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  3. Template Examples?
  • C
    C
    Anyone? [:)]
  • H
    H
    I don't know, if an overall template is a good solution.
    Paul Haslinger (Underworld) told me, that ha stopped working with templates since he has VSL.
    The main reason is, that he would miss too much options if he stucks from the bginning with an template.

    However, I can give you an overview which articulations I mostly use,
    I don't list obvious articulations like tremolos, pizz, trills

    stac_1+2,
    0'3s_1+2
    0'5s_1+2
    sustains
    sfz,
    fp

    Perf-legato piano and forte

    depending on style and functionality I'm adding all other articulations, if I need them during the programming process:
    mainly dynamics and repetitions,

    A good starter kit would also be a combination of a performance legato and a BASIC SET.
    But first I would check out all articulations of one strings, one brass and one woodwind instrument, to get an overview about all the options.


    best
    Herb
  • C
    C
    Thanks Herb.. its syuff like that I'm after.

    I dont think I would like stopping with using templates. I would definately prefere having a standard template and add other stuff as I need it. It would simply slow my work down too much if I had to load samples into GS as I went along.

    What do others do, and what articualtions do you use?
  • M
    M
    Maybe indeed hardly anyone here uses templates. I don´t use any myself.
    Every piece is different and so is the articulation list.
  • C
    C
    Funny... I guess it depends on how people work. Personaly I cant imagine working on some gig with a deadline, and not use a template. After I started using one my composing time doubled [:D]
  • J
    J
    I have a "VSL template" that I use as a starting point. I'm a Logic/EXS user so having routing set up for a stardard-ish orchestra actually saves me a lot of time.
    I agree with other posters though about every piece being different - my template has a basic set for each instrument which I work with until quite close to completion, then I add performance legato instruments and extra articulations as needed. If the piece is for a full orchestra I run out of RAM (2G) so then I have to split the Logic file into 2, 3 or 4 files and work on final articulation and mixing in sections.
    I plan to upgrade the computer next year, so hopefully will be able to put off or abandon the breaking up of the "master" file.

    best,
    John
  • P
    P
    I'd take a step through the Opus 1 articulation list, this is pretty much summing it up. Might be too much though [;)]
  • T
    T
    Yes they are great time savers for those of us on deadlines.

    I have a basic setup of strings, then another one for each section of the orchestra. Then a few specialty setups.

    The key is, to ALSO have setups in your sequencer that correspond to the VSL setups. So I have STRING Group in Pro Tools which instantly brings up x amount of midi tracks all assigned to the channels in the VSL template, and already named. I have these Pro Tools Midi Templates for each section of the orchestra.

    I always end up adding to them on any given cue, or not using all of them, but they help immensely. Also, the Perf Tool file is always named the same as the VSL ....so "STRINGS BASIC" (GIGA FILE) also has a corresponding "STRINGS BASIC"....kept in the same folder...for the P Tool.

    Seems to be saving me a lot of time...
  • C
    C
    Hi... I would still really love to here from the guys who use templates... generaly would love various tips [:)]
  • C
    C
    Strange as I have tried both methods now and I still end up going back to not having a template. I generally start with a full string section patch to get the basic idea (and to noodle) then go from there. I work with EXS so preloading all those samples would be very time consuming. Each piece I write can be completely different and having everything preloaded would mean unnecessary baggage but can slow things down a little over the long run. In the end I find there are advantages and disadvantages to both so it really boils down to how you like to work.
    Chris
  • R
    R
    Hey Christian,

    Here is what I posted on a similar discussion on NS.



    "This is something I think about a lot. I am always looking for ways to push the technology in the 'background'. The more I am loading up patches, libraries, etc. the less I am 'right braining it' as was mentioned earlier.

    I like to think of it as my orchestra is 'just sitting patiently' while I am writing and 'when' I need them they jump to attention - ready to play what I want (and with the proper attitude just like union musicians )

    For me, on the template, I like to have as many 'ALL strings/ 4 layered brass etc, types of patches as possible so I can get ideas down fast. Then from there, I'll go into individual articulations, break up these section parts, to give a more realistic mock-up."




    Christian - in addition to this, I organize my ' orch sections' within 'folders' on my SX projects page. It helps me keep things organized and doesn't muddy up my projects page with 150+ midi tracks.

    The realitiy of it is that every cue/piece ends up being different from the template (adding / removing patches) - but for me this template gives me a running start at it.

    I still a long way to go to make composing as fast as I'd like. I would too appreciate others work flow ideas.

    Hope this $.02 helps.

    Rob