Quote:
Originally Posted by BScout
No.
The mockup is still done in MIDI and in-depth MIDI at that
Not to mention there's a wide variety of synthetic sounds, obscure percussion, and ethnic instruments that are left in the final score even with real orchestra. Templates can have 300 MIDI tracks devoted to different types of metallic hits or pads alone; a lot of those custom built/recorded "instruments." If you see someone like Alan Silvestri, John Powell or Hans Zimmers full templates, you'll see hundreds of tracks -- however hiding the unused groups of MIDI template tracks is pretty common.
And that kind of palette also takes up more MIDI tracks in a template. Cubase and Logic have been handling this well for A list composers. Pro Tools has been awful at this which is why expanding MIDI is/was needed.
The small-minded people railing against this as "not being creative" just lack imagination of what the workflow is like for others (professionals.)
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I for one have no idea what the professionals you mentioned do to turn out top-notch film scores. Seems they did it fine before there was midi, some of the dudes you mentioned were writing killer scores in the 80s. But if 1024 is a good number (seems rather random to me....why not 1150?) for the .000001% of PT users, i'm all for it
. Meanwhile I can't get 5 VIs to work with PTs without having to freeze track everything. I assume these professionals don't use PTs for the heavy VI lifting, which it is not capable of, but rather load the stems from another DAW, or I should say their interns do.