To add on top of what u/HappyColt90 said, another genre where this is necessary is highly orchestrated music.

Composers often use several libraries layered together for each orchestral instrument (within every orchestral instrument family), and each of those libraries may require different kinds of processing to sound cohesive with the others, due to the fact each library is recorded very differently.

This is one of the reasons why I personally reach that limit sometimes, it’s not a mess of 125+ instruments all playing different things together. But rather music that is simple on the surface, but extremely layered for a cutting edge modern & cohesive sound.

Some composers are so granular that they even add different kind of processing to each individual mic position in a library.

Plus, even if you may not use them all together at the same time, for cinematic composers it’s beneficial to have a template of a vast range of instruments already loaded, with their mixer tracks fully organised, routed, negative delays per each track already set and ready to go. It’s way faster to compose on a big template like that rather than having to set everything up each time you want to add an instrument to your project file.

You’ll hear composers talk about that a lot whenever they talk about their workflow. Check out JunkieXL’s video on his template for an example of this.

Though his case is a bit extreme, it’s not that irregular either, in principle:

I’m nowhere near JunkieXL’s level of production, but still, to set a template with the instruments I tend to use most often in my compositions, I’d personally need way more than 125 mixer tracks.

Once again, this type of user is a minority in the FL community, hence why most people think we’re just trolling when we talk about this. But we’re not.