Do you use a default template? What sort of things to do put into yours?

[DJMaytag]

I often find myself repeating a lot of the same tasks over and over when making a track, and have been compiling a lot of things I want in my newest template. I’m curious what sort of things you put I yours?

My list:

- Combinator(s) in the master section insert.

- A handful of Combinators wired to the master FX send/returns with common FX & chains (FX1 Main Verb, FX2 Drum Verb, FX3 Delay 1, FX4 Delay 2, etc).

- Synth & Drum Mix Channels (sans devices) set to the correct color coding I prefer, with basic Combinators on each insert (usually a FF Pro-Q3 on every channel).

- The Synth channels routed to a synth Mix Buss. Likewise a Drum Buss for the Drum channels. Both color coded appropriately.

- Not as sure about this one, but setting up the SSL EQ’s to a typical setup (ie E mode on, Q on the bells set to the max), and maybe the insert signal path to a certain order.

- A Combinator for interfacing with the external world via a bunch of Expert Sleepers Eurorack modules (for sending Reason CV’s to hardware modules).

- The instruments I use everytime, no matter what (usually 2x instances of Audiorealism ABL3, Malström, and some of the D16 drum VST’s once they release M1 versions).

- Not sure how I’m going to do this yet (probably a Combinator or two), but setting up something for having an audio splitter wired up to connect to several devices for sidechain processing (usually FF Pro-C2).

- Probably a master channel audio automation lane.

That’s all I can think of off the top of my head. WhT thing do you do to save yourself time from doing the same actions over and over in your tracks & templates?

[huggermugger]

I see no point in a default template that goes any further than the basics. Every project I create is different right off the bat. The more items I have in place when I start, the less I'm inclined to build the project to suit my current ideas. Except for a couple of basic send effects and a rack divider, and a string of Master plugins, all bypassed, I've got nothing.

[rgdaniel]

There's value in having a template for big-ass orchestral pieces with all the usual orchestral instruments all set up and preliminarily panned and EQ'd. Otherwise, I'm making it up as I go along, instrument-wise, so my normal template is pretty minimal, just some sends on the SSL and some (initially bypassed) stuff in the Master combi.

[FrankJaeger]

Mine is pretty simple:
- A Flower Audio Loudness Meter connected between the master out and i/o device.
- A Selig Gain in the master insert section for quick and easy mono checking.
- A muted Id8 on the next rack that I use to draw-in the scale I want to work in for that particular track. I then use it as it's own
sort of template when drawing in notes for other instruments.
- The next rack over is the drums and bass section where I have a redrum set up with the first 5 sample slots going into individual mixer channels for easy processing.
- I then throw in a NNXT under those drum channels to sample 808s.

That's it for me. I used to have more devices in the mastering section and a few reverbs as sends, but since those change every song, I got rid of them.

[robussc]

Yep, I have a synthwave template that’s loaded with a decent selection of basic sounds and the mixer is all configured with groups for drums, bass, rhythm, pads, leads, vocals. (Oh and each group is in its own rack.) I have all 8 sends routed to dedicated mixer channels and loaded with effects (just updated with VintageVerb, my god is that thing smooth, everything is definitely sounding better in my latest cover effort!)

I’ve connected the control room out (as god intended) so I can monitor the sends when I’m curious. And I’ve also wired in a line mixer after the control room out so that can I direct wire reference tracks to the hardware output and not worry about the bus compressor or bus EQ coloring those. Oh and also I’ve slotted in a custom combinator on the master out that has a mono switch and a “small speakers” switch so I can do quick simulated check of the mix in that environment.

I’m liking it.

[FrankJaeger]

I have all 8 sends routed to dedicated mixer channels and loaded with effects (just updated with VintageVerb, my god is that thing smooth, everything is definitely sounding better in my latest cover effort!)

A lot of what you said went right over my head, but that Valhalla Vintage Verb... Now THAT's a language I understand.
Add the plate algorithm in 70s mode to your vocals and BOOM!!.. rich, lush goodness.

[DaveyG]

I don't use Reason templates any more. I used to have half a dozen that covered some of my more common starting points but they invariably used VSTs as well as REs and most of my Reasoning is now done with the RRP which does not support VSTs (Why not? Why not? Why not???) so I've never updated the templates.

I do have a couple of Studio One templates, one of which has a couple of RRPs in it.

[TritoneAddiction]

No template for me. I like to start off any new project clean. I can see how people find templates useful, but for me any extra things on the screen I potentially won't use is just clutter. I add the things I need as the track grows.

[Jackjackdaw]

I love my default template. It’s got a kong with drum sequencer and a pulveriser, Europa, Grain & complex 1 all with a selig gain and a couple of insert fx all reset and switched off.
The main feature is my lofi sampling setup where I have Control room out into Decimort bit crusher set to MPC 60 , then into the Sampling input. So when I use the device sampler on the NN19 it records the samples crushed. It’s important because if you crush it post you get the envelope crushed as well and it fizzles at the end.

I use Reason in quite a particular way and having this stuff all setup is really handy. In my other DAW I have a template for making band style backing tracks with drums and upright bass that is basically just the drum plug-in and an upright bass patch and some keys, pre mixed so I can just bash out ideas and render them to jam over.

[mimidancer]

My default template ties my hardware into reason. I write and play more when I just turn things on and go. I can easily control all my synths from reason. But my hardware sequencers can control reason too. Like My Beatstep pro combis are empty. I just drag in what I want to use. Same with the ESQ 1 and the metropolix. Sure I can sequence everything in reason but every instrument has its own vibe. The UI’s of different instruments keeps things fresh for me. Having my eurorack stuff tied into reason allows me to capture things that would have been jammed and lost. My music is not great. But when I am playing I feel like me. It is so easy to lose yourself to the world and its fuckery. (can I say that here?) Reason ties it all together. Its modular nature lets it be what you need. It is my happy place. Be well.

[crimsonwarlock]

I use several templates, each of them has everything setup related to my studio, like monitor correction (SoundWorks) and specific routing for different outputs. They also have a complete setup for using reference tracks (using Red Rock's free Reference 5 RE). I have basically three templates, for tracking, mixing, and mastering.

My tracking template is mainly for project organization. It has rack sections for each instrument group (drums, bass, chords, arps, vocals), and each group has sub-mix buses setup. It has only a few sends with a basic reverb and delay, as those effects only get finalized during mixing. I have a few copies of this tracking template for setups that are more elaborate, mostly for drums that need separate output routing to the SSL mixer. Aside from specific drums setups, there are no preloaded instruments. I add what I need along the way. FX are only added if they are to be committed before mixing, similar like when recording to tape.

The mixing template is completely set up with audio tracks for all the instruments/groups that mostly occur in my projects. This includes buses and many specific parallel track setups with (in many cases) specific FX preloaded, like for vocals. The whole setup lets me drag in the separate audio tracks (exported from the tracking version of the project) and I'm ready to mix. My mix session works the same as if everything were recorded on multitrack tape, and now I'm mixing that recording session.

Finally, the mastering template has one audio track where I drag in the resulting stereo mix. It has a very extended mastering chain preloaded, where I can choose different options for every mastering step. It also has the usual suspects for measurement. If anyone is interested, I might do a write-up on my mastering template and setup.

[plaamook]

Nothing fancy.
Blank 6 tier blank combi w whatever image I’m inspired by at the mo. (I change that in the template).
Empty combi to immediately pull up a template patch.
Bunch of pre placed space blank re’s so my columns are pre set. I hate feeling like I’m hemmed in when I scroll even if it’s blank.

[MirtazapineDream]

I've got a minimal template going. A Mimic with pre-wired mix channels set up for each of it's 8 slots for my drums, as I basically always use drums. I removed the standard sends and replaced with a main reverb and main delay- in combinators so I can send the delay to the reverb to glue sounds together.

Anything else gets added per project.

[selig]

As someone just as likely to record my own solo/ambient tracks as to record full rock bands or electronic pop, OR to get tracks to mix from all over the map (musically and physically), I really can’t have “a” template.
Ever since the beginning of mixing in the box in the 1990s I’ve always preferred to start with an empty session file.

Currently I have one main plugin after the master and it defaults to OFF (Ozone 10, used to be Ozone Elements 9). I only use the limiter and sometimes the wideners. I also have a Selig Gain before Ozone, and YouLean metering after but neither affect the sound and are only used occasionally if needed.
That’s the entirety of my template, besides the fact the default song has the click level lowered and a few other prefs set how I like them.

[Popey]

I like to start with a blank slate so do not have any templates. I quite like randomly using stuff sometimes especially if it is a re or vst I have not used for a while.

[PhillipOrdonez]

My template for reason is:

On the master:
Maximizer
Insight
Project time

On the rack itself, as I work horizontally, to the right of the master, there's 5 lanes of rack, each with a single instance of ReMark, color coded and named for its own part, e.g. drums, bass, synths, audio, FXS

That's it.

[DJMaytag]

I like to start with a blank slate so do not have any templates. I quite like randomly using stuff sometimes especially if it is a re or vst I have not used for a while.

I often do that too, but how I’m using Combinators for default synths and FX means I have a chain or wiring or channel settings in place, so all I have to do is drag a drop a device on top of a templates devices to replace it, maintaining everything that’s otherwise so tedious to setup.

I guess that’s the main takeaway of what I’ve been doing so far, is the HEAVY usage of Combinators in the template to cut down on having to go through a standard process of setting things up the same way in each project. It just saves me time by doing this, which is the ultimate goal to making music more efficiently.

[DJMaytag]

On the rack itself, as I work horizontally, to the right of the master, there's 5 lanes of rack, each with a single instance of ReMark, color coded and named for its own part, e.g. drums, bass, synths, audio, FXS

Good point. That’s also another big thing for me, is always having to scroll all over the place to find things. I’m still not sure of the ultimate workflow choice yet, but I think the “Master I/O” stuff (master FX sends/returns in Combinators, the Combinator for external Expert Sleepers gear) tends to stick in one column, with synths in the next column, drums in the last, and any “junk” in the last column. I have a pair of old 27” Thunderbolt Monitors, so 3 columns seems to fit well on one of the screens.

[crimsonwarlock]

It just saves me time by doing this, which is the ultimate goal to making music more efficiently.

Same here. Setting up all the hardware related stuff, even before thinking about instruments and such, takes at least an hour or more. So, templates are a necessity for me.

[ljekio]

Templates for Sup. Drummer's separate channels with base EQ & compressors very useful. The rest depends on the material of the tracks, sometimes you need template channels for the same instruments in the album.

[robussc]

Finally, the mastering template has one audio track where I drag in the resulting stereo mix. It has a very extended mastering chain preloaded, where I can choose different options for every mastering step. It also has the usual suspects for measurement. If anyone is interested, I might do a write-up on my mastering template and setup.

Sounds like you've replicated the classic studio recording process! Definitely curious about your Mastering template and setup. I also am keeping that separate as I find it helps me not rush to the finish when mixing. (and I have a very simple mastering template at the mo). The mix has to be as good as it can be before I even think about exporting for mastering.

[crimsonwarlock]

Sounds like you've replicated the classic studio recording process!

That's where I'm coming from, so it feels “at home” for me. But it also basically doubles the DSP capacity of my machine, as all virtual instruments and sound design stuff is happening during tracking, and all that processing gets committed to audio when I export everything for the mixing stage. Then during mixing I have almost all DSP power available to run mix-related FX, like high-quality convolution stuff, saturation on as many channels as I like (in reality, mostly on buses), etc.

Definitely curious about your Mastering template and setup.

I'll see if I can do a write-up tomorrow, and start a new topic for that

[robussc]

That's where I'm coming from, so it feels “at home” for me. But it also basically doubles the DSP capacity of my machine, as all virtual instruments and sound design stuff is happening during tracking, and all that processing gets committed to audio when I export everything for the mixing stage. Then during mixing I have almost all DSP power available to run mix-related FX, like high-quality convolution stuff, saturation on as many channels as I like (in reality, mostly on buses), etc.

I think I might need to explore that option too, as my music Mac is not getting any younger and it would give a more structured flow to things.

I'll see if I can do a write-up tomorrow, and start a new topic for that

I look forward to it!

[DJMaytag]

The mix has to be as good as it can be before I even think about exporting for mastering.

I’ve spent decades trying to figure mixing out, but I’ve found that less is a HELL of a lot more, as far as mixing, and that nothing is going to sound good after mastering unless it sounds pretty good BEFORE mixing.

My “mastering chain” has become exceedingly simple: EQ (linear phase mode, high pass ~30 Hz), stereo tool (mono below 150 Hz, maybe a small touch of stereo widening), soft clipping (not much), Turn2On’s correlation meter (checking for mono compatibility), and a true peak mastering limiter that actually isn’t even doing much at all.

[robussc]

The mix has to be as good as it can be before I even think about exporting for mastering.

I’ve spent decades trying to figure mixing out, but I’ve found that less is a HELL of a lot more, as far as mixing, and that nothing is going to sound good after mastering unless it sounds pretty good BEFORE mixing.

My “mastering chain” has become exceedingly simple: EQ (linear phase mode, high pass ~30 Hz), stereo tool (mono below 150 Hz, maybe a small touch of stereo widening), soft clipping (not much), Turn2On’s correlation meter (checking for mono compatibility), and a true peak mastering limiter that actually isn’t even doing much at all.

Agreed, mine is also similar.