Create An Orchestral Template From Scratch!

[@orion4093]

This channel is so underrated your knowledge is endless, huge thanks to you Mr.Rozman for making this lesson.

[@levbrodkin5964]

Indeed :)

[@kongspeaks4778]

I can't believe I only just discovered y'all. This channel is brilliant, exactly what I need!

[@Djelo_]

Très très instructif et j'espère que je vais arriver à vous suivre car ça a l'air très intéressant je me suis abonné 👏

[@jaroslawborzuchowski8113]

Don't give up...just keep going. You are the best on YT.

[@orlandomarinjr]

Wow you have to stick with this video to the end to get the big picture.. excellent!

[@jamescalvey5273]

I have learnt a LOT from watching this... thank you!

[@yuggothproductions]

Great tip for EQing reverb Anze!

[@emanuel_soundtrack]

this rule of mixing darker and master brighter is super interesting!

[@MrTADEUSARIUS]

Hello!Any orchestral template for Studio One Presonus?Thank you!!!!

[@MikaelRatilainen]

I am curious to know how do you balance different publisher libraries together? :)

[@walerider]

excellently explained, fluent, clear, useful .Thank you! Want more...

[@AnzeRozmanArchestralMusic]

Thank you!

[@Todzuum]

Does this work for 200+ tracks or is their a limit to outputs

[@vismayfcam]

which version of cubase? what pc configuration you have? superb sound thankx for sharing

[@markobojovic2242]

I have a question, on 6:03 when you click on 'Activate Outputs' in the Inspector section, of course, I see them under the Kontakt Instance but, for me those Outputs also appear as separate channels in the Mixer, which is not the case with you. So, on Mixer I have both Midi channels (the ones you created with the 'Add Midi Track' option) and now these Outputs. I probably have some option enabled, but I haven't figured out which one yet?

[@rodterrell304]

Thanks , When i assign the different outputs, some of them don't play, is this because I'm using Elements 12?

[@FBCSongReferences]

I don't think it's Elements because I'm using Artist and I am having the same issue. I see you did not receive a response; however, were you able to figure this out? Thanks in advance.

[@mar0k]

Hi, thank you for your videos. In terms of Kontakt instances and RAM, there is still few things to consider and there are few more ifs. If you have 10 patches within one instance, you sure save RAM in compare to 10 different instrument tracks. I like that idea. However, if you use bigger, modular template, common practice is to keep unused tracks disabled and enable if needed, or freeze some to lighten the CPU power and RAM. So you can do it to any of that 10 tracks/patches individually. In case of multi-patched Kontakt instances, the disabling and freezing is a pain in the a** since you can do it only at the instance level. You cannot disable or freeze individual patches/midi tracks from the instance. You have to keep them all loaded as one, even if 9/10 patches are iddle. And this is the breaking point to decide when to go multi-patched (or which instruments apply to) and when not. For example, I definitely merged my LASS patches into multi patch instances since this is much easier and faster way to treat and process them at once by section or articulation. On the other hand, the percussion turns out to be the best kept as a single instrument per track. Any thoughts anyone?

[@ghost-user559]

In Logic at least, only tracks playing Midi consume Ram and CPU, and any track not currently playing takes none, even if loaded. So you can use as many instances as you want for each individual instrument and plugin, because only that which is actually playing back is using any resources. This makes massive templates much more feasible even with only 16 GB of Ram. Especially because at any given moment its not as if every instrument or section is playing in unison for any extended period. But in essence this is just an automatic freeze of all unneeded tracks, just without all the manual fiddling involved.

[@ghost-user559]

In Logic at least, only tracks playing Midi consume Ram and CPU, and any track not currently playing takes none, even if loaded. So you can use as many instances as you want for each individual instrument and plugin, because only that which is actually playing back is using any resources. This makes massive templates much more feasible even with only 16 GB of Ram. Especially because at any given moment its not as if every instrument or section is playing in unison for any extended period. But in essence this is just an automatic freeze of all unneeded tracks, just without all the manual fiddling involved.

[@praveenchaddha]

Yo͏u͏r video is one of the best ones around. Such amazing clarity...

[@nitinmistry6280]

I like the insight I got from the way you laid out your template in Logic (which I also use). I find the Kontakt with multi timbral (track) assignment a bit clunky where you have to connect each one to an aux channel. But I agree it's more efficient use of memory. Great tutorial by the way, Thank you for sharing...

[@ArturoAlbero]

"I've made it in Paint" I can't help clicking like.

[@AlexGerlach]

Could be useful for one day :D thanks.

[@nicksaya]

What about separating your longs and shorts?

[@dante2804]

The question I have is : Why are you sending the reverb signal for each instrument instead of making a send directly in the Group track? For example, If all Strings are going into the group isn't it easier and quicker to just make the send on the String Group rather than making a send in each individual string instrument? Feels redundant to make it in every instrument track if they're all going into the same group. Unless I'm missing something here.

[@thanminhhung]

Same question here

[@zaharishtonov]

Sends by design are each individual track going to a common return. It provides more control over the mix.

[@Shawn-on6wm]

For example, you might want more reverb on your violins than your cellos. You can't do this if you send the strings group to the reverb. Also, if you need to automate certain instrument to have more or less reverb, then this can easily be done if you send them individually.

[@emanuel_soundtrack]

because of individual reverb amount, less in bass, more in violin

[@aharonstern8706]

I have a question, why do we not see in your mixer a visual channel for every midi channel you have created?

[@AnzeRozmanArchestralMusic]

Because I hide the midi channels in the mixer. I see no use in seeing midi channels in the mixer.

[@aharonstern8706]

@@AnzeRozmanArchestralMusic Thank you for the quick answer.

[@Pax30001]

I have a problem with the draw tool. When I want to draw on a track, it's the automation that I end up editing instead of drawing the number of measures. Does anyone know any solutions to this? I notice the automation is not on the created midi outputs but rather on the instances created from the parent track.

[@xaviergauthier7177]

Hi Anže! All this is very interesting, I like the idea of the eq before the reverb in send but... How to balance the "distance" ? Let me explain, I like to set my reverb from "fully wet" and go down to the moment where I find the right dry/wet balance. This also brings a feeling of distance when we are more towards the wet side. Because if I lower the gain of the instrument track, it obviously won't work since it will also reduce the gain of the send. Any idea how to deal with this? Thanks in advance !

[@julioreyesdieck]

Hello Mr. Rozman. First of all, thank you and Evenant for the great video, I am learning a lot. Second, I use EastWest Spaces II too and I have two questions about the way you approached it: 1. Given that we are using the reverb as a send, the dry level should be 0% and the wet one 100%, just like you said. The thing is that you actually left the wet knob untouched which is at -10dBFS by default, and up until now, I've always raised it up to 0dBFS. I've read the manual and haven't found information about which one is actually 100%. Do you know which of the two values are 100%? I don't want to be overboosting the wet level. 2. You are using an EQ before the reverb in order to clean the sound, but EW Spaces II has a filter that is applied to the input before it is processed, so the result is theoretically the same. Is there any reason why you specifically load up FabFilter EQ and not use the filter inside the reverb? Thank you for your time.

[@AnzeRozmanArchestralMusic]

Hi Julio! You can raise the wet know to 0 or you can leave it where it is and adjust the faders in the DAW mixer to taste. At the end it does not matter how you dial in you reverb signal. I prefer FabFilter for the EQ since its the cleanest EQ on the market (in my opinion)! Hope that helps :)

[@julioreyesdieck]

@@AnzeRozmanArchestralMusic Yes, it helps a lot! Thank you for replying.

[@nature_writer]

Hätte ich nur in Englisch aufgepasst. Jetzt fällt mir das auf die Füße. 😩 Toller Kanal!

[@jaythansparksmusic]

Because I'm using LPX, it's a little difficult attempting to try and translate from a Cubase standpoint to an LPX... I was going along pretty good up until the RVB and the GRPS after the reverb... Not sure if this is an RVB bus or VCA or just what. If someone has the flowchart for an LPX DAW, it would be greatly appreciated if you would share it... also, Is it possible to get a copy of that reverb bus fabfilter setting...?

[@jaythansparksmusic]

Wow, a whole year and not even a reply (smh) cmon, fella's

[@dummag4126]

NOT WORKS!! The audio out from Kontakt have different name with output audio in list inside cubase, and works only the first two: St1 1/2 and St2 3/4. (I try in Rack version and in Track) Violin 1 and 2..... maybe you have an audio card with many hardware input.

[@spidersebas]

please do it in ableton, Evenant teach a lot of things in ableton and this things are in cubase everytime .... in ableton, for example, is diferent when you are going to put some channels in one midi instance.... MAKE THIS FOR ABLETON if you teach there as well!

[@unexpected8166]

cubase rules!