Pro Tools 2019 !

[jasonkalman]

Originally Posted by BScout

1024 because 2^10

The industry has changed since the 80s. As have budgets. As have expectations by directors and producers on mockups.

When you have thousand midi track templates, you aren’t using a single system DAW. No DAW can run thousands of instruments (processing and RAM)— you use a host and multiple computers to distribute instruments. Hans Zimmer uses a custom/proprietary host software over many computers (14+) to feed his DAW. Powell/Silvestri/most composers use Vienna Ensemble Pro over many computers.
But you still need the MIDI tracks in your DAW to trigger these other computers.

And a small army of hungry interns do all that labor intensive work

[BScout]

Originally Posted by jasonkalman

And a small army of hungry interns do all that labor intensive work

Since you are projecting on an industry you don’t know: it isn’t labor intensive since it’s as simple as recalling presets. And most like to build their own templates because they want to hear/work with their new sounds. Like any writer.
There are labor intensive parts to film scoring and this isn’t it.

Zimmer has lots of people but that’s due to lots of ongoing projects he produces/scores. Powell has 3 people max. Silvestri has 1 (plus sometimes 1 other). Those aren’t “armies”.

[TrackerLe]

Computers are really powerful today, but when you make cues with big templates, you need midi Tracks and computers to use with VSL, Spitfire, EWQL and co... VIEP is a good choice for this...


Btw... Its may, will the update be released or do we have to wait another month for PTU 2019

[noiseboyuk]

My current midi template in Cubase / VE Pro is around 1,500 tracks. I must not be very creative.

As others have said, its not about using that many tracks simultaneously or anything close to it. Modern libraries have scores of instruments and articulations. Every instrument needs its own routing and processing, which takes set up time and - oh yes - sucks creativity. A large template really is all about keeping the creativity going, working quickly.

Post uses a lot of tracks too, but in my experience nowhere near as much as VI-based orchestral work. It shares a few similarities though, having large numbers of tracks pre-routed. And I occasionally temporarily get to very high numbers when importing stuff from one session to another before rationalising. In Ultimate I often get the "some tracks are inactive" warning as I've exceeded the count. Don't think I've ever needed them active though, that's just for a little while in the organisational shuffle.

In an ideal world PT would have unlimited midi tracks like literally everyone else. Maybe there's some deep-rooted coding reason why PT is still working in power of 2 blocks and can't just open the gates wide.

[jasonkalman]

Originally Posted by BScout

Since you are projecting on an industry you don’t know: it isn’t labor intensive since it’s as simple as recalling presets. And most like to build their own templates because they want to hear/work with their new sounds. Like any writer.
There are labor intensive parts to film scoring and this isn’t it.

Zimmer has lots of people but that’s due to lots of ongoing projects he produces/scores. Powell has 3 people max. Silvestri has 1 (plus sometimes 1 other). Those aren’t “armies”.

Thanks for the info. You are right a do not know the industry.

[justinhill]

Originally Posted by jasonkalman

Thanks for the info. You are right a do not know the industry.

Film scoring - and composing - is a different world to me too, but these sorts of exchanges do fascinate me. What we all have in common is the need to minimise interruption to the creative flow and - to give a nod to the subject of this thread - reliability issues in Pro Tools interfere with the creative flow.

Right now, I'm in a sort of temporary nirvana having recently upgraded my hardware. Whereas I used to have to take my work back into the studio as soon as the mix got complicated I can now finish work in the comfort of my home studio. In fact I've got a mix going at the moment that actually doesn't run reliably on the studio system (a MP 5,1 12 core with HDX) any more but runs fine at home.

I hadn't realised until I stopped to think about it yesterday how much time I had been wasting trying to work round stuff like cpu overloads and how much easier it is being able to just sit down and get into the mix. Being able to work all day without thinking about the computer stuff keeps the creative juices flowing and - getting back to the point - this is why what we all need from Pro Tools 2019 is stability first, new features second.

Back in the day when I was a Pro Tools TDM dealer, demonstration sessions were all about trying to convince studio operators they could risk moving from trusted, reliable tape to this new-fangled computer stuff. And for the most part I was able to prove they could. I couldn't say the same today, given then number of times the HDX system at the studio has stopped dead in the middle of a take.

[Eric Lambert]

Originally Posted by justinhill

I couldn't say the same today, given then number of times the HDX system at the studio has stopped dead in the middle of a take.

That's true. Early iterations of PT may have been limited in their abilities but we didn't spend much time dealing with crashes.

[TrackerLe]

Any News on the release of 2019... First week of May is over...

[gonsdeejay]

Originally Posted by TrackerLe

Any News on the release of 2019... First week of May is over...

May day!!!!! but there are no clues!!! any little comment about when 2019 month it will be released???? No body??

[BScout]

It's already been posted when it is coming.
It is being released the second week of May.
That is this week for those who have a hard time with a calendar.

Once again from an official Avid product head: http://duc.avid.com/showpost.php?p=2523804&postcount=3