I've Got A New Job

[@jonnytherrien8640]

Christian, thanks for always opening up your thought processes to us. A question for you: I’ve been studying under a composer and his workflow is a quite different than the usual methods I observe on this channel. Chief among the differences is this composer’s use of Vienna ensemble pro to house kontakt instruments. I’ve really taken to liking VEP and I wonder why a person like yourself doesn’t use it. In my limited experience, I’ve found VEP can make large templates more manageable for computer systems. What are your thoughts?

[@TheCrowHillCo]

Couple of reasons. I like to think of myself as a producer as much as a composer so I like to blur the line between MIDI and audio. Something you can’t really do when using devices out of the box. Also I find the VEP set up (I used to work like this) means you have a set template that is very difficult to change particularly when you have franchises to work over many years. I find you have a danger of getting stale with your music because your base template remains the same. Moreover you cannot access your sequences unless you’re at your main rig whereas my system means I can take a show with me wherever I go.

[@zhexum]

@@TheCrowHillCo Curious if this template works seamlessly on the mobile rig if you have a cue with a whole bunch of the instruments going at once. I personally use VEP, but just have the basics in it, and it’s set so each midi instrument gets its own aux channel in Logic so you can add plugins to each sound.

[@driverexcel773]

I fully understand your reasoning on this Christian, having to use the same VEP template or Templates can become quite stale…and if you even think about modifying a patch on the fly for whatever reason and it’s being used on several projects you may be screwed, you can only add patches to it, thus they get bigger and bigger. My biggest use for VEP is to offload memory hogs Keyscape, HZ piano etc….to my other 2 laptops as I don’t have a very powerful main computer.

[@Proxima04]

Thanks Christian, much to take away from this, in fact you’re combining a technique that can be hijacked for live performance, as well. I’ve not given it much thought but making stems as part of the mix scenario and as a future creative remix or live performance content is a really great time saver. I don’t know how I missed it.

[@georgemickel6608]

11:51 screenshot for my future reference when I go Mac. Thanks for the video Christian

[@echosonicmusic]

Absolutely fascinating! Hope your throat feels better now!

[@cjp68]

Thank you Christian ! Your method really makes sense (especially separating articulations of instrument vs using key switches). I by no means have the library content that you have but it does make sense to limit "my choices" of Sounds/Instruments while I produce. I just downloaded the BBSO Discovery Templates for Studio One last night and after watching your video the way it is setup makes a lot of sense. Thank you again for this information. I will put it to practice in my own work very soon.

[@NoamLevyMusic]

When doing the "1 logic session per cue" thing, the most important tip (I've found) is to use the project cleanup tool OFTEN! Otherwise file sizes get huge! Step 1. Browsers (the camera button in the top right) -> Project -> Edit -> Select Unused, then Delete Step 2. File -> Project Management -> Clean Up (check all 4 boxes) I also have one cue folder for every episode of a tv show - that means all the Logic sessions for that episode share one folder for Bounces and one folder for Audio Files. The very first logic session in each episode folder is a copy of the show template and then cues are daughtered off of that template.

[@TheCrowHillCo]

Wow thanks I’ll check out that feature because the logic files were getting enormous on my last project.

[@52Cues]

One thing to keep in mind is that Logic will clean up (read: delete) any audio files which aren't placed in your current session file, so if you have multiple session files calling to the same audio folder you run the risk of orphaning audio regions in other sessions. This also applies to projects alternatives within a single Logic session.

[@NoamLevyMusic]

@@52Cues This has never happened to me? Not doubting you, but curious what settings we might have different. I've always had the opposite happen... during Step 1 Logic deletes all audio files from the project browser that aren't physically placed in the Arrange window (for example, temp music files that I put into the session and then deleted later, or other cues from the show that I dragged in for reference & then deleted). Step 1 doesn't delete any audio from the actual Audio Folder. Then during Step 2 Logic will bring up a popup window asking to confirm a list of audio to delete, but this list only includes audio that isn't used by any other Logic session for that episode (in other words, the audio that is safe to delete). Logic won't propose the physical deletion of audio that's used by another session in the same Logic folder. Perhaps it has something to do with folder hierarchy. On each episode I have exactly one folder e.g. "201 CUES" and within that sit all the LogicX files for the episode, plus the usual subfolders "Audio Files" "Bounces" "Freeze Files" etc.

[@NoamLevyMusic]

@@TheCrowHillCo My pleasure Christian but see the conversation with Dave in this thread, I wouldn't want to screw things up for you by accident!

[@52Cues]

@@NoamLevyMusic Hmm. I'll need to look into this further. Every time I go and clean up (Step 2), I've found it purges any unplaced audio. If it's a setting, then I'd love to disable it!

[@OfficialStevenCravis]

'stuck with these things for years' wouldn't be such a bad thing to be stuck with! Great video.

[@Winterdagen]

Me to myself: "Focus, this is important!" Also me: not listening and only staring at that beautiful Deckard's Dream.

[@Juliano_DJOL]

I read a quote the other day that said you shld try to "Be able to get to anything you want while working on the cpu in 3 clicks." This rains true in music even more IMO cause then u are able to keep that flow/mood going and not get stuck flipping thru a sample library for 2 hours! Easier said than done, but the progress I have made towards this with my sample libraries has really helped my workflow. Like he said it almost limits your decisions and saves the whole flipping thru folders forever kinda thing! Plus it will help u keep a consistent sound! I know I used to abuse the alias folders on mac a little too much but have recently cleaned up alot of my messes haha! I know I hate the way the sample sites like splice or loopcloud split every sample in a folder in a folder in a folder and so on. First thing I do when I get new sounds is take all those folders out and divide the sounds into my custom folders and kits. I used to save the mother files and alias some of the sounds and stuff but not anymore!

[@jarcauco]

8:51 That was as subtle and folkloric as a bumblebee can be _____ Thank you, this is a very helpful, well packed and compressed amount of information. Congratulations for your new job!! Hope you can continue to shoot & upload videos 🍀

[@updown5238]

Great Christian, thanks your timing is impeccable - I have just spent the past four nights making a mega template with Albion One, individuals, combinations the lot! I've also made Logic track stacks with some 'greatest hits' Albion sounds for quick access and import. Good tip about the Legacy Albion cymbals, i've yet to check out the Legacy stuff -though I did spot a piano in there last night :)

[@NachoGonzalezNappa]

This is gold, thanks for sharing. I find it useful to have a sketch folder inside the session: Piano (harmony), Chamber Strings Long (melody), Chamber Strings Short (rhythm). I do a quick sketch with these 3 tracks, and then I orchestrate form there in the individual tracks of the template. Abrazos.

[@TomBaxterMusic]

A very generous and informed video. Thank you Christian. I have followed your previous vids and I think your articulate presentation and generous spirit is a great tonic in this day and age and I find it so helpful. Am looking at your template now and will look into your Protools Sauron approach to see if this helps my work flow.

[@jefftymoschuk5744]

Hey Christian, great video, as always. One workaround I use for Kontakt libraries in order to use the keyswitch patches but keep the separate outputs for shorts and longs is to use multiple patches of the same thing in Kontakt that are mapped to the same MIDI channel, but with different articulations loaded and sent to different Kontakt outputs. So, for example, if I'm using the Chamber Strings Ensembles, I load four patches of the Ensembles to the same instance of Kontakt, for Longs, Sordino (I EQ those slightly differently), shorts, and pizzicato. All are mapped to MIDI channel 1, but I send their audio out Kontakt st.1 - st. 4. Then I hit the cog and start unloading instruments, only leaving what belongs on that particular audio output. So for my first patch, the Longs, all that's checked is the Longs, Sul Pont, Sul Tasto, Flaut, Harmonics, Trem & Trills. The Sordino patch is only the sords, the shorts is just the staccato & spiccato, and the Pizz has the pizzes, Bartoks & Col Legnos. Between the four patches I've got all the articulations, and everything has its own output so it can get reverbed and EQ'd as I like and get stemmed separately if need be, but it just shows up as one instrument track in my DAW. I can use the keyswitches and when I hit the spiccato switch, for example, all four patches respond and so the disabled articulations aren't played. Works like a charm in Kontakt, unfortunately not (yet?) in the Spitfire player, since unloaded articulations don't leave a empty slot that is activate-able. But maybe that's something we could request in the future.

[@jasonanthonywebster8859]

Thank you Christian, it makes sense to be organised, I love the concept of trying to work it out with the sounds you have selected, this will help massively in future projects!

[@charlesthebrit]

Don’t know if this is approriatefor condolences I was dismayed to open the New York Times and saw that your mum had passed away. I’m old enough to remember _Summer Holiday.your mum should be a National Treasure. Regards Chas

[@jasonanthonywebster8859]

It's really sad news, my heart goes out to Christian, I don't know if it's relevant to speak about my life but my grandad died at the start of the pandemic in 2019, his name is Anthony Webster, he was a pianist who loved music, but while I was growing up I never had the luxury to hear him play because his fingers had camptodactyly, that's where his fingers locked in a way he could never play again. I always loved music but I never really got into it properly because I was distracted by everything around me (films, games, outdoor activities etc) it was only when I was at home on furlough, I was bored and couldn't leave the house so I turned to music, It started out on my mobile where I would piece loops together to try and make a song, after 2 years of learning the basics I realised I was ready to move on, so I found my pc in the loft gathering dust, my brother in law helped me clean it, after that I bought Cubase, bought a mini keyboard, bought Albion Neoone, I downloaded LABS, I have everything to make music professionally, but it's a big jump from a mobile to a pc so I watched Christian and Paul religiously to get things right and try and advance myself quickly learning from the best. I plan to bring honour to my grandad by playing him music while he drinks in the heaven bar. My next goal is to try and get good enough to make music for films or games. I need to learn more and eventually upgrade my pc because when I'm making music the pc makes a racket like it's about to take off, my CPU runs at around 88% which limits the amount of sounds I can put together before it burps at me. I just wish I got into music sooner because it's made me into such a calmer and focused person, I can also express myself within the music which is wonderful feeling and accomplishment. I think that's enough waffling on from me today, take care and if you did read what I had to say, thank you for your time :-) ❤️

[@vicsol75]

Thanks a lot for the libraries, template and explanation!

[@Herfinnur]

You're consistently great at putting out videos about things I don't know well enough AND want to know more about, Christian. It's back to school every video, but this is one of those times where I'm having a hard time following you! Woke up at 6:30 and it's 8:30 (haven't consistently worked in that morning walk yet), and I thought I didn't need coffee, because I'm clearly awake, but I'm five minutes into this video trying to take notes and now I just have to pause it and go get some coffee and maybe some cocaine.

[@alitvack]

Don’t forget to change the pan settings in your template so that all tracks and busses have a true stereo pan!

[@TheFrenchWeddingTrumpeter]

another great video Christian, and another of your videos which yet again makes me appreciate the vast difference (in complexity, detail, technique, tooling etc) between the level I work at with my own compositions (for streaming & sync), and the level I would need to work at were I ever to land a scoring gig. It's a journey, and one I'm only really still at the beginning of (even though I turn 50 in a couple of months) but one I am committed to and watching these videos keeps giving me pieces of motivation to continue pushing forward. Thanks. p.s. love the t-shirt.

[@martingravdal7094]

Thank you for sharing this :) I also like to go back and forth between Logic and Pro Tools when working on projects like this.

[@deanjones5229]

Hi Christian. Really great video, I'm really interested in learning about prepping your music for the mixing engineer. A full video on that process would be amazing. You've covered a little here but knowing how much work is required on top of composing it all. Like the information you shared on track stacks, how deep you need to go etc I'm in my early days starting out and have my first professional science fiction short soon and your videos has been an invaluable source as I'm mostly self taught. Thanks!

[@duarteferreira3380]

Brilliant work! Thanks for sharing!

[@mybiggrin]

Thank you for the template!!!!!!

[@Juliano_DJOL]

Good stuff!

[@spooky_lights]

You’ve inspired me to downsize my template. I have a VEpro-cubase template with over 3000 tracks because I also have individual articulations, but I don’t think I need every string library loaded along with every library I own. I will definitely optimize it more.

[@TheCrowHillCo]

Yeah the VEP style of working can actually be strangely limiting.

[@trevoryearwood6377]

Nice one Christian !

[@StuartWrightWork]

Thanks for this, hope you enjoy writing all those cues and get some sleep as well.

[@dudleyspikeclarke1355]

As someone who is a Kaizen manager in a Japanese manufacturing company, based in Japan, I can say you got it right. Would it be fair to say, that if you had to make a bid for the job, your starting point for the template would be the project file used from that bid, to ensure some consistency in sound and instruments? Great video as always.

[@kavokei1337]

High praise indeed! As a subject matter expert, are there any tips you could offer on applying Kaizen in a studio context? Fascinating subject IMHO

[@dudleyspikeclarke1355]

@@kavokei1337 Kaizen is not so difficult in theory. I'm very new tot his area of working with DAWs, whether it be Logic or Cubase. But for me the starting point is to step back and look at your workflow, identify the steps which are relatively static and repeatable and see how they can be automated, in some way. Cubase allows for custom command keys which can include a number of steps, not sure if you can do that in Logic. Christian is not a fan of Vienna Ensemble Pro, but again it's horses for courses, if you are jumping around between projects/templates, using Ensemble Pro might help shave some time off your work. In essence, after you have finished a project take some time to review what and how you did it, and identify things you could improve. This obviously has nothing to do with writing music, but the tools used.

[@AndreaGiordaniComposer]

Quite impressive template, and as always so inspiring! I think I might try few tricks. Thank you again, Christian and congrats on your gig, excited to see it and hear it when it's done! And Omg Bloopers at the end 🤣 loved it!

[@jonathankessler9853]

Something that I do in my templates is a bit of an unorthodox workaround for my own sanity: I do a lot of mixing so I’ve got my monitors EQ’d ala Sonarworks. I’m a logic user but I stole the idea of a Monitor track from Reaper, it’s basically a signal chain that only applies to your monitoring setup and doesn’t actually affect your mix as a whole. I’m still tweaking it but for now I have an all encompassing mix bus that everything gets summed into, that’s being outputted into another bus (forgot the numbers off the top of my head) and then that bus serves as the input to 2 other busses: a monitor bus and a bounce bus. Personally, I just like having a fader dedicated to Sonarworks and if I want to do the old NS10/mix cube emulation trick where I high pass and low pass my speakers so it just sounds like shit with only mids then it’s on its own fader, the export is completely clean and anything I want to do on the entire mix lives on the mix bus and everything’s in its own place. I’m working out a way to not have to have to mute the bounce or monitor track depending on what’s in use even though it’d be as simple as just turning off Sonarworks and being off to the races but I just don’t like it. There’s my convoluted little bit of extra work that keeps me sane.

[@nileslutherofficial]

It's pretty incredible how much information you're sharing for free online. I've learned so much from you and am so grateful! I have a question about the template you and Jake Jackson made for BBCSO, and I was reminded of it while I was watching this video as well. With the way you're dividing articulations (and fully staying away from keyswitches) how do you handle a melodic line in one instrument that uses a myriad articulations? I found that on the BBCSO template it was really frustrating having to switch tracks when I wanted just 1 note in a legato violin melody to be staccato (or more staccato than the legato extended offers). So, I made a 'main' track for each instrument which is specifically for involved passages that require multiple articulations in quick succession. I feel like I've ruined the pristine template you and Jake made though, as its starting to get messy. I'm still looking for a solution as I find myself using articulations based less on how they're titled and based more on how they sound, all in pursuit of the perfect phrase. Any thoughts on this?

[@michaelsparti]

I'm in the process of making templates for each library I own and combining some, for both Cubase and Samplitude.

[@updown5238]

It is a mission eh :)

[@BF-up5xw]

Thank you for this. It was very informative and great to see how you work. Amongst all the detail, I was struck by one general reflection you had on creating a band and avoiding reaching for different sounds from elsewhere as that could lead to laziness in the composing. This may be an issue for many people, but I think that some composers use the sound design as part of the composition process far more, and in a very active and creative way. I don't mean the design of individual elements so much - you'd need a very generous turnaround time for that! - but rather the design of the sound palette overall, and for specific scenes, locations, etc. Of course, you did that as part of the selection process for the template; but I would want to do that throughout the composition process, and revisit at various times. Switching out one sound for another, and then perhaps rewriting to match. Of course, time is always a huge factor.

[@TheCrowHillCo]

Yeah I’m just going on personal experience and my temptation to grab a sound that “work great on THAT show” means I solve things with old tricks not getting the actual notes right. Sound design is a big part of stuff for me but I guess as I’ve made most of these sounds myself I feel the aesthetic is already mine. But you know me I like to mess around with sound which is why this blurring of MIDI and audio is the best solution for me.

[@BF-up5xw]

@@TheCrowHillCo Yes, no one could accuse you of inattention to sound design! And I guess when you know your sounds as well as you do, and you created them, making choices at the outset is the best workflow! Thanks again.

[@DoryVideo]

wouldn't it be a good thing that a clever DAW could automatically make a working copy of the libraries you are using for an external drive!

[@64guatemala]

Hi, Christian. First off.. Thanks so much for sharing so freely, all of your insights and experience. I am really impressed with everything you guys put out. Anyway... Question: When you make your template, do you sit down and type in each instrument and articulation, or is there another way to accomplish the same... faster? Thanks in advance. 😁 K

[@jappreetsingh]

As a media composer working to better my workflow with every project, this was a great insight, and will definitely be taking some cues. A question though, why not use VEP to host the libraries so that switching between cues does not require loading everything when opening a project?

[@its-movietime]

True, VEP makes things easier. I'm guessing it's the same reason why all his Kontakt libraries are only Spitfire. All the others are competitors in the world of sampling, including VSL, and VEP comes with samples too. Pretty much everyone in the sampling world does that in their videos, so nothing out of the ordinary.

[@EggplantLF]

From the perspective of a music editor, separating the shorts and longs also provides a great deal of "editability" (that sounds like a Christianism). Whether it's a picture change or recycling cues for later episodes, there is a lot more the music editor can do with this type of stemming.

[@BillyPalmerMusic]

3:38 I have this problem a lot - honestly reassuring to hear it happens to others!

[@lauro.f]

Thanks Christian for sharing your interesting workflow which I fully appreciate. Your videos are always inspiring. One question: at 4.50 you say that the short samples have more reverb than the long ones and that you already talked about it in a previous video. Can you help me(/us...) remember which one?

[@ScottGlasgowMusic]

I do a "UNIQUE" folder for all unique per project instruments..... then "ORCH" folder for my orchestra (including orch effects--clusters, etc). I also add live folder for live players / synths. Keep it simple. BTW my stereo stem deliveries are Stereo MIX, 10-sub mixes or possibly 20 stereo sub mixes.. not more, unless you like "recomposing" by film makers who do not really know music. Not recommend.

[@jigsound]

A neat way to organize a template! 👍 Do you have the ORCH folder set up into subfolders?

[@james_wedlock_music]

Thanks for this incredibly useful insight Christian. I’m about to start two projects at the same time, one feature film and another feature length documentary, so I can really see the advantage of using this management method. One thing I still don’t understand however, is why you duplicate the stems in ProTools? You said that it is to check for overlapping parts during action scenes primarily, but why the need to duplicate? Sorry if I’m being clueless here.

[@edwardpatrickwhite6679]

@ChristianHenson - do you not find that using Pro Tools as Sauron for picture is frustrating from the point of navigating picture frame accurately and timing music in Logic? That latency in MTC catching up coupled with the fact that picture doesn’t update in Pro Tools when you move around your timeline in Logic makes the act of conforming your music to picture rather cumbersome. The way I have dealt with this is by literally noting timecode numbers in Pro Tools and matching them for tempo change moments in Logic, but it’s not ideal. When I run picture in Logic without Pro Tools, it’s a much more snappy experience. Thoughts on this?

[@McEnroe911]

What monitors are you using these days Christian? Thanks as always for the great video!

[@keithrobichaux]

Good luck getting that answer.

[@McEnroe911]

@@keithrobichaux why? Is it a secret? Christian is usually pretty open about his studio and process.

[@keithrobichaux]

Asked before. Don’t think they have time to answer questions.

[@Dudadius]

Anyone know what video monitor he's running there?

[@kevinafflack]

Thx so much for this. It's echoing the workflow I'm leaning toward as well. When you say you start building from a clean session, are you then just loading in Patches of summing stacks? I can see that your stem bussing and routing would already be in place. I'm just not quite following the starting from scratch idea. Or are you starting with a basic template and adding to it to define your limited palette that fits the show? thx

[@sonicindustries227]

My 2018 Mac mini would catch fire trying to run a template like that.. (very impressive though)

[@Thom726]

Christian, what are those faders you are using apart from the keyboard controller?

[@JRyanKern]

When exporting stems to send to the dubbing engineer, how do you ensure that they are synced to TC? I am not delivering them in a PT session... Is there a way to export .wavs that will be locked to TC when they are imported into another session in any daw?

[@johandaansen3435]

Christian, thanks so much for this insight! How do you take it from here to have the final arrangement prepared for a live session with orchestra?

[@nathanthauwald2709]

So I think I did follow the part towards the end regarding the "duplicate tracks" coming from the aux. Those duplicate tracks become your stems? Do the individual "duplicate tracks" record the playback?

[@johandaansen3435]

Christian, Thanks again for your work and your sharing! Trying to replicate a bit of your template, it sounds a bit wet, I must admit. Have you modified the balance of the mics in Spitfire, now that you're also using Fab Pro-R?

[@zhexum]

I also do the one Pro Tools session per episode (per season sounds pretty awesome though!), but personally do a save as in Logic for each new cue, instead of a whole new session. That way you can easily copy and paste midi/audio thematic material around the episode. With the one Logic session per cue, how do you do that? Do you do whatever Logic calls “import session data”?

[@SeanGould]

How did you get the buss drop down menu to display the given names and folder structures?

[@bonuebonue]

Great Video Christian, thanks. How do you approach the fact that logic automation assignment controlled by an external fader doesn’t respond with tracks that are inside of stacks? (It only responds to the the midi cc recorded into the midi regions, but as soon as I try to assign automation for example with smart controls it doesn’t seem to react to the external midi faders movement, and I have to write/edit the automation with the mouse or moving the smart controls in logic with the mouse/mousepad). Thank you for any advice and for the very inspiring content of your Channel. I love and use many Spitfire Libraries).

[@Robert-kx8mp]

Oh man, is that still a bug? This is why I stopped using track stacks.

[@thomasanderson5312]

This may be a naive question - but when using Sauron in this way does the decision between regular Pro Tools & Pro Tools ultimate matter? I can see where it would for the mix engineer or maybe if you're delivering in 5.1 or higher?

[@ricgus3]

Great insight on your process! Do you have any words to share on Keyswitches or Expression maps or just use individual tracks with 1 articulation on each?

[@TheCrowHillCo]

I don’t afraid as I don’t use them and know nothing about expression maps.

[@jigsound]

To my knowledge, Expression Maps are a Cubase/Nuendo-only feature. I always use them, should the instrument require constant switching of articulations. A remarkable timesaver compared to bare keyswitches, since you get a clean piano roll and you don't have to remember which pitch corresponds to what articulation (and they won't get out of place, when you transpose). You can set Expression Maps up in multiple (even parallel) ways; there is of course the keyswitch mapping method or the MIDI-CC method used by Spitfire instruments. - Eero

[@ricgus3]

@@jigsound Thanks for answering! I use reaper and it has Reaticulate, which I thought was a expression map. To me it has always felt off having shorts and longs on different tracks as sometimes you want shorts inside your lines and to swap between tracks and dotting in one or two notes seems easier to play it in, then press the articulation control (reaticulate/expression map). But then again it depends on what you write and how you write.

[@snfgriefers]

9:12 - when you do that : doesn't logic ask you to re-locate each library ? I sure know I lose a lot of time when i move folders around - cheers for the video :)

[@TheCrowHillCo]

No provided Kontakt knows where everything is you should be fine.

[@JohnSk82]

Mate I love the Abbey Road mug .Is there any BBC option for us humble users ? :P

[@BulletHolder]

Thanks Christian, always very helpful. How do you handle how the Kontakt instances load on the different systems (laptop and shed rig)? Do your sample drives have identical names and identical file paths on each system? or do you just deal with the spotlight/filesystem search in kontakt?

[@josephherd]

This may seem a bit basic, but did you say you have a Logic project per cue? As in, several cues per episode? How does this work in practice (like jumping between cues in Pro Tools)? I feel like I’m missing something here.

[@TheCrowHillCo]

Ok so pro tools runs picture and dialogue and any cues I have already written. Logic is for individual cues. So I have just one pro tools files (with lots of audio in) and loads of logic files one per cue.

[@josephherd]

@@TheCrowHillCo aaah! That makes sense. I thought maybe there was some magic you had that was automatically switching between Logic projects. Thank you for clarifying.

[@Utkarshn]

Christian: Let’s take it to the shed. Me: sits up to look at all the gadgets 🤤

[@avsystem3142]

Other than SFX do you ever create medial projects using hardware and/or software synthesizers only?

[@AndreasRusso]

Christian, do you not stem reverb separately because it’s complicated to do or is it just cause you don’t feel the need to do it?

[@Robert-kx8mp]

I believe Christian has said in other videos that he doesn't want the reverb getting removed by the dub mixer. He did a video recently (here, about one hour into this, kzbin.info/www/bejne/g4THaIyVqNB2pKc ) where he and Jake Jackson walked through the other scenario where Christian's work is being professionally mixed before going to the dub mixer. In that case he will omit the reverb on the stems (but not on his demo mix) because he trusts someone like Jake to mix the correct amount of reverb, BUT also because Jake will be using surround sound capable reverbs.

[@dafingaz]

Whoa!!!!

[@Brianmann76]

"Mix cherries" lmao

[@kolea9825]

I want an Abbey Road mug!

[@CybreSmee]

The ironic thing is they call it 'logic' audio, lol. I don't think you could get a more over-engineered and convoluted setup if you tried. This whole process of having everything and the kitchen sink setup ready to go 'just in case' seems laborious. Why don't you make project templates (or whatever Logic calls them) and just drag in what you need when you need it?

[@LongshanMusic]

Logic doesn't load the plugin until you begin to use it.

[@Robert-kx8mp]

It because that extra step of having to drag in "what you need when you need it" interrupts the creative work.

[@akijipang1831]

0:I2 wait, is that concept a Japanese thing? I thought it's a global thing... (by the way I'm a Japanese guy)

[@mwarsell]

We are jealous

[@rdru2ner82]

Nice,

[@dinocaster3371]

Ever since you upgraded to this huge-ass screen, I can hardly read what you have on screen anymore because we commoners are still on 1080p resolution, and don't think even think about watching this on mobile 😂😂

[@TheCrowHillCo]

To be fair I do zoom into all the detail???

[@wgxyz]

Sweet jesus. 384GB of RAM

[@anatomicallymodernhuman5175]

It seems like you’ve got your idea of Sauron from the movies. It’s fingernails on a chalkboard for us Tolkien literature fans. Lol. Having to actively suppress my “Ack-chu-a-leeee” response.

[@SeanSecret]

Think I'm first here and the video already has 34 views and 2 dislikes?

[@martyn9420]

Bots or someone with too much time on their hands haha

[@WishMount]

First time?

[@ivanklass1]

Super Oscar knows ...