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Topic: How do you work with Templates/etc.

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  1. #1

    How do you work with Templates/etc.

    Since a lot of us have gigabytes upon gigabytes of sample libraries, I thought we could have a thread to share tips for how to manage them all.

    I've created a few full orchestra templates, using various combinations of GPO, EWQLSO Gold, Stormdrum, and various other smaller libraries.

    But the thing is, I rarely end up USING my templates. Every project is different, and I usually don't know what instruments I'm going to need when I start a project. Each project requires a different set of articulations, and some projects might be more GPO-based, while others make more sense with EWQLSO Gold... Percussion maps vary wildly. What's the point of creating a template if I'm probably never going to use that exact instrumentation again?

    The way I USUALLY work is just to fire up a few instruments, and then gradually load more as-needed. This seems to work, but it's not very efficient, and it usually makes for a disorganized file (instruments aren't arranged in score order, patch numbers are not assigned in an intuitive way, etc.) It's also not very conducive to working on tight deadlines or jotting down bursts of inspiration.

    Has anybody developed an efficient way of working with multiple libraries so that it's easy to get-up-and-go on a new project?

    Any tips would be appreciated...

    chris.

  2. #2
    Senior Member
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    Re: How do you work with Templates/etc.

    Hey Zoot,

    Maybe you need loads of them.

    For every project you finish, save it as a template and keep a notepad description file of its contents for future use - that's pretty much how I did it until a year or so ago. After a while I'd built up enough that there was always one that was close enough to the project in hand. Its not an immediate solution but it is practical.

    I'm like you, the ones I've wasted time perfecting I rarely ever use except for my almighty 5 computer orchestral template....although I always feel like I'm wasting electricity when most of the instruments barely get used and half the ones that do end up getting replaced with their acoustic equivalents!.

  3. #3
    Senior Member
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    Re: How do you work with Templates/etc.

    That's the trouble with templates though. I don't like - or didn't like templates for ages. That has changed recently because certainly, regarding orchestral types of work, one tends to find that the same old articulations are used over and over again, and reloading them everytime is a bore. I don't have EW Gold - but I imagine it's just the same for VSL.

    I'm not talking about a full, massive template - but for instance when writing say string, brass or woodwind lines - I nearly always wind up with legato, staccs 1+2, 0.3 and 0.5 sec hits, dim 1.5 sec, dim 2 secs, dim 3 secs, dim 4 secs etc, cres the same etc - as stock articulations, to name a few, for most instruments in those particular choirs.
    Obviously, when things get scary in midi and overload seems imminent, then rendering to audio happens.
    I guess that's what most people have to do.

  4. #4

    Re: How do you work with Templates/etc.

    I have a lot of Giga templates, for awhile I made one for each song, because the instrumentation was always different, only a few basics remained the same. But then, working in more typical controlledmaterial, I created a generic orchestral template in Giga, one in my VST PC in V-Stack, and one in DP on the Mac.Now all the primary orchestra is loaded and spread among three computers, so I've got a lot of tracks available, especially as all the audio from Giga and V-Stack go directly to the mixer until it's time to render.

    The only problem I have with the current rig from working this way is not enough independent audio paths at render time. Wormhole is not working well on my network, but it's not the program's fault, it's the network's - nothing is as fast as it should be, and I haven't had the time to troubleshoot it.
    Dasher
    -------
    It's all about the music - really. I keep telling myself that...

  5. #5

    Re: How do you work with Templates/etc.

    My GS2.5 machine was very slow at loading some patches, so I was always chasing the template holy grail. At the time I was mostly using Sibelius, which added to the complexity of adding new instruments and articulations. I still haven't bought near 10% the libs that I'd like, so templates were mostly achievable - aside from RAM limitations.

    Now I find that GS3 loads things very, very quickly on my new machine. I'm using Sonar, with which I can add a new track in a beat or two. Now that I build as I go, I find that I'm more open to interesting choices of instruments, and I never run into RAM limitations.

    Still, I save all of the performance files, so I can shut down and start up or rework something in the future. I can easily refer to these if I want to do the "next episode", but I'm not locked in.

    -JF

  6. #6
    Moderator/Developer Brian2112's Avatar
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    Re: How do you work with Templates/etc.

    In Sonar 5.1 you can save template files (note: this is different than the regular template setups in previous versions of Sonar). For example, you can have say 3 different woodwind templates, select a track, and load "Wind template#2". It then loads all the midi tracks it needs, the player with the instruments, any effects you have insterted and so on.
    Very nice feature!

    ...2112
    Last edited by Brian2112; 03-02-2006 at 11:57 PM.
    "So what if some parts of life are a crap shoot? Get out there and shoot the crap." -- Neil Peart
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  7. #7

    Re: How do you work with Templates/etc.

    I'm relatively poor/cheap, and have only one computer that's running Sonar/Kontakt2 for basically all my samples. I tried doing the templates thing for a while, but it just didn't really work out very well b/c of the RAM cost; I only use DFD for really really big samples so RAM is still a big factor, plus I edit my instruments a lot and so using templates would force me to use old patches. I find myself compensating by doing lots of mixdowns, either for single instruments or for whole passages in a piece, so things can get kind of annoying pretty fast.

    My saving grace, though, is that I also keep a large folder on my HD called "Audio Junk", where I put mixdowns of drum passages, orchestral effects, weird oneshots, textures and drones I came up with via processing or layering, and other stuff I think might come in handy later on. The "library" keeps growing after every project I do, and it's really easy to just drag&drop the wav's right into my project. I guess technically it's not a timesaver, but it does add a nice level of personalization and depth to the music itself.
    Wilbert Roget, II
    Composer
    Rogetmusic.com

  8. #8

    Re: How do you work with Templates/etc.

    I used to use templates, but found I never used a lot of the patches and it was kind of limiting. Now I just have Logic set up with several 16 channel multi instruments each patched into a Audio Instrument. I only load the VSTs I want to use on a need be basis. When I am not too lazy, I try to label each sample in the arrange window so I can remember what is what later. Works for me.

  9. #9

    Re: How do you work with Templates/etc.

    I've got my (symphonic / movie score) templates spread over 3 computers. These (couple of different) templates covers all the basic and most needed articulations and instruments. Depending of what style I'm going to score , I replace the needless instruments one by one with the ones I'm going to use. Since I don't have tons of libraries, it's quite easy and quick to stay organized. This way I never have to start from an empty table.

    My compositional skills aren't yet in the level where I could orchestrate the whole score in my head, with a pencil and a peace of paper and later just render the work with computer. Inspiration usually doesn't wait, by hassling with dozens of sample and VI choices, it might be gone...

    For me it is always better to start working and sketching something with a decent comprehensive template. Later when the compositional part is done, I'll polish the final thing by choosing the perfect articulations for each part and note.

    - Mikko

  10. #10

    Re: How do you work with Templates/etc.

    Quote Originally Posted by PaulR
    That's the trouble with templates though. I don't like - or didn't like templates for ages. That has changed recently because certainly, regarding orchestral types of work, one tends to find that the same old articulations are used over and over again, and reloading them everytime is a bore. I don't have EW Gold - but I imagine it's just the same for VSL.

    I'm not talking about a full, massive template - but for instance when writing say string, brass or woodwind lines - I nearly always wind up with legato, staccs 1+2, 0.3 and 0.5 sec hits, dim 1.5 sec, dim 2 secs, dim 3 secs, dim 4 secs etc, cres the same etc - as stock articulations, to name a few, for most instruments in those particular choirs.
    Obviously, when things get scary in midi and overload seems imminent, then rendering to audio happens.
    I guess that's what most people have to do.
    Yes, this is me too. A fairly standard template, with the usual articulations and instruments loaded. I tend to write for a similar orchestral setup on a regular basis, so the differences are less. (With the following exceptions. Only 2 bassoons, 1 harp, no Contrabassoon, Tuba, Alto Flute, piano, or full percussion.The tympani instruments are single strokes and tremolo, but not tremolo crescendo. I add this if required.)
    I also have a template for chamber orchestra, and one for early orchestra, e'g' Mozart. This one gets used a bit too, and i add as required.
    Render to audio when the laptop starts uttering undisguised profanities.

    Alex.

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