Template Pt 1: Vienna Ensemble Pro

[@EugeneVasile]

Man, you are a living treasure! I finally understand how professional composers work with templates! I guess it makes more sense to have this configuration distributed on multiple computers otherwise the hardware resource allocation would be more or less the same, not loading the VSTs in DAW but in Vienna Ensemble app/service. Thanks for sharing these details.

[@ViennaSymphonicLibrary]

Thank you for this excellent tutorial video, Anne-Kathrin. 💙 We will happily share it on our channels!

[@AnneKathrinDernComposer]

Thank you so much!

[@tezzermusic5317]

I asked you about VSL libraries days ago. You did responded me back I was reading it (for some reason was erased from my history on KZbin..so I can`t find the original post. Thanks Anne...you are very sweet and kind responding to people. Big hug! and best wishes for you and your music.

[@thomi-alexandre_gagnon]

What a great and generous teacher! This comprehensive and well explained video was certainely the must useful I could find on that somehow complex subject. Really a pleasure to learn something (a)new with the enthousiastic Anne-Kathrin Dern! Many thanks!

[@mistral-unizion-music]

I have bought VE PRO since a couple of months but was scared of the long process of setting it up and never did it... now this video series is on point to finaly kick myself in the but to do it. I only have one computer and hope this will run smoothly once I do. Following for part 2 & 3. Thanks!

[@irinalensky7403]

Wow, your knowledge and ability to clearly explain stuff is amazing and admirable! Thank you so much for your work!

[@nithishaloks.r2411]

Namah Shivay 🙏, Thank You, With Clean Transperency In Tutorials without Hidden Secrets, Thanks Lokasamastha Sukinobavanthu Namah Shivay 🙏

[@jaredledoux]

Thank you so much for this great information Anne (and for your other recent videos as well)! I very much appreciate the clarity with which you are able to explain the technical aspects of the industry and have been learning a lot. I'm going to be working on building a template in VEP for the first time very soon (I purchased my first license over the holidays), so this one is especially timely for me. Looking forward to parts 2 and 3!

[@AnneKathrinDernComposer]

Thanks for watching! I'm glad you find these helpful, especially since this one came at the right time for you. :-)

[@jaredledoux]

@@AnneKathrinDernComposer Absolutely, thanks again, Anne! :D

[@kevinafflack]

Thanks for the quick tutorials and for showing your preferences. I had several things set wrong that this will correct.

[@AnneKathrinDernComposer]

Glad this was helpful!

[@petersvan7880]

It's always a joy to watch your presentations Anne-Kathrin. Thank you for showing and taking the time! Am actually in the middle of setting up a new template in the DAW (Studio One 5.1) and Vepro7. Vepro is a life saver, would not like to work without it anymore. Like you, have everything decoupled and purged (except Spitfire's players that don't have purge yet afaik), and every instrument is routed to individual outs. This means an awful lot of outputs, but has the IMO huge advantage of easily adjusting levels per track. Using the DAW's visibility functions, things can be handled pretty well nevertheless. Look forward to the remaining videos! Take care, stay well!

[@AnneKathrinDernComposer]

Thanks for watching! I too would not want to work without VEP in current times. I’m sure computer developments in the future will make it obsolete at some point but for now it’s the most efficient way to do my job.

[@jingleskhanaudioproductions]

Hi Anne-Kathrin, I love VSL. Once you got to understand it, the plugin is so easy to handle and sounds amazing!

[@kevinshettle8965]

Have watched loads on UT but this great...you should be a teacher....it is loads to get your head around and you make easy to understand...keep it up

[@AnneKathrinDernComposer]

Thank you so much! I don't think I have the patience to be a teacher but it's enough to at least monologue on KZbin. :-)

[@thesauruswrex]

I really appreciate your way of explaining concepts. Thank you!

[@AnneKathrinDernComposer]

Glad to hear that!

[@TravisLohmannMusic]

thank you for talking about how VEPro can be used on a single machine and explaining WHY that also works :)! Really informative video!

[@jadonharper1493]

Perfect timing as I am revitalizing my template for 2021, thank you Anne!

[@AnneKathrinDernComposer]

Wonderful! Glad this is useful! :-)

[@jadonharper1493]

@@AnneKathrinDernComposer Looking forward to future parts! Fingers crossed for something relating to cubase expression maps.

[@AnneKathrinDernComposer]

I don’t use expression maps so I won’t be covering that. But they are very simple to set up (even though it’s time consuming). All the information you need for that is already out there.

[@IKI-KIKI]

Laid back, informative and well paced. Thank you! Probably about time I finally start to use this.

[@AnneKathrinDernComposer]

Thanks for watching!

[@djfull4442]

You're a wizard, Anne. Until now I didn't know windows security even cares about those samples... I turned it off and it shaved 30 seconds off the loading time.

[@dneelyep]

Wonderful guide. This is helping me move away from the mess of setting up each project from scratch into a much better setup. Thank you!

[@georgethomas5463]

Your lessons are simply great and worthwhile. Thanks a ton. Stay blessed

[@LouieTaylorMusic]

This was tremendously useful, Anne! Thank you so much for taking the time to explain in such concise detail.

[@AnneKathrinDernComposer]

I'm so glad to hear that! Thank you for watching!

[@LouieTaylorMusic]

@@AnneKathrinDernComposer My pleasure!

[@pejmanjamilpanah3678]

I discovered your channel last night, your videos are so informative I don't know which one to start with first. 🤣🤣 Thank you for your video🙏. you cover all aspects and darksides and don't jump from one level of explanation to the third or fourth station😍❤. I believe that on KZbin (no matter what topic) 99 percent of people's explanations are incomplete!🙄 I've been working with Cubase for more than 15 years, but I knew nothing about Vienna and creating such a large template. I'm feeling goofy and angry right now for missing this trick until now😭

[@sunroad7228]

Actually, when Anne-Kathrin was saying - in effect - "there is simply no time to setup from scratch for every piece of orchestration and work" - she has been referring to - laws of Thermodynamics: "In any system of energy, Control is what consumes energy the most. No energy store holds enough energy to extract an amount of energy equal to the total energy it stores. No system of energy can deliver sum useful energy in excess of the total energy put into constructing it. This universal truth applies to all systems. Energy, like time, flows from past to future". Wailing.

[@MrStevem121]

Thanks for this Anne With regards to using one computer / using two, having an extra internal solid state hard drive if only using one PC makes a good difference. Allows the operating system / software drive to get on with its tasks while the additional internal hard drive can deal with loading the samples etc

[@professorbacteriano]

I am very grateful for your videos, it’s very informative and generous of you. Thank you!

[@AnneKathrinDernComposer]

Thank you for watching!

[@Logsthecomposer]

I recently discovered your channel and your videos have been very helpful! Thanks for sharing your VE Pro template; I was always curious as to whether or not VE Pro is absolutely necessary in a film scoring workflow but now I can see why so many composers use it.

[@AnneKathrinDernComposer]

I'm glad these are helpful to you! I wouldn't say VEP is "absolutely" necessary - there are professional composers working without it - but I'd say the majority likes to work with it because it makes some processes more efficient when scoring feature films or TV shows. For other media it might be less useful.

[@jonathanbrooker8193]

Its always good to get another's perspective on their VEPro setup. Thank you. We have around 14000 (14k) tracks in our primary template, running across 12 Dell servers on VEP7. Works well but if it wasn't for our Liine Lemur navigation screens, then the whole template would be a nightmare to navigate and work with. It enables a new project to be quickly assembled in to a project template, or an existing template to be quickly edited. However, it takes around 2 hours to load up everything - fine whilst I'm having breakfast and 2 dozen coffees in the morning :-) A typical project template will have around 500 tracks for an orchestral project or about half that for anything else.

[@abbesatty9498]

WOW! Quite a setup! But the 2 hours load is a once-in-a-long-time process (maintenance shutdowns aside) amirite?

[@emanuel_soundtrack]

What is this, NASA?

[@jonathanbrooker8193]

A little update: with advances in Kontakt and Vepro7, our mega template can now load in about an hour!!! Yay!!! But it also means that more can be loaded in to less memory / RAM and requires a little less CPU. So I can do more on PC than ever before without the need for so many servers!! Great because it reduced energy demand.

[@dfizzbom]

I just recently put together my first template but since I'm not a working pro and just compose, I haven't done vep yet. It looks really good Anne, thank you. My template topped out at around 300 tracks using all the tricks like purging and all. Every articulation broken out, routed, fx routing, you name it. It's a marvel of efficiency...and I hate it lol. I'm a long time pro musician and music coordinator and song writer and got passionate about composing orchestral. But I am definitely a blank page composer. I can afford to be that at my level. I prefer to make track templates of instruments that are all set and just call them up as I write. It took me two weeks to finish my last song with my wonderful template and two days to finish the next going back to blank page and track template recall. But I'm forcing myself to keep at it with the template to get comfortable with it. We'll see, lol. Great video Anne, as always. You're a treasure.

[@TomStrahle]

Thanks Anne, that was very helpful.

[@AnneKathrinDernComposer]

So glad to hear that!

[@TomStrahle]

@@AnneKathrinDernComposer Totally new to this part of music creation. I've been composing library and source cues for TV for years and writing with pop artists too. But I need to learn to slave my mac to a PC now for the next project. All the composers I work for are familiar and willing to help but your videos definitely help me feel like it's something I can do. Thanks again.

[@MarsenK1]

I love to watch pros in action. Keep on doing the great work Anne! (thinking over my template...once more ;-) )

[@AnneKathrinDernComposer]

Glad you enjoy the videos!

[@JohannesRiedlMusic]

I think just the fact that VEP Loads your plugins in about 6 Minutes shows how massive this is 😂 And that's a massive tip with the Real-Time Scan ! I'm excited to see Pt. 2 :)

[@AnneKathrinDernComposer]

Hahaha, I never actually timed it but when I made the screen recording I saw that loading VEP and the DAW template took about 7 minutes total. Granted, I don't load everything from SSDs so it could be a bit faster if I did that. It just shows what a time saver VEP is - imagine having to open 50 cues to print stems or do revisions or MIDI prep and each cue takes 7 minutes to load... That's almost 6 hours of just waiting for stuff to load!

[@JohannesRiedlMusic]

Totally right, and that is time you literally can't to anything else except waiting. Huge Timesaver!

[@bigfuzzztv787]

I'm a newby and on the late show,... great subject matter and post.

[@MelissaAtwell]

This is so fantastically useful. Thank you very much for sharing this!

[@AnneKathrinDernComposer]

Thank you for watching! I'm glad this was useful to you!

[@mikemccormick1624]

Incredibly Helpful! Thanks so much!

[@gabrield.cstoica1832]

I just saw your channel last night and it really is very good ... each of us who have started can learn a lot about this world of film scoring ...That is, it deserves that one or the other subscribes to your channel for all those things that you explain so well ... about cinematic strins and it does not matter which of them is the cinematic str 2 or studio ...They are the most used of almost all the composers of the industry just because they sound good and because you can work super fast with them ... I tell you that the wind instrument from orchestral tools is also the most used ... like Vsl Especially the flute pach ... well I really appreciate your work and the fact of taking time ... because I know that your time in this sector is very important and I just say thank you and Bravo Anne for my part.I have a question about a very important matter and I think you can remove my doubt ... those who do not know how to read the sheet music very well or can not do anything to make music for the same thing that you do ...? Danke dir.

[@AnneKathrinDernComposer]

Thanks for watching! Glad you like the videos! And no, without being able to read sheet music, one certainly can't do the projects I do in the orchestral style that I do. I don't think I know a single composer at the mid or high level productions who can't read sheet music, especially when it comes to orchestral stuff. It's essential not only for study purposes but also at various stages of the production process. Also, it's not very hard to learn how to read sheet music fairly fluently so I'm generally not sure why some people try to avoid it so fiercely. I would certainly never hire anyone who cannot put in this basic amount of effort.

[@gabrield.cstoica1832]

@@AnneKathrinDernComposer Thanks Ane for answering me and I'm glad you told me that you don't know of anyone who doesn't know how to read sheet music in this area ...because I started to find out on the internet ... and it turns out that there are or have been some greats like Prince the Singer but also a composer of soundtracks who won the Oscar years ago ...just like the great Paul McCartney and one that I particularly like the pianist Yanny and I think many more ... as they say they don't know anything about notes or read sheet music but they are still geniuses.I remind myself of my friend Junkie xl with whom I and others spoke through KZbin, who said that on this subject ... that it is not entirely necessary to know how to read sheet music but that it is much better if you know it by when you are going to record with the musicians to know how to follow the bars etc.I remind myself of my friend Junkie xl with whom I and others spoke through KZbin, who said that on this subject ... that it is not entirely necessary to know how to read sheet music but that it is much better if you know it by when you are going to record with the musicians to know how to follow the bars etc.Finally I am happy to find your channel because that way I can really learn things that only someone like you who knows very well that he speaks and who shares wonderful things with us as you already do.

[@neroldeer]

@@AnneKathrinDernComposer 1000% agree! I had been creating synth-based music for many years and I think I'm kinda okay at it, and while I always knew it would be good to be able to read sheet music better or have a stronger grasp of music theory, I never found the need... Then I got interested in the orchestrated styles of music. At first I had all sorts of ideas and projects planned out, but when I sat down to them I was sooooo lost! We're not in Kansas anymore, Toto!!!! So, I tried looking over orchestration sheet music (I barely knew the basics) thinking that would help me know what to do but nope, it was total gibberish! That's where I took a step back and decided, I really need to learn how to read this! And that's how my real musical journey began. As I started grasping things, it was like the light of day dawned on me. Really, Please, everyone, if you want to do this kind of music, reading sheet music is a must! - Tschuess!

[@RicoDerks]

Vep is magic

[@AnneKathrinDernComposer]

I think so too! :-)

[@jezstephenson]

Thank you for that overview of your set-up. I've been using VE Pro for a couple of years, but I'm seriously considering ditching it as I can't find a workflow I'm happy with for the rendering of the midi tracks within Cubase for either separate mixing or archival purposes. If you render a midi track pointing at a VE Pro rack instrument, you get every output rendered regardless of whether that particular output is used (ie. often multiple blank tracks splattered everywhere). I'm interested to hear how you do it - maybe that's part 2!

[@AnneKathrinDernComposer]

Sounds like your routing isn’t set up correctly. I already have a stems video that goes over exports in Cubase.

[@ViennaSymphonicLibrary]

Hello Jez. If you're having trouble or need help with our products, please don't hesitate to contact us at [e-mail]! Or maybe you will find the information you need on our KZbin Channel or in our VSL Forum: vsl.co.at/forum

[@emanuel_soundtrack]

Are you selecting tracks properly before bouncing?

[@jezstephenson]

@@emanuel_soundtrack I since moved to using instrument tracks and haven't looked back!

[@Mendelian]

Best. Video. Ever. Seriously haha!

[@Mendelian]

So if i’m understanding this correctly: VES has all your Kontakts etc loaded and basically Cubase is only handling the Midi channels/programming part and mixing (like eq’s and comps etc). So all the RAM is loaded into Vienna, which makes Cubase projects load faster (since Cubase only has to load the MIDI channels and the Vienna rack instruments).

[@AnneKathrinDernComposer]

Thanks for watching! Glad you liked it! And yes, you understood correctly. I still have a few instruments loaded in the DAW but the bulk of it - about 95% - is in VEP on the other machine.

[@irangarcia6204]

Extremely insightful!!

[@sorartificial]

Very nice video as usual

[@AnneKathrinDernComposer]

Thank you!

[@mattv.-drakedraco6803]

I have just discovered you. Excellent series. As I have not yet tried VE Pro, and currently use Kontakt for most sample libraries, does VE Pro work with and/or manage Kontakt libraries as well as it’s own?

[@emanuel_soundtrack]

12:00 this is crucial to keep in mind

[@clc2432]

Excellent video! Which version of Kontakt are you using in VEP? Looks like you can only use Kontakt 7 in VEP via the Komplete Kontrol browser, but this seems inefficient resources-wise.

[@jadrianverkouteren3799]

Can you explain your color scheme for instruments (on the left) at 9:46? I am just trying to set up my first template, and although I can create my own system, I might make better choices if I understand aspects of yours better. Thank you for doing these videos. It took me a while just to figure out how to get sounds to channel correctly through Cubase.

[@vincentnguyen537]

Many many thanks for this Video, it´s very helpful for me, cause I am just getting startet with VEP 7, and try to understand everything. i have one question: I see everybody are using Kontakt as Multi timbral (Rack Instrument) in VEP, why don´t we use Instrument track as a much more comfortable way? Are there any limitation? Thanks a lot. :)

[@GitFiddler]

I really wish you had covered about the Mix setup in Cubase between VEP and Cubase. I have to assume you are loading a separate Kontakt instance per instrument in VEP. With loading a multi-instrument Kontakt instance in VEP 7, all the channels play on the same track in Cubase. So IF... you are not using a separate Kontakt instance per instrument, then how are you getting the Mix to work for each individual fader channel for EQ, reverb, etc.?

[@iancurrie3763]

OMG Thank you, Anne!

[@AnneKathrinDernComposer]

Haha, I know you’ve been waiting for these!

[@KeyJayHD]

I originally bought VEP 4 years ago but never had a use for it. Since then, I've built two servers and one I'm thinking about using to host all my VST's on over 10g networking and 4TB of NVME storage. I may upgrade to VEP7 now after watching this 😁 My only question that I have is in regards to workflow and recalls with large custom templates. Since you make changes to your master template depending on the project, am I right to assume that you have to load that large custom template for that project every time, or do you load your master template and there's a project link just to the customized version based off that master template? Just wondering how load time is reduced if you have to keep loading the full template for every custom version of the template.

[@GitFiddler]

Let's say you are working on two separate films, that's two projects. You would modify your VEP template as needed to add any instruments needed for each type of project. Then you'd save each of those two de-coupled VEP templates. You get up in the morning and you're working the 1st project only that day. You load up the VEP template modified just for that project first thing, then work off that same VEP template for all... the various cues in that 1st project (might mean something like 70 different cues). Next day, you decide to work only on the 2nd film project. You do the same thing, load just the 2nd project VEP template you modified for the 2nd film project, and work off that VEP template for that day for the cues in that film. De-coupling in Vienna Ensemble means all the instruments loaded in your VEP template are not affected by your DAW. So you can open and close the various cues in your film project that are written in your DAW, and your VEP template stays loaded. Only if you close your VEP template of instruments would you have to go through a loading time when you open it again.

[@joshuaday914]

Hi Anne. New subscriber to your channel! I have a question about VEP. If I leave 80 some GB of samples loaded in RAM with VEP and just have it always running in the background for a few days, will it overheat my RAM and cause issues? Will it degrade my RAM over time? Basically is it safe to have your RAM always working at nearly full capacity?

[@comm2005]

This is very helpful. I have a question. Cubase only allows for 64 rack instruments. So that gives a total of 1024 instruments. Have you ever had a need for more ? If so how did you manage that. Just curious.

[@rafaelhernandez5550]

Hi Anne, Thank you very much for your tutorial. I did the setup using PC and MacBook Pro M1for some reason when I play got some clips and pop?

[@DavidKudellMusic]

Hey Anne-Kathrin, so where are the outputs from Kontakt in VEPro ending up back in Cubase? Are they all feeding group tracks in Cubase? (Ie, violins, celli, etc).

[@AnneKathrinDernComposer]

Yes, you are correct! :-) They all go into group channels. I wanted to have that next video up today but got sidetracked with work. Maybe I can have it up tomorrow for it to make more sense :-)

[@LucyAndTheBear]

Anne, danke for this. I seem to have most everything set up the same way that you do. The one thing that has frustrated me is that, unlike with Pro Tools, I couldn't find a way to route things so that multiple instrument tracks could use the same Kontakt instance in VEP. Essentially, I have to route 1 midi track into VEP and receive the resultant audio via an audio track, thereby having 2 tracks for each thing I want to control. Granted, I could receive the audio from multiple sources into the same Instrument or audio track, but then I wouldn't be able to modify the output independently. Did I spy that you have multiple instrument tracks? (I'm watching on my phone, so it was harder to see.) Or how do you overcome this issue?

[@thpthp]

I just discovered your channel and I'm loving it. I'm a pro composer and always enjoy learning other composers work flows. I'm using Pro Tools as my DAW (w VE Pro). I love your idea of putting negative delays on midi channels, yet I notice you lean on the Cinematic Strings libraries that use Key Switches. How do you handle this? One solution would be to load multiple instances of the same patch and put the appropriate midi flag on that channel in the template. Another solution could be to just have multiple midi channels to the same patch and manually change key switches as needed. But your midi offset would remain consistent on each broken out midi channel (leg, stac, etc). Any thoughts? Thanks for all the excellent videos! (sorry if you've already answered this...I have no idea how to search for that)

[@wx9cn]

Hi Anne-Kathrin, thank you so so much for sharing your knowledge with the world! I started building my own multi computer setup half a year ago and I did not utilize the purge function until now. And it's mindblowing indeed! My session contains every single non TM patch of Berlin Strings with a total of four mic positions loaded which eats up 75 GB of RAM. With this trick it goes down to 15 GB! That's insane, even taking into account that the load will obviously be higher when the machine starts loading samples into RAM again as the DAW project grows. But still this saves so much ressources! Now I will be able to load every TM patch into the session as well without ever thinking about my setup again and without ever fumbling around with routing when I just want to be creative and productive. From your experience, how much RAM do you save roughly when using this method in a large session? Cheers! :-) Btw: Ich habe gerade auf deiner Wikipedia-Seite gelesen, dass du aus Deutschland stammst, nachdem ich diesen Kommentar geschrieben habe. Viele Grüße aus Hessen! :D

[@AnneKathrinDernComposer]

Thank you for watching! Glad this was so helpful to you! I don't really know how much RAM I save, I never tested that. But I also never just use it for one session. I use one metaframe per project so by the end of it all the samples I've used in a movie are loaded. But no patch is ever fully loaded so I never even come close to a maxed out RAM. Liebe Grüße zurück aus Los Angeles!

[@alontrigger]

This is complicated but useful! Thanks

[@AnneKathrinDernComposer]

Thank you for watching!

[@fjjunquero6817]

Hello Anne. Do you know of a place where the delays of each instrument come to be put on the tracks? Thank you

[@MikaelRatilainen]

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

[@ukaszkaliszek5436]

Very helpful. Thanks👍😊

[@thisislance]

Do you ever have to manage cases in which you want a different mic setup for a project? For example, my VEPro template has BWW Legacy Flute 1 Legato with just the Mix mic, but occasionally, I'll want to bring in the Close mic. I keep changing my mind between Coupling my instances (so that VEPro accepts such changes via each Cubase project) vs inserting a unique, Coupled instance just for that project with a near-duplicate of the patch (but with the aforementioned mic differences). I tried automation in VEPro so that I could insert some CC commands on each cubase track to control the mics, but the VEPro Learn function doesn't always play nice with every library (for example, the BWW mics!). I'd also like to not route each mic to separate outputs and level through those, because all "active" mics are enabled after the instrument is "unpurged," eating up precious RAM. It's all gross. Curious what others do. Thanks much!

[@AnneKathrinDernComposer]

That's a very good question! I personally don't mess too much with the mic positions once I've chosen them. If I change them in my metaframe, I change them for the whole project. I've seen some of my colleagues do what you describe where they set up different output channels per mic position but yes, it's very RAM intensive and you end up with a ton of Output channels. I've also encountered the Learn function to be a bit buggy - not sure if it's VEP or Kontakt. So yeah, not sure there's an elegant solution other than stocking up on RAM and using the Output feature. If I really want a specific mic setup and sound for just one cue, I'll simply load it straight into my DAW and save it in there.

[@Dandiel_]

Hey Anne. Love your videos I've actually made a PC very much like yours. Wondering if you know a salutation for this. I'm running my samples on the server PC/VEPRO and the issue im running into is on CSS. I use it as my main string library as well. Every time I write in the modulations expression, breath, and volume at times just lags my project. Not in terms of latency audio, but the lag on my monitor. It's only when I write those CC's it starts to lag a bit. I maxed out the buffer size on cubase and it helped out a bit. I do not have that gigbit router like you do. I just have my main pc and server connected via ethernet cable. Could that be the issue?

[@CyrilBellem]

Thank you for this tutorial Anne-Kathrin, very interresting! I have a question, I see in your VEPro template that you share the same output for CW and BWW flutes (for example), do you sometimes use both CW flutes and BWW flutes at the same time ? Or even with strings libraries (CSS + CSSS for example) ? If so, how do you deal with EQ that would probably be different for the 2 libraries with only 1 output ?

[@AnneKathrinDernComposer]

Glad you like the video! I think I go into my library doubling in other videos but yes, I layer a lot when necessary. I EQ the sum of the sound, not the individual sound. If I really felt that each library needed a vastly different EQ then I’d apply that in my VEP channels. But that doesn’t really make much sense when libraries are layered because together they create a new sound that will now need different EQing.

[@CyrilBellem]

​@@AnneKathrinDernComposer Thank you for your explanation, it make sense :-)

[@kaafaa5944]

Hello, @Anne-kathrin Dern, i have a little question about the christmas movie, u had used Voxos for make the choir and spirit of xmas ? ( btw nice advise about hard disk)

[@AnneKathrinDernComposer]

I used Voxos, Olympus, and my own voice.

[@jeffreycomposer]

Do you do something with multiple mics in libraries and send the ambient mics separate to a surround mix for example? Or do you just ignore the fact and work in stereo?

[@Dggb2345]

Thanks.

[@orlandomarinjr]

Excellent! Well done :)

[@AnneKathrinDernComposer]

Thank you!

[@rafaelhernandez5550]

Hi Anne what kind of modem and router did you use? Please let me know. Thanks

[@annode]

I have no idea how to go about using a pen-touch pad of any sort (iPad) as a wireless copy of say, Cubase. Where I can edit a project easily with the pad, but all the processing is of course executed on the work PCs. The pad is more or less a control surface only. I have never seen anyone do this, can you give me some direction please. Thanks Anne - Kathrin.

[@BxzeEntertainment]

Hi, don't u set to none buffer your vst plugins in your daw as your compose or arrange tracks into a session ?

[@xenasloan6859]

Help, help help.etc please...I have used Noteworthy for years for notating solo + accompaniment. Now I need to quickly notate full score for chamber orchestra. What would be best notation software for a novice. Asus laptop and Yamaha digital P-125 is sum total of my 21st century foray. Appreciate any guidance

[@GiulioPirondiniMusic]

Hi Anne, I was wondering how long does it take to load a template like yours in VEP. Is the mere library loading process faster in VEP compared to the "standard" one inside daw/Kontakt? And: do you usually keep VEP always running or do you close it every time you complete a project and then reopen it up for the next one?

[@AnneKathrinDernComposer]

It takes roughly 7 minutes to load my VEP project and then maybe 10-15 seconds to load my Cubase session. The whole point of VEP is to not turn it off. It just sits there while I switch between Cubase sessions /cues. This is a huge time saver when working on a movie or TV show because we constantly have to go back and forth between cues. Every time I open a cue, I save 7 minutes. With the average movie having around 50-70 cues that need to be opened multiple times, you can imagine how much time you save by the end of the project.

[@MrLeeLewisDude]

Hey Ann-I always refer back to this, thank you. I have a question on your Kontakt outputs in VEPro. For Woodwinds, you have a Output for Flutes, Oboes, Clarinets and Bassoons but then you have these extra outputs after (01. Oboes, 01. English Hrn, etc.) and you do the same after your String Outputs. I'm curious what you use those for? I was thinking they're exclusive for Legato outs to mix aside the other bundles outputs, but i'm not sure. Thanks so much!

[@AnneKathrinDernComposer]

I use the "create batch output" function in Kontakt which automatically creates 16 stereo outputs by default (one for each patch). I never use all 16 though so the other outs are just empty, nothing is routed on them. But I leave them there just in case I ever want to change my routing and need them.

[@MrLeeLewisDude]

@@AnneKathrinDernComposer Got it, thank you so much! And if I saw correctly, do you have multiple instances of Kontakt for certain libraries like CSS (assuming you use all 16 midi channels on one) and then route all Kontakt instances to the same out? Again thanks so much for always sharing your setup and taking the time to answer questions.

[@AnneKathrinDernComposer]

My pleasure! Yes, that is correct. I will fill up as many Kontakt instances per library as I need to but the outputs will remain the same. So if it's a string library for example and the violins come out of channels 1-2, then I will set them up the same way in all Kontakt instances so that by the end of it, all the violins of all libraries come out of the same output from which I can process the sound further. Some people prefer to separate out the libraries or even articulations as well. It really depends on each person's preference.

[@MrLeeLewisDude]

@@AnneKathrinDernComposer I was hoping I'm reading that correctly, thanks so much for clearing that up. Yeah, I've seen people go further but that may be overkill for me. I can understand if there's some major volume difference between articulations but cc7 should be fine for me as of now. Hope all's well!

[@MrLeeLewisDude]

@@AnneKathrinDernComposer Thank you!! But what happens when you want to EQ one of your string libraries separate though-in order to blend better? I imagine you slap a EQ on their aux in VEPro?

[@alainthiry3965]

thank you! very useful. Do you have to purge all kontakts instances, one by one or is there a way to purge in one action all kontakts instances in vepro?

[@abbesatty9498]

I doubt there's one global "Purge All" function for all Kontakt instances but there's one for all instruments loaded inside one instance. You do so by using "Purge All" from the upper Kontakt menu instead of doing so to every single instrument.

[@alainthiry3965]

@@abbesatty9498 yes... a functionnality in ve pro would be welcome

[@pejmanjamilpanah3678]

Thanks you 🙏🏼

[@ipoponq]

5:45 If I use only one machine does hosting samples in Vienna Pro running in the background actually help??

[@waynefaram2333]

I’m trying to set up Key switches inside VEP with SINE. They work fine without VEP (inside DP) but no go once everything’s inside VEP. I’m pretty sure it’s something very basic. Help. 😊

[@javaclouds8017]

Sorry, just to point one little thing about "names". You used the word "metaframe", that was the name used in V5 of Vepro. Since V6 (which you are using)...the names are "server projects", and "projects". Cheers.

[@kerchermusic]

true, but pretty much everybody in Hollywood that used an older version of VEP still uses this terminology. It's part of the jargon.

[@Larsmannetje66]

Hi Anne, Does the pc on which you run VEP need heavy specs? Or can one use a slightly older pc, formerly used as daw pc? Greetings from Bennekom, NL.

[@AnneKathrinDernComposer]

I have a hardware video that goes over both of my PC specs. Maybe that'll answer a lot of questions for you. :-) Groetjes terug naar Bennekom - it's such a lovely little town! I used to visit one of my very good musician friends there when I studied in Arnhem.

[@Larsmannetje66]

@@AnneKathrinDernComposer I know one of your favorite soprano’s quite well... Although I don’t meet her as much as I did a few years ago. Speaks of you quite fondly.

[@abbesatty9498]

With a bit of tweaking/optimization it should work fine as long as it was a formally tested DAW PC. Of course all depend on how large your workspace is.

[@theghostofjohnlennon]

does anyone know if the different instruments are routed into the same output, if that means they have to always be played together when you use them in your DAW? like if you route the flutes and bass flutes together does that mean you have to either play them together or you have to go into VEP and disable one?

[@altermoremusic]

Thnx for this tips! I see VEP - this is the way :D Take my subs.

[@JmlMusicNorway]

Great! 😊

[@ASX2001]

Help me, I don't get the point: what is Vienna Ensemble Pro good for? I have my templates in my daw. Why should I make things more complicated?

[@GitFiddler]

You must have a powerful computer with a lot of RAM, or you don't use many instruments. Try making a small 800 orchestral instrument template the way you're doing it.

[@ASX2001]

@@GitFiddler Thanks for Your reply. I have 776 instruments template in Logic. The trick is, to not activate the tracks. Loads in seconds. Switch on only those tracks You use. No problem.

[@tosvus]

Stupid question.. I have currently been using only one computer, but I have a reasonably good pc laying around ("only" 32GB ram but..) and was thinking of offloading at least some libraries. For instance Kontakt libraries, like CineSamples stuff - how does it work from a licensing/activation point of view? Is it a cumbersome process to migrate those libraries? I'm still watching the video, so maybe it gets answered.. :P

[@AnneKathrinDernComposer]

No it's not cumbersome at all. It's all handled via Native Access or (for other libraries) your iLok / eLicenser. Some audio plugins are a minor inconvenience to transfer if they are registered to a computer instead of a USB licenser but for this purpose that wouldn't apply.

[@tosvus]

@@AnneKathrinDernComposer Thanks so much, you rock! :)

[@fourier27]

Is there a way to automate purge upon loading libraries in Kontakt? I’ve done some Lula-scripting in my work, but not dived into this in Kontakt yet. Even if this is a one time type thing for setting up a template, it seems tedious if you have to do it manually 700 times?

[@AnneKathrinDernComposer]

You don't have to do it 700 times, just one time per Kontakt instance. That's still many times but you only do it once. Prep-work is part of the job unfortunately. If there's a script option, I don't know about it but it wouldn't be of much use since all Kontakt scripts are usually locked by the developers anyway. And even if they weren't you'd have to go into every single patch and apply the script fix. So it would be way more work than doing a global purge per Kontakt instance and just re-saving the patches / multi / metaframe.

[@nathanpadgett2183]

Excellent video Anne-Kathrin! Unfortunately Kontakt doesn’t have a way to automate purging. I’ve request a way to purge sample via midi cc for years, that way you could purge your whole template just by inserting a midi message on each track at the start of a project and hitting play. As far as I know they haven’t added it yet though.

[@MagnusReichel]

​@@AnneKathrinDernComposer I actually scripted this idea a year ago :D It's two scripts combined. I wonder why noone else has done it yet, since this topic is talked about everytime, everywhere. With this script I can now load and purge up to 128 instrument groups via one click in Lemur. For example I can load all Kontakt Instances that are referred to "Woods" by sending a MIDI message. As you already wrote, it is not possible to apply this to locked Kontakt Patches, but nevertheless, I got it working on my machine. There are great Pro's, but some important Con's as well :/

[@AnneKathrinDernComposer]

I’d say the reason that most people haven’t done this is because it’s fairly useless after one use. After all you only purge everything once and then save the metaframe, patches, or multis. There’s no need to ever do it again later.

[@MagnusReichel]

@@AnneKathrinDernComposer Well it's very useful if you don't have the specs on your computer to open up the full template, but still want to perform immediately. So instead of loading samples by playing them, you can send data to specific patches to be used for recording. Especially on startup of your project you can already select patches that you want to use. You can still unload them later on when you finished the line for example. It's very selective, but also a possible workflow with all it's reasons ^^ Furthermore you could automate loading and unloading inside of a project. Let's say you have a bunch of cues and you want to work on 'em in the same session, but don't have the ressources to load everything at the same time. It's not how I work, but for some it could be a time-and-money-savior :D

[@zaphkiel.online]

Hi, I have almost the same template as you and I have a question for mixing at the export level, because for me in cubase I can't export my midi tracks in audio independently of the other tracks, the audio export of midi tracks gives me a single instrument track and not one track for each articulation of my instrument, let me explain a little more.. I have the same template as you on Vienna and my template on cubase is like this: folder STRING - VIOLON 1st in instrument track then this track distributes the articulations to midi tracks like this: VIOLON 1st Legato then another midi track: VIOLON 1st Stacc , etc.. etc.. at the time of audio export , I have all the joints in 1 single file, while I'm looking to export each joint in audio, I've been looking for weeks, I'm asking questions everywhere, and I can't find any information at this level, Do you have an idea ? thank you

[@GitFiddler]

You do have the output tracks already, just in another folder when VEP was created using the Rack.

[@alleyway3215]

Some feedback here about setting up. I am as far as 9:17. After that, I don't understand. Can anyone recommend a video that explains in depth beyond this point?

[@gidi1956]

my project is 120 contact In Cubase How can I connect them through viena Ensemble pro. I have 120 tricks of instruments All the hidden from just asking me for new instance why ?........thank you very much..I'm sorry in advance if I have a language problem I in Israel apologize

[@fabulousk9014]

is this possible with cross - platform?

[@martin-raison-music-composer]

My question might be silly but can VE Pro work without any ethernet cable but using the wifi instead? thanks !

[@martin-raison-music-composer]

Ps In my case I'd use only one computer.

[@AnneKathrinDernComposer]

In theory you can use WIFI but it's not recommended due to its lower speed and generally less stable behavior. But if you only use one computer you wouldn't need either option. You only need the network setup if you use two or more computers.

[@martin-raison-music-composer]

@@AnneKathrinDernComposer Thank you for your answer 🌻. Have a lovely day.

[@VFXCommander]

Just when I'm about to hit the bed :/

[@AnneKathrinDernComposer]

I take no responsibility for potential lack of sleep ;-P

[@Nullllus]

What about latency? How much is it more compared to just playing inside the DAW?

[@AnneKathrinDernComposer]

No idea - I haven't had an issue with it. But for concrete numbers I'd visit the VSL website or contact their support.

[@Nullllus]

@@AnneKathrinDernComposer No, I mean do you play parts on your keyboard (in which case all the latency adds up) or do you just insert notes (so latency doesn't matter)?

[@AnneKathrinDernComposer]

I do both but I don’t frequently switch back and forth. If I play anything I lower the buffer size in my DAW by default. I haven’t had any VEP issues when keeping its buffer size high. But again, for exact numbers, visit their website or contact their support.

[@BobKartyMusic]

@@Nullllus One of the VEP 7 tutorials from VSL explains this. You can adjust the “buffer multiplier” in the plug-in that connects VEP to your DAW. If you have latency problems, you can set the multiplier to zero, if your computer can handle it, in which case VEP doesn’t add any latency to that of your DAW and interface, IIRC. They recommend switching the multiplier back to a higher number once you’re finished playing in the parts.

[@tibispeedoMacale]

please somebody turn the heating on in that place

[@Doty6String]

That load time doe

[@thewest6128]

Hallo Anne = ) Wie kamst du eigentlich zu deinem Komposer-Job?

[@AnneKathrinDernComposer]

Hi! Ich bin vor etwas ueber 8 Jahren nach LA gezogen und habe angefangen zu arbeiten.

[@thewest6128]

@@AnneKathrinDernComposer Wie kamst du dazu? Hast du vorher Komposition/Musik studiert?

[@AnneKathrinDernComposer]

Ja, ich habe Filmkomposition in Europa studiert und habe danach hier in LA ein weiterfuehrendes Film Scoring Studium absolviert.

[@thewest6128]

@@AnneKathrinDernComposer Nice. Würdest du sagen, dass das Studium in Europa dich gut weitergebracht hat? Ist das notwendig um Komposition zu erlernen?

[@AnneKathrinDernComposer]

Das kommt darauf an was man danach machen will und welche Art Musik man schreibt - und auch wie jeder individuell am besten lernt.

[@voskseyur]

beautyful lady