template. "Double Dragon.. links below" (where?)
I personally have your last stage of 9 stems (I use 10) and a stereo mix for a total of 11 stereo mixes per cue delivered to the mix stage. However I also bounce out a mastered track (mirror of stereo track with mastering plugs) and I do a sum mix using Dangerous Music for some analog summing however I have to admit I rarely use the sum mix for anything. The mastered track is for the album if it's good.
Holy crap; a technical thing that I know nearly nothing about....its awesome to feel helpless with the danged jargon! (Says the multi-language computer programmer with kernel experience etc.)
I'm wondering how Jack mixes live recorded strings and how there is a difference to programmed strings. Does he cut the pizzicato into new tracks to apply different reverbs? ~6:10
how do you set up non-classical instruments? I for one have a taiko group, a world percussion group, an ethnics folder etc.
will you include these instruments project based? also what about synths/pads/drums :D
I diid not get a f...g thing...sorry... So do you send the whole stem to those reverbs or you send an individual tracks that are in the stem to reverbs? Thx
Hi Christian
What made you to switch to Logic from Cubase?Seems like Cubase Pro 10 has more scoring features than current Logic Pro X. Thanks
Do I put reverb on the master bus? What's the ideal template size? Why not use keyswitches to cut down on the size?
I wouldn't put a reverb on the master bus, since using it as a send gives you better control. You don't necessarily want every instrument going to the same reverb (especially low frequency heavy drums). The ideal template size is dependent on your computer's resources and the scope of the project. If you work on something like Marvel's "Spider-Man" game (as John Paesano did), then the template has to accommodate a symphonic orchestra and synths, etc. and you have one or several computers, that are up to the task. Unfortunately I have no answer to the use of key switches.
@@tivermusic
better control how? ok then reverb for every individual instrument bus?
@@captainvoluntaryistthestat3207 You put the reverb on it's own bus (auxilary track) and send various amounts of your individual instrument tracks to it. You control how much you send, therefore you have fine control over how much reverb each part of your mix has. The output of the reverb goes to your master bus. Putting reverb directly onto your master is a recipe for audio soup.
@@dapperchapmusic5336
But I heard I should send the dry signal to one aux and the wet signal to another aux. And then send the dry and wet aux to the master.
If it were possible to have a brain transplant it would have to be Jake Jackson's.
One of the biggest problems with big templates is that the macros become very very slow to execute. Is there a way to make these run faster?
What Reverb plugins are you using in pairs ... and what reverb types do you find work nice together and or presets, thanks...
One question I have with template is how/where would you add another orchestral library. For instance if I wanted to integrate another strings library do I create a whole new stem/stack for it or should it be integrated into the existing stings ste
Dee Tee no I would simply pull those tracks into the corresponding stems.
Christian Henson Music ok so you just integrate the instruments/articulations within the existing sections. So for instance under 1st violins you could have tracks from bbcso, spitfire symphony etc
I might have miss that but where do you put the legato tracks?
Morning chief. Just nearing half way through. I would love to see a breakdown on the nitty gritty of what Mr and Mr Spitfire do to get the most from the libraries, across the board. Not breakdowns like the main channel, but the ins and outs of midi tweaks, mic positions you prefer per application, possibly some tips on how to get the 'film' sound from cheaper reverbs. Essential orchestral EQ would be a dream, too.
I own Albion one, L. Contemporary, The Harp, Euphone and Eric Whitacre, along with dozens others if you include the old LABs as well as new, and I find it incredibly time consuming to get the absolute MOST out of every library. I know they are better than I am, and I would love to bridge that gap.
Hi,
Can you share the LPX project file or the complete diagrams?
Thank you
I think I missed something, how do you get all of the contents in the Print Stem track to enter record mode with one click @ 24:19?
It's the "head" of a summing stack, so enabling record mode on it turns it on for all the tracks in the stack.
For a newbie this is totally confusing to 7:17...... lost my interest.......pointing to things on a paper no one can read....
Wear your seatbelt
So by template you meant...template
+
So Christian, Who won Everything???? I guess not me then....:(