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For me, I like one instrument per track and use keyswitches. I customize each matrix in VIpro2 with black key/white key combinations for X&Y values. Generally, I can cycle through the correct articulations and still ride the mod wheel, which I've assigned as my velocity x-fade for a live performance, then go back and ride any other CC, such as expression or slot x-fade for tweeking.
The purpose of this is for me to treat it like it is a real instrument... like an organ or something. I've found that yields better musical results.
The other feels more like "programming" to me, which could be more appealing to someone with different creative dispositions.
To add to the insanity, and people may call this a colossal waste of time, is that I create an entirely new template for each new project I start (as stated above though, my VIpro2 matrices are already in place). On top of that, I do not put anything on the tempo grid. Nothing is recorded to a click, unless it is some really specific delay/drum/EDM thing.
I can totally understand the appeal of a template, which mimics a creator walking into a room full of a thousand instruments already mic'd up and ready to go -- you just point to one and it plays. BPMs all mapped out and perfect... a great guide track, etc.
So at the end of the day, whatever gives a person better musical results, they should do that.
When creating templates, what has been the experience of members, regarding using key-switches vs placing each articulatioon on its own track?
Hi
In my view, it depends on how many articulations you want to use per instrument. So if you use Special Edition Libraries, it may make sense to put a staccato-, a sutain-, a sforzato- and a legato- track per instrument. But as soon as you play with full libraries (more articulations), this "track-per-articulation system" would be a bit confusing. Especially if you change the articulations a lot, what would actually be necessary for a natural sound. Then a melody would be split up so often that everything would be quite confusing. Furthermore, one has to keep in mind that samples also often include control curves. In such a situation, I personally like the melody in one track and not splitted up into many many pieces ...
Imagine this melody in articulation snippets:
http://www.beat-kaufmann.com/vitutorials/vi-tips--tricks-3/index.php (No21) ...and further the whole orchestra as well...
All the best
Beat
What works for me is to have two (or multiple) duplicates of the same keyswitched instrument, each instance controlled by different MIDI tracks, but otherwise they are mixed exactly the same.
This way, (a) it avoids the track-count explosion, and (b) allows the instrument to be used in more agile and varied ways that keyswitching is good for, and (c) still allows for manual layering of different articulations when a single instrument articulation isn't enough.
