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Are we not just playing with semantics here, its the perceptions of words that are important.
pro or no pro, I don`t really care. No plans going full time here since there is still a lot of backstage champagne left out there on the road 😉
But half time media composer within a few year is a goal I’m aiming for, and I’m really impressed with the speed and workflow of some of you full timers. Both here and in that VI thread. I`d really give a million dollars and a bottle of champagne to get a look at your templates….
@Kenny. My template is pretty much like this. I’m in the process of building it again, after losing my second computer. But I think you’ll find variations on a theme….multiple computers, linked with VEPRO, with dozens of sample libraries and FX plugs.
Maybe I’ll post a screenshot, when I’m done.
Here’s Guy Michelmore:
http://www.thinkspaceonline.co.uk/ever-wondered-what-a-film-composers-template-looks-like/
Thanks Michael
I have seen most of Guys videos I think. He is very entertaining for sure. I don’t do much orchestral stuff, but mostly rock/pop band type of stuff so his template is not really for me. Thanks anyway. I do have a couple of good templates where a lot of things is ready to go and sort of premixed. But I still feel there is a lot of room for improvement, so I would love to learn a bit from some of the really fast guys.
You can also have a rock/pop template, too.
I dont like working with templates… for me it restricts creativity. I realize that it adds to the work but i prefer choosing every sound from scratch each time. It allows me keep my mind open… but then again i am not doing full blown orchestral stuff everyday.
I work pretty fast most of the time. I’m a cue-a-day sort of guy. Slightly more when there’s a deadline but I never use a template. I’ve tried it a handful of times but it’s yet to work for me. I think it’s because of the way my brain is wired. I end up distracted by the clutter. If I were doing more orchestral stuff maybe it would be a necessity but so far…
My thing is to be very fast with key commands and know the DAWs I use inside and out. And maybe it’s because I cut my teeth in the days of 2″ tape but I’ve learned to make use of the moments of process that, on the surface, seem like time wasters.
For example, I always render real audio of every VI. I do it mainly for archival and safety purposes but I’ve also found that it forces me to stop and listen to the track as a whole which seems like a waste of time when I’m in a hurry but then when I hear it, and I realize that I’ve lost my overview, it actually saves me a great deal of time in the long run.
I’ve also realized that stopping and taking a 10 minute walk around the block can be a great time saver as well.
For Orchestral stuff templates are a must, I dont do a lot of that so I have a load of vi’s ready to go. 2x Kontakt, 1x Omnisphere, Addictive, Stylus etc all loaded with multiple outs assigned but no patches loaded. I can then start loading as needed.
Bearing in mind that the big orchestral libraries can take many minutes to load Guy Mitchelmore’s template is the way to go if you do that kind of stuff.
FYI did you know that Guy Mitchelmore is veteran UK broadcaster Cliff Mitchelmore’s son
Yeah, I do have templates for rock/pop Michael.
Some drums, omni, alchemy, rhodes etc… Ready to go and verbs, delays setup on auxes. I just think there still is improvements I could have done to make the workflow even better, and thats why I would love to pick up a few things from the guys who can make a broadcast ready track in 3 hours. I know its not all about the template though, but still…I dont like working with templates… for me it restricts creativity. I realize that it adds to the work but i prefer choosing every sound from scratch each time. It allows me keep my mind open… but then again i am not doing full blown orchestral stuff everyday.
@Musicmatters…A template doesn’t limit you. That is a misconception. It just places everything at your fingertips, so it’s easier to access.I have 3TB hard drives loaded with sample libraries…easily several hundred sample libraries + a dozen or more synths with 1,000s of patches. If I had to search for sounds every time, I’d never get anything done.