Hi,

1. it depends on your workflow and your preference
Personally I try to have all FX except MIR in my DAW to have all FX in one place. But somtimes I equip a simple EQ before MIR in VE.
(Routing in Cubase is not that complicated and you don't need much FX channels most of the time. Just use the insert slots.)

3. VE Pro is capable of surround input / output. The encoding and export functions are dependend on your DAWs capability (Cubase 10 can do it).

Best, Ben

I can't answer questions 2 and 3 but, like bbelius said in 1, it all depends on your workflow.

Personally, I like inserting certain Vienna Suite plugs like, Power Pan EQ and Converbs, into Vienna Ensemble for several reasons, one being, I already have my templates built with those plugs set although I might adjust them depending on my needs.  Also, I believe if you insert the plugs in the VE instance it will reduce the strain on your CPU then if you inserted them to individual tracks within the DAW.

However, other plugs like Compressor, and Limiter, I'll insert on the audio track after bouncing in the DAW.

Then you have the multiband limiter, master EQ, Hybrid Reverb, and Analyzer which should be inserted on a Bus like the master for mastering.

I think for once I actually agree with Mr. Zimmer on this one.🤔.

Have a Happy New Year🎉

"As Hanz Zimmer once said, composers are no longer just writing music, they must be sound engineers too."

Yeah, doing what J.S.Bach, Beethoven, Brahms, Bruckner and Mahler did is just not sufficient anymore.  

@William said:

"As Hanz Zimmer once said, composers are no longer just writing music, they must be sound engineers too." Yeah, doing what J.S.Bach, Beethoven, Brahms, Bruckner and Mahler did is just not sufficient anymore.

@William said:

"As Hanz Zimmer once said, composers are no longer just writing music, they must be sound engineers too."

Yeah, doing what J.S.Bach, Beethoven, Brahms, Bruckner and Mahler did is just not sufficient anymore.  

Well I'm sure Hans was referring to film -not concert- composers, and in that case he is of course absolutely right about 99.999% of today's practitioners; which is exactly why film scores today sound like engineers compose them instead of musicians. John Williams must really feel inadequate, poor guy...

Happy 2019, hopefully the wise men will all bring better aesthetics this coming year, we have enough of gold, frankincense, and myrrh, thank you.

Very few composers are writing for live performances only. In fact, Yanni is one of the few that I think still writes for live performances. That and maybe broadway plays.

Many people ask me, why is classical music still relevant? Who still writes classical music? My response has always been, they still exist, but now they write soundtracks.

@littlewierdo said:

Very few composers are writing for live performances only. In fact, Yanni is one of the few that I think still writes for live performances. That and maybe broadway plays. Many people ask me, why is classical music still relevant? Who still writes classical music? My response has always been, they still exist, but now they write soundtracks.

There has never been a huge number of "classical" composers.  Probably percentage-wise the same number exists today as at almost any era of music, if one is talking about concert music.  So the friend asking "who writes classical music today?" is probably utterly unaware of the similar composers of previous eras as well.  Pop music in all its forms is a new development, different from either concert or folk music especially in the rabidly commercial aspect. But that hardly means "classical" or concert music is dead. 

Dave, I agree on hearing good concert music vs. bad film music, but not on hearing bad concert music vs. good film music.  😃

Happy New Year 🎉🍺🍺🍺

And remember - don't drink and post.  (Drinking and composing is o.k.)

@William said:

Dave, I agree on hearing good concert music vs. bad film music, but not on hearing bad concert music vs. good film music.  😃

Happy New Year 🎉🍺🍺🍺

And remember - don't drink and post.  (Drinking and composing is o.k.)

Hey Bill,

I should clarify, because I wasn't referring at all to the quality/perceived quality of film vs. concert music.  All I meant was that, for me as a composer, I'd be happier knowing that a small group of attentive and engaged listeners were congregating in a concert hall expressly to listen to my music than a film composer's score being passively consumed by an audience that is really only there for the film, and may or may not even notice the music.  Of course, as musicians, we all pay attention to film scores, but I think a lot of audiences that go to movies don't really think about the music, unless it is extraordinarily good/bad/distracting to the image on screen.

Happy New Year to you too!  I don't drink, but maybe it would help me with writer's block every now and then 😊

Dave

Historically, most classical composers wrote for both pop music, which consisted of opera and and ballet (this is where the money was at) to sustain themself, and wrote the traditional classical music on the side.