robert_e_bone
For instance, you could not apply automation to individual trombone voices if you had them all combined within Kontakt to one output channel,

If you are talking about automation of the volume, that could be automated at the MIDI track, right?  I realize this configuration would not allow you to individually control audio effects.  I'm just wondering if is is all that necessary to try to control each voice to such a degree.  I guess that really depends on the particular project.  In my case, I am guessing that I would do more harm than good most of the time if I tried to work at that level of detail.

Sure - that's why I tried to reiterate that it is PURELY a matter of personal choice.
 
I just don't find it a cumbersome approach - for me - and I am quite comforted in knowing I can get to any part of any of it at the Console level, as I also choose to never apply any midi effects.  I do everything to everything after it gets converted to audio.
 
Whatever works for you is the right approach, for you.
 
Best of luck with it all.  Should you ever run into the limitations that prompted me to evolve into what I do, at least you will have a sense of one way to overcome some of them.
 
Bob Bone
 

Thanks heaps Bob. That was a very clear explanation of your methods. I really appreciate you taking the time to write it. Makes good sense too.
 
Dennis

No sweat - we are all in this together, and helping folks build up positive mastering Karma (I hope). :)
 
Bob Bone

cparmerlee


 
 
And another question along those lines.  It has always been a truism that the best studios were distinguished by using the most expensive, exotic microphones.  While I don't question that the most expensive mics can capture subtleties that other mics might miss, I wonder if a closet full of really expensive mics is as important today as it used to be.

I think so. And the preamps too. High end gear is also considered by many to be an investment that retains a significant portion of it's initial cost at resale time because it is so highly valued. A prized RCA 44bx in mint condition will easily recoup the investment at resale. A $200 mic - just  throw it away when you are done with it.
 
A seasoned and sensitive ear will learn to recognize the wonderfully subtle distortion, harmonics and overall character imparted by certain pieces. May not get it right every time, but lots of times. Just as most of the (dare I say) older guys recognize the sound of a great old MCI or Trident console, or maybe a JH24 recorder  when they hear it used on a record. We bought, sought specific pieces BECAUSE of how it sounds and the character it adds. This is also why so much time is spent getting just the right microphone for just the right voice. When it is right, you know it.
 
Yes the Chinese and modeling is/are good, but not that good  . . . yet. So afaic, nothing beats the real deal.